Roland Barthes Knihy

Kniha predstavuje výber z Barthesovych textov: Nultý stupeň písania (1953); Eiffelova veža (1964); Kritika a pravda (1966); Potešenie z textu (1973); Prednáška (1977).

'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 Post The 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.

Souborné vydání základních prací filozofa, filologa a lingvisty zasvěcených strukturální analýze literárního díla: Nulový stupeň rukopisu (1953) — Základy sémiologie (1965) — Kritika a pravda (1966).

A major discovery: The lost diary of a great mind—and an intimate, deeply moving study of grief The day after his mother's death in October 1977, the influential philosopher Roland Barthes began a diary of mourning. Taking notes on index cards as was his habit, he reflected on a new solitude, on the ebb and flow of sadness, and on modern society's dismissal of grief. These 330 cards, published here for the first time, prove a skeleton key to the themes he tackled throughout his work. Behind the unflagging mind, "the most consistently intelligent, important, and useful literary critic to have emerged anywhere" (Susan Sontag), lay a deeply sensitive man who cherished his mother with a devotion unknown even to his closest friends.

Přednášky tří významných filozofů - Maurice Merleau-Ponty, Claude Lévi-Strauss, Roland Barthes, na téma sociální antropologie, semiologie a filozofie bytí.

»Nicht aus Lust am Provozieren sind Sade, Fourier und Loyola in ein und demselben Buch zusammengestellt worden, sondern weil alle drei Klassifikatoren, Sprachbegründer waren: der verfemte Schriftsteller begründete eine Sprache des erotischen Vergnügens, der utopische Philosoph eine Sprache des sozialen Glücks und der heilige Jesuit eine Sprache der Anrufung Gottes. Zeichen erfinden und nicht, wie wir es alle tun, nur konsumieren heißt paradoxerweise in den Bereich jenes Nachhinein des Sinns einzutreten, der das signifiant darstellt, kurz, eine Schreibweise praktizieren. Daher beschäftigt sich dieses Buch auch nicht mit dem Inhalt der Schriften dieser drei Autoren (…), sondern es behandelt Sade, Fourier und Loyola als Formulierer, Erfinder von Schreibweisen, Textoperateure.« Roland Barthes

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.

This anthology by Roland Barthes is a reflection on his travels to Japan in the 1960s. In twenty-six short chapters he writes about his encounters with symbols of Japanese culture as diverse as pachinko, train stations, chopsticks, food, physiognomy, poetry, and gift-wrapping. He muses elegantly on, and with affection for, a system "altogether detached from our own." For Barthes, the sign here does not signify, and so offers liberation from the West's endless creation of meaning. Tokyo, like all major cities, has a center--the Imperial Palace--but in this case it is empty, "both forbidden and indifferent ... inhabited by an emperor whom no one ever sees." This emptiness of the sign is pursued throughout the book, and offers a stimulating alternative line of thought about the ways in which cultures are structured.

The only autobiography by the great Roland Barthes, philosopher, literary theorist and semiotician. This is the autobiography of one of the greatest minds of the twentieth century.

"[ Mythologies ] illustrates the beautiful generosity of Barthes's progressive interest in the meaning (his word is signification) of practically everything around him, not only the books and paintings of high art, but also the slogans, trivia, toys, food, and popular rituals (cruises, striptease, eating, wrestling matches) of contemporary life . . . For Barthes, words and objects have in common the organized capacity to say something; at the same time, since they are signs, words and objects have the bad faith always to appear natural to their consumer, as if what they say is eternal, true, necessary, instead of arbitrary, made, contingent. Mythologies finds Barthes revealing the fashioned systems of ideas that make it possible, for example, for 'Einstein's brain' to stand for, be the myth of, 'a genius so lacking in magic that one speaks about his thought as a functional labor analogous to the mechanical making of sausages.' Each of the little essays in this book wrenches a definition out of a common but constructed object, making the object speak its hidden, but ever-so-present, reservoir of manufactured sense."--Edward W. Said