Everything about Roland Barthes totally explained
Roland Barthes (
November 12,
1915 –
March 25,
1980) was a
French literary critic,
literary and
social theorist,
philosopher, and
semiotician. Barthes' work extended over many fields and he influenced the development of schools of theory including
structuralism,
semiotics,
existentialism,
Marxism and
post-structuralism.
Life
Roland Barthes was born on
November 12 1915 in the town of
Cherbourg in
Normandy. He was the son of naval officer Louis Barthes, who was killed in a battle in the North Sea before Roland turned one. His mother, Henriette Barthes, and his aunt and grandmother raised him in the French city of
Bayonne where he received his first exposure to culture, learning piano from his musically gifted aunt. When he was nine his mother moved to
Paris and it was there that he'd grow to manhood (though his attachment to his provincial roots would remain strong throughout his life).
Barthes showed great promise as a student and spent the period from 1935 to 1939 at the
Sorbonne, earning a
licence in classical letters. Unfortunately, he was also plagued by ill health throughout this period, suffering from
tuberculosis that often had to be treated in the isolation of
sanatoria. His repeated physical breakdowns disrupted his academic career, affecting his studies and his ability to take certain qualifying examinations. However, it also kept him out of military service during
World War II, and, while being kept out of the major French universities meant he'd to travel a great deal for teaching positions, Barthes later professed an intentional avoidance of major degree-awarding universities throughout his career.
His life from 1939 to 1948 was largely spent obtaining a license in grammar and
philology, publishing his first papers, taking part in a little pre-medical study and continuing to struggle with his health. In 1948 he returned to purely academic work, gaining numerous short-term positions at institutes in
France,
Romania and
Egypt. During this time he contributed to the leftist Parisian paper
Combat, out of which grew his first full length work
Writing Degree Zero (1953). In 1952 Barthes was able to settle at the
Centre National de la Recherche Scientifique when he studied
lexicology and
sociology. During his seven-year period there he began writing a popular series of bimonthly essays for the magazine
Les Lettres Nouvelles, in which he dismantled myths of popular culture (gathered in the
Mythologies collection published in 1957).
Barthes spent the early 60s exploring the fields of
semiology and
structuralism, chairing various faculty positions around France, and continuing to produce more full-length studies. Many of his works challenged traditional academic views of literary criticism and of specific, renowned figures of literature. His unorthodox thinking led to a conflict with another French thinker, Raymond Picard, who attacked the
New Criticism (a label with which he inaccurately identified Barthes) for being obscure and disrespectful to the culture’s literary roots. Barthes' rebuttal in
Criticism and Truth (1966) accused the old,
bourgeois criticism of being unconcerned with the finer points of language and capable of selective ignorance towards challenging concepts of theories like
Marxism.
By the late 1960s Barthes had established a reputation. He traveled to
America and
Japan, delivering a presentation at
Johns Hopkins University, and producing his best known work, the 1967 essay
“The Death of the Author”, which, in light of the growing influence of
Jacques Derrida's
deconstructionist theory, would prove to be a transitional piece investigating the logical ends of
structuralist thought. Barthes continued to contribute with
Philippe Sollers to the
avant-garde literary magazine
Tel Quel, which was very much concerned with the kinds of theory being developed in his work. In 1970 Barthes produced what many consider to be his most prodigious work, the dense critical reading of
Balzac’s
Sarrasine entitled
S/Z. Throughout the 70s Barthes continued to develop his literary criticism, pursuing new ideals of
textuality and novelistic neutrality through his works.
In 1977 he was elected to a rather lauded position as chair of Sémiologie Littéraire at the
Collège de France. Sadly, this came in the same year that his mother died. The loss of the woman who had raised and cared for him was a terrible blow to Barthes. He had often written works of theory on
photography, dating back as far as his individual works in
Mythologies. His last great work was
Camera Lucida. The text, which was a meditation on an old picture of his mother, was half atheory of communication through the photographic medium and half an act of grief to his mother’s memory. Roland Barthes died less than three years after his mother. On
25 February 1980, after leaving a lunch party held by
François Mitterrand (who would be elected president of France the next year), Barthes was struck by a laundry van while walking home through the streets of Paris. He succumbed to his injuries a month later and died on
