Roland Barthes – författare
Visar alla böcker från författaren Roland Barthes. Handla med fri frakt och snabb leverans.
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En av världslitteraturens mest egensinniga böcker om kärlek
»En underbar bok.« Torbjörn Elensky, Sveriges Radio, P1
»Det är en lika fascinerande som svårplacerad bok. Sällan formuleras Roland Barthes tankar om språkets otillräcklighet så mångbottnat och så passionerat som när han skriver om kärleken.« Svenska Dagbladet
Kärlekens samtal var revolutionerande när den kom ut 1977 och har sedan dess räknats till världslitteraturens mest egensinniga böcker om kärlek. I en samling korta, intensiva texter skriver Roland Barthes om den älskandes alla känsligaste ögonblick: I mötet, väntan, bekräftelsen, omfamningen, hänryckningen, förvirringen, ängslan, svartsjukan, grälet, förståelsen, ömheten. Samt om hur kärleken manifesterar sig i språket. I dialoger med allt från kanoniska storheter som Freud, Goethe, Platon, Nietzsche och Proust till zen-mystiker, reflekterar Barthes över ämnet som så få stora filosofer vågat sig på i grunden men som vi alla egentligen helst läser om.
Kärlekens samtal [Fragments d un discours amoureux] presenteras här på svenska med de tjugo ytterligare fragment - sammanlagt över 50 sidor - som ingick i de föreläsningar Barthes höll vid verkets tillkomst, och som publicerats postumt. I översättning av Leif Janzon och med ett nyskrivet förord av Carin Franzén, professor i språk och kultur på Linköpings universitet
ROLAND BARTHES [1915-1980] är en av historiens mest berömda och originella litteraturkritiker, med stort inflytande över framväxten av teorier som strukturalism, poststrukturalism och semiotik. Till hans viktigaste verk hör förutom Kärlekens samtal även Textens njutning, Litteraturens nollpunkt, Mytologier och S/Z.
»Det är vackert, känslosamt, sökande. Det är, som Carin Franzén skriver i sitt fina förord, ett utpekande av kärlekens beroende av symboliska koder.« Ingrid Bosseldal, Göteborgs-Posten
»Otroligt fin bok om den förälskade människans väg mot kärleken.« Litteraturvetare
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»Hur får bilden sin mening? Var upphör meningen och om den upphör, vad finns då bortom den?«
Dessa frågor inleder professor Hans Haydens förord till Roland Barthes korta, men mycket inflytelserika text, Bildens retorik som publicerades första gången 1964. Texten introducerar en semiotisk bildanalys och är inledningen på Barthes livslånga tänkande kring bilden och fotografiet. Här presenteras boken i svensk översättning av Kurt Aspelin. Barthes skriver i en passage: »Som strax ska framgå tydligare, är varje bild polysemisk, mångtydig.« Det sätt på vilket Barthes sedan utvecklar analysen har blivit enormt inflytelserikt. Utifrån en enkel reklambild analyseras inte bara vad bilden säger oss utan hur den gör det.
Detta är den tredje upplagan.
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Barthes investigation into the meaning of photographs is a seminal work of twentieth-century critical theory. This is a special Vintage Design Edition, with fold-out cover and stunning photography throughout. Examining themes of presence and absence, these reflections on photography begin as an investigation into the nature of photographs – their content, their pull on the viewer, their intimacy. Then, as Barthes contemplates a photograph of his mother as a child, the book becomes an exposition of his own mind. He was grieving for his mother at the time of writing. Strikingly personal, yet one of the most important early academic works on photography, Camera Lucida remains essential reading for anyone interested in the power of images.‘Effortlessly, as if in passing, his reflections on photography raise questions and doubts which will permanently affect the vision of the reader’ Guardian
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I sitt klassiska arbete Mytologier (1957) analyserar och förklarar sociologen och semiologen Roland Barthes (1915-1980) de "myter" som utgör den moderna människans vardagsvärld. I korta kapitel presenterar han en serie fenomen från det dagliga livet i Västeuropa - bland annat romare på film, författare på semester, tvättmedel, Charlie Chaplin, Greta Garbo, biff och pommes frites, vin och mjölk, bilmodeller, den objektiva litteraturkritiken, Einsteins hjärna och Tour de France. I det sammanfattande och framåtblickande kapitlet "Myten idag" redogör Barthes för sin metod. Hans mål är att avslöja den ideologi vars främsta kännetecken är att historiskt bestämda företeelser framställs och tolkas som eviga och "naturliga". Barthes var en intellektuell som tidigt tog masskulturen på ett kritiskt allvar. Poängen är inte att avfärda den utan att belysa dess mytiska karaktär och ideologiska funktion.