25 March.
Works and ideas
Early works
Barthes' earliest work was very much a reaction to the trend of
existentialist philosophy that was prominent during the
1940s, specifically towards the figurehead of existentialism
Jean-Paul Sartre. In his work
What Is Literature? (
1947)
Sartre finds himself to be disenchanted with both established forms of writing, and more experimental
avant-garde forms, which he feels alienate readers. Barthes’ response is to try to find what can be considered unique and original in writing. He determines in
Writing Degree Zero (1953) that language and style are both matters that appeal to conventions, and are thus not purely creative. Rather, form, or what Barthes calls ‘writing’, the specific way an individual chooses to manipulate conventions of style for a desired effect, is the unique and creative act. One’s form is vulnerable to becoming a convention once it has been made available to the public. This means that being creative is an ongoing process of continual change and reaction. He saw
Albert Camus’s
The Stranger as an ideal example of this notion for its sincere lack of any embellishment or flair.
In
Michelet, a critical look at the work of French historian
Jules Michelet, Barthes continues to develop these notions and apply them to broader fields. He explains that Michelet’s views of history and society are obviously flawed, but that in studying his works one shouldn't seek to learn from Michelet’s claims. Rather, one should maintain a critical distance and learn from his errors. Understanding how and why his thinking is flawed will show more about his period of history than his own observations. Similarly, Barthes felt
avant-garde writing should be praised for maintaining just such a distance between its audience and its work. By maintaining an obvious artificiality rather than making claims to great subjective truths, avant-garde writers assure their audiences maintain an objective perspective in reading their work. In this sense, Barthes believed that art should be critical and interrogate the world rather than seek to explain it like Michelet would.
Semiotics and myth
Barthes' many monthly contributions that made up
Mythologies (1957) would often interrogate pieces of cultural material to expose how
bourgeois society used them to assert its values upon others. For instance, portrayal of wine in French society as a robust and healthy habit would be a bourgeois ideal perception contradicted by certain realities (for example that wine can be unhealthy and inebriating). He found
semiotics, the study of
signs, useful in these interrogations. Barthes explained that these bourgeois cultural myths were second-order signs, or
significations. A picture of a full, dark bottle is a signifier relating to a signified: a fermented, alcoholic beverage - wine. However, the bourgeois take this signified and apply their own emphasis to it, making ‘wine’ a new signifier, this time relating to a new signified: the idea of healthy, robust, relaxing wine. Motivations for such manipulations vary from a desire to sell products to a simple desire to maintain the status quo. These insights brought Barthes very much in line with similar
Marxist theory.
In
The Fashion System Barthes showed how this adulteration of signs could easily be translated into words. In this work he explained how in the fashion world any word could be loaded with idealistic bourgeois emphasis. Thus, if popular fashion says that a ‘blouse’ is ideal for a certain situation or ensemble, this idea is immediately naturalized and accepted as truth, even though the actual sign could just as easily be interchangeable with ‘skirt’, ‘vest’ or any number of combinations. In the end Barthes'
Mythologies became absorbed into bourgeois culture, as he found many third parties asking him to comment on a certain cultural phenomenon, being interested in his control over his readership. This turn of events caused him to question the overall utility of demystifying culture for the masses, thinking it might be a fruitless attempt, and drove him deeper in his search for individualistic meaning in art.
Structuralism and its limits
As Barthes' work with
structuralism began to flourish around the time of his debates with Picard, his investigation of structure focused on revealing the importance of language in writing, which he felt was overlooked by old criticism. Barthes' “Introduction to the Structural Analysis of Narratives” is concerned with examining the correspondence between the structure of a sentence and that of a larger narrative, thus allowing narrative to be viewed along
linguistic lines. Barthes split this work into three hierarchical levels: ‘functions’, ‘actions’ and ‘narrative’. ‘Functions’ are the elementary pieces of a work, such as a single descriptive word that can be used to identify a character. That character would be an ‘action’, and consequently one of the elements that make up the narrative. Barthes was able to use these distinctions to evaluate how certain key ‘functions’ work in forming characters. For example key words like ‘dark’, ‘mysterious’ and ‘odd’, when integrated together, formulate a specific kind of character or ‘action’. By breaking down the work into such fundamental distinctions Barthes was able to judge the degree of realism given functions have in forming their actions and consequently with what authenticity a narrative can be said to reflect on reality. Thus, his structuralist theorizing became another exercise in his ongoing attempts to dissect and expose the misleading mechanisms of
bourgeois culture.
While Barthes found
structuralism to be a useful tool and believed that discourse of literature could be formalized, he didn't believe it could become a strict scientific endeavour. In the late
1960s, radical movements were taking place in literary criticism. The
post-structuralist movement and the
deconstructionism of
Jacques Derrida were testing the bounds of the structuralist theory that Barthes' work exemplified.
Derrida identified the flaw of structuralism as its reliance on a transcendental signified; a symbol of constant, universal meaning would be essential as an orienting point in such a closed off system. This is to say that without some regular standard of measurement, a system of criticism that references nothing outside of the actual work itself could never prove useful. But since there are no symbols of constant and universal significance, the entire premise of structuralism as a means of evaluating writing (or anything) is hollow.
Transition
Such groundbreaking thought led Barthes to consider the limitations of not just signs and symbols, but also Western culture’s dependency on beliefs of constancy and ultimate standards. He travelled to
Japan in
1966 where he wrote
Empire of Signs (published in
1970), a meditation on Japanese culture’s contentment in the absence of a search for a transcendental signified. He notes that in
Japan there's no emphasis on a great focus point by which to judge all other standards, describing the centre of
Tokyo, the Emperor’s Palace, as not a great overbearing entity, but a silent and non-descript presence, avoided and unconsidered. As such, Barthes reflects on the ability of signs in
Japan to exist for their own merit, retaining only the significance naturally imbued by their signifiers. Such a society contrasts greatly to the one he dissected in
Mythologies, which was revealed to be always asserting a greater, more complex significance on top of the natural one.
In the wake of this trip Barthes wrote what is largely considered to be his best-known work, the essay “
The Death of the Author” (
1968). Barthes saw the notion of the author, or authorial authority, in the criticism of literary text as the forced projection of an ultimate meaning of the text. By imagining an ultimate intended meaning of a piece of literature one could infer an ultimate explanation for it. But Barthes points out that the great proliferation of meaning in language and the unknowable state of the author’s mind makes any such ultimate realization impossible. As such, the whole notion of the ‘knowable text’ acts as little more than another delusion of Western
bourgeois culture. Indeed the idea of giving a book or poem an ultimate end coincides with the notion of making it consumable, something that can be used up and replaced in a capitalist market. “
The Death of the Author” is sometimes considered to be a
post-structuralist work, since it moves past the conventions of trying to quantify literature, but others see it as more of a transitional phase for Barthes in his continuing effort to find significance in culture outside of the
bourgeois norms (needs citation). Indeed the notion of the author being irrelevant was already a factor of structuralist thinking.
Textuality and S/Z
Since there can be no originating anchor of meaning in the possible intentions of the author, Barthes considers what other sources of meaning or significance can be found in literature. He concludes that since meaning can’t come from the author, it must be actively created by the reader through a process of textual analysis. In his ambitious
S/Z (1970), Barthes applies this notion in a massive analysis of a short story by Balzac called
Sarrasine. The end result was a reading that established
five major codes for determining various kinds of significance, with numerous lexias (a term created by Barthes to describe elements that can take on various meanings for various readers) throughout the text. The codes led him to define the story as having a capacity for plurality of meaning, limited by its dependence upon strictly sequential elements (such as a definite timeline that has to be followed by the reader and thus restricts their freedom of analysis). From this project Barthes concludes that an ideal text is one that's reversible, or open to the greatest variety of independent interpretations and not restrictive in meaning. A text can be reversible by avoiding the restrictive devices that
Sarrasine suffered from such as strict timelines and exact definitions of events. He describes this as the difference between the writerly text, in which the reader is active in a creative process, and a readerly text in which they're restricted to just reading. The project helped Barthes identify what it was he sought in literature: an openness for interpretation.