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I essän Eiffeltornet från 1964 undersöker Roland Barthes Eiffeltornet som symbol för Paris. Översättning och efterord av Daniel Pedersen.
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Barthes shares his passionate, in-depth knowledge and understanding of photography.Examining the themes of presence and absence, the relationship between photography and theatre, history and death, these 'reflections on photography' begin as an investigation into the nature of photographs. Then, as Barthes contemplates a photograph of his mother as a child, the book becomes an exposition of his own mind.
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Jean Racine (16391699) är den främste representanten för franskklassicismen och hans betydelse för fransk teater kan knappast överskattas. I denna volym presenteras två av hans berömda tragedier Britannicus och Bérénice, i översättning av Göran O. Eriksson och med förord översatta av Jan Stolpe. De följs av utdrag från en av 1900-talets mer inflytelserika texter om Racine: två kapitel ur Roland Barthes Sur Racine för första gången på svenska av Sofia Warkander, som också skrivit ett initierat efterord.
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I sin inledning till den här boken sktiver Roland Barthes: Hébert började aldrig ett nummer av Pére Duchêne utan att stoppa in ett antal fan och helvete. Dessa kraftuttryck hade ingen egentlig innebörd, de gav bara en antydan. Om vad? Om en hel revolutionär situation. Där har vi alltså ett exempel på ett skrivsätt som inte bara vill meddela eller uttrycka något utan även poängtera något som ligger utanför själva språket men som samtidigt innefattar historien och den ståndpunkt man själv intar visavi den. Det finns inget skriftspråk utan adress, och det som gäller för Pére Duchêne gäller också för litteraturen. Även den bör antyda något annat än sitt innehåll och sin individuella form, något som är dess eget fält och som gör den till just litteratur. Därav följer en mängd givna tecken utan samband med vare sig idén eller språket eller stilen, vilka är ägnade att i vimlet av alla tänkbara uttryckssätt fastslå det rituella språkets isolering. Lenna skrivtecknens sakrala ordning gör litteraturen till en institution och tenderar uppenbarligen at skilja den från historien, ty ingen begränsning kommer till stånd utan en idé om beständighet. Men nu förhåller det sig så att där historien är utestängd, där verkar den också som allra tydligast; det är alltså möjligt att spåra en det litterära språkets historia som varken är historien om språket i sig eller om de olika stilarterna utan bara historien om litteraturens tecken, och man kan vara övertygad om att denna formella historia på sitt sätt och med all önskvärd tydlighet manifesterar sitt samband med den historia som går på djupet.
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‘To read through A Barthes Reader is finally to be left with the image of Barthes as one of the great public teachers of our time’ New RepublicEdited by Susan Sontag, A Roland Barthes Reader offers a definitive selection of works by the French intellectual Roland Barthes, including seminal essays, such as 'Introduction to the Structural Analysis of Narratives' as well as his more unusual works, such as 'The World of Wrestling'.'At last, with A Barthes Reader, we have a sort of Michelin guide to one of the most beguiling minds of our era. Smartly introduced by Susan Sontag, the Reader samples Barthes' achievement over three decades' Newsweek
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‘May be the most detailed, painstaking anatomy of desire that we are ever likely to see or need again... An ecstatic celebration of love and language’ Washington PostThe language we use when we are in love is not a language we speak. It is a language addressed to ourselves and to our imaginary beloved. It is a language of solitude, of mythology, of what Barthes calls an 'image repertoire'. Reviving the notion of the amorous subject beyond psychological or clinical enterprises, Barthes’ A Lover’s Discourse is a book for everyone who has ever been in love, or indeed, thought themselves to be immune to its power.
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Fashion never ceases to interest psychologists, aestheticians and sociologists. Roland Barthes, however, examined fashion from a new point of view. Using descriptions from magazines, he uncovered a system of meaning and subjected it for the first time to semantic analysis. The Fashion System, published in France in 1967, is bold and imaginative. In his endeavour to confine his love, outrage and passion for fashion to a system, Barthes created a work of literature that is witty, humane, personal and enormously stimulating
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In these interviews, given between 1962 and 1980, Barthes speaks about the development of his thought, explaining why and how he wrote his many books, paying tributes to philosophers, linguists, novelists, poets, painters and film-makers who have inspired him, as well as discussing how his life became dedicated to an exploration of semiotics. What comes across is the sheer gusto of a man who never stopped developing and changing, and the warm personal side of his rich and probing intelligence.