Neutral and novelistic writing
In the late
1970s Barthes was increasingly concerned with the conflict of two types of language: that of popular culture, which he saw as limiting and pigeonholing in its titles and descriptions, and neutral, which he saw as open and noncommittal. He called these two conflicting modes the
Doxa and the
Para-doxa. While Barthes had shared sympathies with
Marxist thought in the past (or at least parallel criticisms), he felt that, despite its anti-ideological stance,
Marxist theory was just as guilty of using violent language with assertive meanings, as was
bourgeois literature. In this way they were both Doxa and both culturally assimilating. As a reaction to this he wrote
The Pleasure of the Text (
1975), a study that focused on a subject matter he felt was equally outside of the realm of both conservative society and militant leftist thinking:
hedonism. By writing about a subject that was rejected by both social extremes of thought, Barthes felt he could avoid the dangers of the limiting language of the Doxa. The theory he developed out of this focus claimed that while reading for pleasure is a kind of social act, through which the reader exposes oneself to the ideas of the writer, the final
cathartic climax of this pleasurable reading, which he termed the bliss in reading, is a point in which one becomes lost within the text. This loss of self within the text or immersion within the text, signifies a final impact of reading that's experienced outside of the social realm and free from the influence of culturally associative language and is thus neutral.
Despite this newest theory of reading, Barthes remained concerned with the difficulty of achieving truly neutral writing, which required an avoidance of any labels that might carry an implied meaning or identity towards a given object. Even carefully crafted neutral writing could be taken in an assertive context through the incidental use of a word with a loaded social context. Barthes felt his past works, like
Mythologies, had suffered from this. He became interested in finding the best method for creating neutral writing, and he decided to try to create a novelistic form of rhetoric that wouldn't seek to impose its meaning on the reader. One product of this endeavour was in 1977, in which he presents the fictionalized reflections of a lover seeking to identify and be identified by an anonymous amorous other. The unrequited lover’s search for signs by which to show and receive love makes evident illusory myths involved in such a pursuit. The lover’s attempts to assert himself into a false, ideal reality is involved in a delusion that exposes the contradictory logic inherent in such a search. Yet at the same time the novelistic character is a sympathetic one, and is thus open not just to criticism but also understanding from the reader. The end result is one that challenges the reader’s views of social constructs of love, without trying to assert any definitive theory of meaning.
Photography and Henriette Barthes
Throughout his career, Barthes had an interest in photography and its potential to communicate actual events. Many of his monthly myth articles in the 50s had attempted to show how a photographic image could represent implied meanings and thus be used by bourgeois culture to infer ‘naturalistic truths’. But he still considered the photograph to have a unique potential for presenting a completely real representation of the world. When his mother, Henriette Barthes, died in 1977 he began writing
Camera Lucida as an attempt to explain the unique significance a picture of her as a child carried for him. Reflecting on the relationship between the obvious symbolic meaning of a photograph (which he called the studium) and that which is purely personal and dependent on the individual, that which ‘pierces the viewer’ (which he called the punctum), Barthes was troubled by the fact that such distinctions collapse when personal significance is communicated to others and can have its symbolic logic rationalized. Barthes found the solution to this fine line of personal meaning in the form of his mother’s picture. Barthes explained that a picture isn't so much a solid representation of ‘what is’ as ‘what was’ and therefore ‘what has ceased to be’. It doesn't make reality solid but serves as a reminder of the world’s inconstant and ever changing state. Because of this there's something uniquely personal contained in the photograph of Barthes’ mother that can't be removed from his subjective state: the recurrent feeling of loss experienced whenever he looks at it. As one of his final works before his death,
Camera Lucida was both an ongoing reflection on the complicated relations between subjectivity, meaning and cultural society as well as a touching dedication to his mother and description of the depth of his grief.
Posthumous publications
A posthumous book came out in 1987 in English,
Incidents(External Link
), which contained fragments from his journals: his Soires de Paris (a 1979 extract from his erotic diary of life in Paris); an earlier diary he kept (his erotic encounters with boys in Morocco); and Light of the Sud Ouest (his childhood memories of rural French life). In November 2007, Yale University Press will publish a new translation into English (by Richard Howard) of Barthes's little known work
What is sport. This work bears a considerable resemblance to
Mythologies and was originally commissioned by the Canadian Broadcasting Corporation as the text for a documentary film directed by Hubert Aquin.