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'Barthes' purpose is to tear away masks and demystify the signs, signals and symbols of the language of mass culture' The TimesIn this magnificent and often surprising collection of essays Barthes explores the myths of mass culture. Taking subjects as diverse as wrestling, films, plastic and cars, Barthes elegantly deciphers the symbols and signs embedded deep in familiar aspects of modern life, unmasking the hidden ideologies and meanings which implicitly affect our thought and behaviour. This early classic of semiotics from one of France's greatest thinkers may irrevocably change the way you view the world around you.
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"I define the Neutral as that which outplays the paradigm, or rather I call Neutral everything that baffles paradigm." With these words, Roland Barthes describes a concept that profoundly shaped his work and was the subject of a landmark series of lectures delivered in 1978 at the College de France, just two years before his death. Not published in France until 2002, and appearing in English for the first time, these creative and engaging lectures deepen our understanding of Roland Barthes's intellectual itinerary and reveal his distinctive style as thinker and teacher. The Neutral (le neutre), as Barthes describes it, escapes or undoes the paradigmatic binary oppositions that structure and produce meaning in Western thought and discourse. These binaries are found in all aspects of human society ranging from language to sexuality to politics. For Barthes, the attempt to deconstruct or escape from these binaries has profound ethical, philosophical, and linguistic implications.The Neutral is comprised of the prewritten texts from which Barthes lectured and centers around 23 "figures," also referred to as "traits" or "twinklings," that are possible embodiments of the Neutral (sleep, silence, tact, etc.) or of the anti-Neutral (anger, arrogance, conflict, etc.). His lectures draw on a diverse set of authors and intellectual traditions, including Lao-tzu, Tolstoy, German mysticism, classical philosophy, Rousseau, Baudelaire, Walter Benjamin, and John Cage. Barthes's idiosyncratic approach to his subjects gives the lectures a playful, personal, and even joyous quality that enhances his rich insights. In addition to his reflections on a variety of literary and scholarly works, Barthes's personal convictions and the events of his life shaped the course and content of the lectures. Most prominently, as Barthes admits, the recent death of his mother and the idea of mourning shape several of his lectures.
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"I define the Neutral as that which outplays the paradigm, or rather I call Neutral everything that baffles paradigm." With these words, Roland Barthes describes a concept that profoundly shaped his work and was the subject of a landmark series of lectures delivered in 1978 at the College de France, just two years before his death. Not published in France until 2002, and appearing in English for the first time, these creative and engaging lectures deepen our understanding of Roland Barthes's intellectual itinerary and reveal his distinctive style as thinker and teacher. The Neutral (le neutre), as Barthes describes it, escapes or undoes the paradigmatic binary oppositions that structure and produce meaning in Western thought and discourse. These binaries are found in all aspects of human society ranging from language to sexuality to politics. For Barthes, the attempt to deconstruct or escape from these binaries has profound ethical, philosophical, and linguistic implications.The Neutral is comprised of the prewritten texts from which Barthes lectured and centers around 23 "figures," also referred to as "traits" or "twinklings," that are possible embodiments of the Neutral (sleep, silence, tact, etc.) or of the anti-Neutral (anger, arrogance, conflict, etc.). His lectures draw on a diverse set of authors and intellectual traditions, including Lao-tzu, Tolstoy, German mysticism, classical philosophy, Rousseau, Baudelaire, Walter Benjamin, and John Cage. Barthes's idiosyncratic approach to his subjects gives the lectures a playful, personal, and even joyous quality that enhances his rich insights. In addition to his reflections on a variety of literary and scholarly works, Barthes's personal convictions and the events of his life shaped the course and content of the lectures. Most prominently, as Barthes admits, the recent death of his mother and the idea of mourning shape several of his lectures.
Preparation of the Novel
Lecture Courses and Seminars at the Collège de France (1978-1979 and 1979-1980)
Inbunden, Engelska, 2010
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Completed just weeks before his death, the lectures in this volume mark a critical juncture in the career of Roland Barthes, in which he declared the intention, deeply felt, to write a novel. Unfolding over the course of two years, Barthes engaged in a unique pedagogical experiment: he combined teaching and writing to "simulate" the trial of novel-writing, exploring every step of the creative process along the way. Barthes's lectures move from the desire to write to the actual decision making, planning, and material act of producing a novel. He meets the difficulty of transitioning from short, concise notations (exemplified by his favorite literary form, haiku) to longer, uninterrupted flows of narrative, and he encounters a number of setbacks. Barthes takes solace in a diverse group of writers, including Dante, whose La Vita Nuova was similarly inspired by the death of a loved one, and he turns to classical philosophy, Taoism, and the works of Francois-Rene Chateaubriand, Gustave Flaubert, Franz Kafka, and Marcel Proust.This book uniquely includes eight elliptical plans for Barthes's unwritten novel, which he titled Vita Nova, and lecture notes that sketch the critic's views on photography. Following on The Neutral: Lecture Course at the College de France (1977-1978) and a third forthcoming collection of Barthes lectures, this volume provides an intensely personal account of the labor and love of writing.
Preparation of the Novel
Lecture Courses and Seminars at the Collège de France (1978-1979 and 1979-1980)
Häftad, Engelska, 2010
374 kr
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Completed just weeks before his death, the lectures in this volume mark a critical juncture in the career of Roland Barthes, in which he declared the intention, deeply felt, to write a novel. Unfolding over the course of two years, Barthes engaged in a unique pedagogical experiment: he combined teaching and writing to "simulate" the trial of novel-writing, exploring every step of the creative process along the way. Barthes's lectures move from the desire to write to the actual decision making, planning, and material act of producing a novel. He meets the difficulty of transitioning from short, concise notations (exemplified by his favorite literary form, haiku) to longer, uninterrupted flows of narrative, and he encounters a number of setbacks. Barthes takes solace in a diverse group of writers, including Dante, whose La Vita Nuova was similarly inspired by the death of a loved one, and he turns to classical philosophy, Taoism, and the works of Francois-Rene Chateaubriand, Gustave Flaubert, Franz Kafka, and Marcel Proust.This book uniquely includes eight elliptical plans for Barthes's unwritten novel, which he titled Vita Nova, and lecture notes that sketch the critic's views on photography. Following on The Neutral: Lecture Course at the College de France (1977-1978) and a third forthcoming collection of Barthes lectures, this volume provides an intensely personal account of the labor and love of writing.
962 kr
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In The Preparation of the Novel, a collection of lectures delivered at a defining moment in Roland Barthes's career (and completed just weeks before his death), the critic spoke of his struggle to discover a different way of writing and a new approach to life. The Neutral preceded this work, containing Barthes's challenge to the classic oppositions of Western thought and his effort to establish new pathways of meaning. How to Live Together predates both of these achievements, a series of lectures exploring solitude and the degree of contact necessary for individuals to exist and create at their own pace. A distinct project that sets the tone for his subsequent lectures, How to Live Together is a key introduction to Barthes's pedagogical methods and critical worldview. In this work, Barthes focuses on the concept of "idiorrhythmy," a productive form of living together in which one recognizes and respects the individual rhythms of the other.He explores this phenomenon through five texts that represent different living spaces and their associated ways of life: Emile Zola's Pot-Bouille, set in a Parisian apartment building; Thomas Mann's The Magic Mountain, which takes place in a sanatorium; Andre Gide's La Sequestree de Poitiers, based on the true story of a woman confined to her bedroom; Daniel Defoe's Robinson Crusoe, about a castaway on a remote island; and Pallidius's Lausiac History, detailing the ascetic lives of the desert fathers. As with his previous lecture books, How to Live Together exemplifies Barthes's singular approach to teaching, in which he invites his audience to investigate with him-or for him-and wholly incorporates his listeners into his discoveries. Rich with playful observations and suggestive prose, How to Live Together orients English-speaking readers to the full power of Barthes's intellectual adventures.