Influence
Roland Barthes' incisive criticism contributed to the development of theoretical schools such as
structuralism,
semiology,
existentialism,
Marxism and
post-structuralism. While his influence is mainly found in these theoretical fields with which his work brought him into contact, it's also felt in every field concerned with the representation of information and models of communication, including computers, photography, music, and literature. One consequence of Barthes' breadth of focus is that his legacy includes no following of thinkers dedicated to modeling themselves after him. The fact that Barthes’ work was ever adapting and refuting notions of stability and constancy means there's no canon of thought within his theory to model one's thoughts upon, and thus no "Barthesism". While this means that his name and ideas lack the visibility of a
Marx,
Einstein, or
Freud, Barthes was after all opposed to the notion of adopting inferred ideologies, regardless of their source. In this sense, after his work giving rise to the notion of individualist thought and adaptability over conformity, any thinker or theorist who takes an oppositional stance to inferred meanings within culture can be thought to be following Barthes’ example. Indeed such an individual would have much to gain from the views of Barthes, whose many works remain valuable sources of insight and tools for the analysis of meaning in any given manmade representation.
Key terms
"Readerly" and "writerly" are terms Barthes employs both to delineate one type of literature from another and to implicitly interrogate ways of reading, like positive or negative habits the modern reader brings into one's experience with the text itself.
These terms are most explicitly fleshed out in "
S/Z", while the essay "
From Work to Text", from "
Image--Music--Text" (1977) provides an analogous parallel look at the active and passive, postmodern and modern, ways of interacting with a text.
Readerly Text: A text that makes no requirement of the reader to "write" or "produce" his or her own meanings. The reader may passively locate "ready-made" meaning. Barthes writes that these sorts of text are "controlled by the principle of non-contradiction" (156), that is, they don't disturb the "common sense," or "Doxa," of the surrounding culture. The "readerly texts," moreover, "are products [that] make up the enormous mass of our literature" (5). Within this category, there's a spectrum of "replete literature," which comprises "any classic (readerly) texts" that work "like a cupboard where meanings are shelved, stacked, [and] safeguarded" (S/Z p.200).
Writerly Text: A text that aspires to the proper goal of literature and criticism: "... to make the reader no longer a consumer but a producer of the text" (4). Writerly texts and ways of reading constitute, in short, an active rather than passive way of interacting with a culture and its texts. A culture and its texts, Barthes writes, should never be accepted in their given forms and traditions. As opposed to the "readerly texts" as "product," the "writerly text is ourselves writing, before the infinite play of the world is traversed, intersected, stopped, plasticized by some singular system (Ideology, Genus, Criticism) which reduces the plurality of entrances, the opening of networks, the infinity of languages" (5). Thus reading becomes for Barthes "not a parasitical act, the reactive complement of a writing," but rather a "form of work" (10).
Barthes, Roland. S/Z: An Essay. Trans. Richard Miller. New York: Hill and Wang, 1974.
"The author" and "the scriptor" are terms Barthes uses to describe different ways of thinking about the creators of texts. "The author" is our traditional concept of the lone genius creating a work of literature or other piece of writing by the powers of his or her original imagination. For Barthes, such a figure is no longer viable. The insights offered by an array of modern thought, including the insights of
Surrealism, have rendered the term obsolete. In place of the author, the modern world presents us with a figure Barthes calls the "scriptor," whose only power is to combine pre-existing texts in new ways. Barthes believes that all writing draws on previous texts, norms, and conventions, and that these are the things to which we must turn to understand a text. As a way of asserting the relative unimportance of the writer's biography compared to these textual and generic conventions, Barthes says that the scriptor has no past, but is born with the text. He also argues that, in the absence of the idea of an "author-God" to control the meaning of a work, interpretive horizons are opened up considerably for the active reader. As Barthes puts it, "the death of the author is the birth of the reader."
Barthes, Roland. Image/Music/Text. Trans. Stephen Heath. New York: Noonday, 1977.