269 kr
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In The Preparation of the Novel, a collection of lectures delivered at a defining moment in Roland Barthes's career (and completed just weeks before his death), the critic spoke of his struggle to discover a different way of writing and a new approach to life. The Neutral preceded this work, containing Barthes's challenge to the classic oppositions of Western thought and his effort to establish new pathways of meaning. How to Live Together predates both of these achievements, a series of lectures exploring solitude and the degree of contact necessary for individuals to exist and create at their own pace. A distinct project that sets the tone for his subsequent lectures, How to Live Together is a key introduction to Barthes's pedagogical methods and critical worldview. In this work, Barthes focuses on the concept of "idiorrhythmy," a productive form of living together in which one recognizes and respects the individual rhythms of the other.He explores this phenomenon through five texts that represent different living spaces and their associated ways of life: Emile Zola's Pot-Bouille, set in a Parisian apartment building; Thomas Mann's The Magic Mountain, which takes place in a sanatorium; Andre Gide's La Sequestree de Poitiers, based on the true story of a woman confined to her bedroom; Daniel Defoe's Robinson Crusoe, about a castaway on a remote island; and Pallidius's Lausiac History, detailing the ascetic lives of the desert fathers. As with his previous lecture books, How to Live Together exemplifies Barthes's singular approach to teaching, in which he invites his audience to investigate with him-or for him-and wholly incorporates his listeners into his discoveries. Rich with playful observations and suggestive prose, How to Live Together orients English-speaking readers to the full power of Barthes's intellectual adventures.
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Album provides an unparalleled look into Roland Barthes's life of letters. It presents a selection of correspondence, from his adolescence in the 1930s through the height of his career and up to the last years of his life, covering such topics as friendships, intellectual adventures, politics, and aesthetics. It offers an intimate look at Barthes's thought processes and the everyday reflection behind the composition of his works, as well as a rich archive of epistolary friendships, spanning half a century, among the leading intellectuals of the day. Barthes was one of the great observers of language and culture, and Album shows him in his element, immersed in heady French intellectual culture and the daily struggles to maintain a writing life. Barthes's correspondents include Maurice Blanchot, Michel Butor, Jacques Derrida, Michel Foucault, Julia Kristeva, Claude Levi-Strauss, Georges Perec, Raymond Queneau, Alain Robbe-Grillet, Marthe Robert, and Jean Starobinski, among others. The book also features documents, letters, and postcards reproduced in facsimile; unpublished material; and notes and transcripts from his seminars.The first English-language publication of Barthes's letters, Album is a comprehensive testimony to one of the most influential critics and philosophers of the twentieth century and the world of letters in which he lived and breathed.
303 kr
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Album provides an unparalleled look into Roland Barthes's life of letters. It presents a selection of correspondence, from his adolescence in the 1930s through the height of his career and up to the last years of his life, covering such topics as friendships, intellectual adventures, politics, and aesthetics. It offers an intimate look at Barthes's thought processes and the everyday reflection behind the composition of his works, as well as a rich archive of epistolary friendships, spanning half a century, among the leading intellectuals of the day.Barthes was one of the great observers of language and culture, and Album shows him in his element, immersed in heady French intellectual culture and the daily struggles to maintain a writing life. Barthes's correspondents include Maurice Blanchot, Michel Butor, Jacques Derrida, Michel Foucault, Julia Kristeva, Claude Lévi-Strauss, Georges Perec, Raymond Queneau, Alain Robbe-Grillet, Marthe Robert, and Jean Starobinski, among others. The book also features documents, letters, and postcards reproduced in facsimile; unpublished material; and notes and transcripts from his seminars. The first English-language publication of Barthes's letters, Album is a comprehensive testimony to one of the most influential critics and philosophers of the twentieth century and the world of letters in which he lived and breathed.
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A poetic meditation on professional sport by one of the major figures of twentieth-century French Literature and thought, published in an elegant paperback gift editionA little-known gem, the text of Barthes’s What Is Sport? was never reprinted in the Seuil editions of his Complete Works—neither the three-volume version nor the later five-volume edition. It is published here in a graceful and faithful English translation by Pulitzer Prize winner Richard Howard. Originally commissioned by the Canadian Broadcasting Corporation as the text for a documentary film directed by Hubert Aquin, What Is Sport? was written three years after the publication of Barthes’s Mythologies (1957) and bears considerable resemblance to that work. Some of Barthes’s best writing seems to have been inspired by popular culture.Once again blurring the distinction between high and low, the great French literary theorist muses philosophically on the question: What is sport? In investigating the phenomenon of sport, Barthes considers five national sports: bullfighting (Spain), car racing (America), cycling (France), hockey (Canada), and soccer (England). For Barthes, sport is spectacle and serves the primary social function that theater once did in antiquity, collecting a city or nation within a shared experience. The real pleasure of this book, however, lies less in its generalities than in its fleeting, strangely haunting moments of insight. It makes an appropriate gift for any sport enthusiast as well as those interested in the writing of Roland Barthes.
245 kr
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