Criticism
In 1971 Barthes wrote "The Last Happy Writer", the title of which refers to
Voltaire. In the essay he commented on the problems of the modern thinker after discovering the relativism in thought and philosophy, discrediting previous philosophers who avoided this difficulty. Disagreeing roundly with Barthes' description of Voltaire, Daniel Gordon, the translator & editor of
Candide (The Bedford Series in History and Culture), wrote that "never has one brilliant writer so thoroughly misunderstood another."
Bibliography
His Works
Essais critiques (1981), Editions du Seuil:Paris.
Le Degré zéro de l'écriture suivi de Nouveaux essais critiques (1972), Editions du Seuil:Paris.
Le plaisir du texte (1973), Editions du Seuil:Paris.
Litérature et réalité (1982), Editions du Seuil:Paris.
Michelet (1988), Editions du Seuil:Paris.
Mythologies (1957, Seuil:Paris.
Œuvres complètes (1993), Editions du Seuil:[Paris].
Poétique du récit (1977), Editions du Seuil:Paris.
Recherche de Proust (1980), Editions du Seuil:Paris.
S/Z (1970), Seuil:[Paris].
Sade, Fourier, Loyola (1980), Editions du Seuil:Paris.
Sur Racine (1979), Editions du Seuil:[Paris]
Système de la mode (1967), Editions du Seuil:Paris.
"Éléments de sémiologie" (1964), Communications 4, Seuil:Paris.
"Préface" (1978), La Parole Intermédiaire, F. Flahault, Seuil:Paris
Translations to English
A Barthes Reader (1982), Hill and Wang, New York.
Camera Lucida: Reflections on Photography (1981), Hill and Wang :New York.
Criticism and Truth (1987), The Athlone Pr.:London.
The Eiffel Tower, and other mythologies (1997), University of California Press:Berkeley.
Elements of Semiology (1968), Hill and Wang:New York.
The Fashion system [Systemede la mode] (1967), University of California Pr.:Berkeley.
The Grain of the Voice : interviews 1962-1980 (1985), Jonathan Cape : London.
Image, Music, Text (1977), Hill and Wang:New York.
Incidents (1992), University of California Press:Berkeley.
A Lover's Discourse : Fragments (1990), Penguin Books:London.
Michelet (1987), B.Blackwell:Oxford.
Mythologies (1972), Hill and Wang:New York.
New Critical Essays (1990), University of California Press:Berkeley.
On Racine (1992), University of California Press:Berkeley
The Pleasure of the Text (1975), Hill and Wang:New York.
The Responsibility of Forms : Critical essays on music, art, and repre (1985), Basil Blackwell:Oxford.
Roland Barthes (1988), Macmillan Pr.:London.
The Rustle of Language (1986), B.Blackwell:Oxford.
Sade, Fourier, Loyola (1976), Farrar, Straus and Giroux: New York.
The Semiotic Challenge (1994), University of California Press Berkeley.
What Is Sport (2007), Yale University Press: London and New Haven
Writer Sollers (1987), University of Minnesota Press:Minneapolis.
Writing Degree Zero (1968), Hill and Wang:New York.
Works on Roland Barthes
Louis-Jean Calvet, trans Sarah Wykes (1994), Roland Barthes: A Biography, Indiana University Press, Bloomington, ISBN 0-253-34987-7 (This is a popular biography)
Michael Moriarty, Roland Barthes, Stanford University Press, Stanford California, 1991 (Explains various works of Roland Barthes)Further Information
Get more info on 'Roland Barthes'.
|
External Link Exchanges
Do you know how hard it is to get a link from a large encyclopaedia? Well we're different and will prove it. To get a link from us just add the following HTML to your site on a relevant page:
<a href="http://roland_barthes.totallyexplained.com">Roland Barthes Totally Explained</a>
Then simply click through this link from your web page. Our crawlers will verify your link, extract the title of your web page and instantly add a link back to it. If you like you can remove the words Totally Explained and embed the link in article text.
As long as your link remains in place, we'll keep our link to you right here. Please play fair - our crawlers are watching. Your site must be closely related to this one's topic. Any kind of spamming, dubious practises or removing the link will result in your link from us being dropped and, potentially, your whole site being banned. |
