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Roland Barthes Research Papers - Academia.edu
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overflow: hidden; text-overflow: ellipsis; -webkit-line-clamp: 3; -webkit-box-orient: vertical; }</style><div class="col-xs-12 clearfix"><div class="u-floatLeft"><h1 class="PageHeader-title u-m0x u-fs30">Roland Barthes</h1><div class="u-tcGrayDark">24,959 Followers</div><div class="u-tcGrayDark u-mt2x">Recent papers in <b>Roland Barthes</b></div></div></div></div></div></div><div class="TabbedNavigation"><div class="container"><div class="row"><div class="col-xs-12 clearfix"><ul class="nav u-m0x u-p0x list-inline u-displayFlex"><li class="active"><a href="https://www.academia.edu/Documents/in/Roland_Barthes">Top Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Roland_Barthes/MostCited">Most Cited Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Roland_Barthes/MostDownloaded">Most Downloaded Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Roland_Barthes/MostRecent">Newest Papers</a></li><li><a class="" href="https://www.academia.edu/People/Roland_Barthes">People</a></li></ul></div><style type="text/css">ul.nav{flex-direction:row}@media(max-width: 567px){ul.nav{flex-direction:column}.TabbedNavigation li{max-width:100%}.TabbedNavigation li.active{background-color:var(--background-grey, #dddde2)}.TabbedNavigation li.active:before,.TabbedNavigation li.active:after{display:none}}</style></div></div></div><div class="container"><div class="row"><div class="col-xs-12"><div class="u-displayFlex"><div class="u-flexGrow1"><div class="works"><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_52173441" data-work_id="52173441" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/52173441/V%C3%A9rit%C3%A9_intrins%C3%A8que_de_limage_cin%C3%A9matographique_et_punctum">Vérité intrinsèque de l'image cinématographique et punctum</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Partant des débats entre « film joué » et « film non-joué » ayant entouré la sortie d’Octobre d’Eisenstein en 1927, nous interrogeons la notion de punctum de Barthes à travers le rapprochement qui a pu en être fait de celle d’attraction.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_52173441" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Partant des débats entre « film joué » et « film non-joué » ayant entouré la sortie d’Octobre d’Eisenstein en 1927, nous interrogeons la notion de punctum de Barthes à travers le rapprochement qui a pu en être fait de celle d’attraction. Remettant en question l’existence même du punctum, d’une vérité intrinsèque de l’image, nous proposons avec Merleau-Ponty de cesser de considérer l’image cinématographique comme une « seconde chose » pour en faire valoir la rencontre, seule capable de nous en faire comprendre la réalité. Nous rappelons alors la figure de « précession réciproque » évoquée par Merleau-Ponty dans L’Œil et l’esprit, qu’il identifie à la « vision même », pour montrer combien elle peut nous aider à saisir les potentialités de l’image cinématographique déjà entrevues par Eisenstein qui voyait en elle un phénomène de « momification dynamique ».</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/52173441" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c31582f162bf7adf19a658a889c7cfd8" rel="nofollow" data-download="{"attachment_id":87906162,"asset_id":52173441,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/87906162/download_file?st=MTczMzE3NzcxMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="202941835" href="https://paris8.academia.edu/StanislasdeCourville">Stanislas de Courville</a><script data-card-contents-for-user="202941835" type="text/json">{"id":202941835,"first_name":"Stanislas","last_name":"de Courville","domain_name":"paris8","page_name":"StanislasdeCourville","display_name":"Stanislas de Courville","profile_url":"https://paris8.academia.edu/StanislasdeCourville?f_ri=8491","photo":"https://0.academia-photos.com/202941835/63985161/52374823/s65_stanislas.de_courville.jpg"}</script></span></span></li><li class="js-paper-rank-work_52173441 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="52173441"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 52173441, container: ".js-paper-rank-work_52173441", }); 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$(".js-view-count[data-work-id=52173441]").text(description); $(".js-view-count-work_52173441").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_52173441").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="52173441"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i> <a class="InlineList-item-text u-positionRelative">10</a> </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="128" href="https://www.academia.edu/Documents/in/History">History</a>, <script data-card-contents-for-ri="128" type="text/json">{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8330" href="https://www.academia.edu/Documents/in/Walter_Benjamin">Walter Benjamin</a>, <script data-card-contents-for-ri="8330" type="text/json">{"id":8330,"name":"Walter Benjamin","url":"https://www.academia.edu/Documents/in/Walter_Benjamin?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8418" href="https://www.academia.edu/Documents/in/Maurice_Merleau-Ponty">Maurice Merleau-Ponty</a>, <script data-card-contents-for-ri="8418" type="text/json">{"id":8418,"name":"Maurice Merleau-Ponty","url":"https://www.academia.edu/Documents/in/Maurice_Merleau-Ponty?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8491" href="https://www.academia.edu/Documents/in/Roland_Barthes">Roland Barthes</a><script data-card-contents-for-ri="8491" type="text/json">{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=52173441]'), work: {"id":52173441,"title":"Vérité intrinsèque de l'image cinématographique et punctum","created_at":"2021-09-13T09:03:48.398-07:00","url":"https://www.academia.edu/52173441/V%C3%A9rit%C3%A9_intrins%C3%A8que_de_limage_cin%C3%A9matographique_et_punctum?f_ri=8491","dom_id":"work_52173441","summary":"Partant des débats entre « film joué » et « film non-joué » ayant entouré la sortie d’Octobre d’Eisenstein en 1927, nous interrogeons la notion de punctum de Barthes à travers le rapprochement qui a pu en être fait de celle d’attraction. Remettant en question l’existence même du punctum, d’une vérité intrinsèque de l’image, nous proposons avec Merleau-Ponty de cesser de considérer l’image cinématographique comme une « seconde chose » pour en faire valoir la rencontre, seule capable de nous en faire comprendre la réalité. Nous rappelons alors la figure de « précession réciproque » évoquée par Merleau-Ponty dans L’Œil et l’esprit, qu’il identifie à la « vision même », pour montrer combien elle peut nous aider à saisir les potentialités de l’image cinématographique déjà entrevues par Eisenstein qui voyait en elle un phénomène de « momification dynamique ».","downloadable_attachments":[{"id":87906162,"asset_id":52173441,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":202941835,"first_name":"Stanislas","last_name":"de Courville","domain_name":"paris8","page_name":"StanislasdeCourville","display_name":"Stanislas de Courville","profile_url":"https://paris8.academia.edu/StanislasdeCourville?f_ri=8491","photo":"https://0.academia-photos.com/202941835/63985161/52374823/s65_stanislas.de_courville.jpg"}],"research_interests":[{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=8491","nofollow":false},{"id":8330,"name":"Walter Benjamin","url":"https://www.academia.edu/Documents/in/Walter_Benjamin?f_ri=8491","nofollow":false},{"id":8418,"name":"Maurice Merleau-Ponty","url":"https://www.academia.edu/Documents/in/Maurice_Merleau-Ponty?f_ri=8491","nofollow":false},{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false},{"id":12875,"name":"Soviet Film","url":"https://www.academia.edu/Documents/in/Soviet_Film?f_ri=8491"},{"id":13904,"name":"Film, Moving images","url":"https://www.academia.edu/Documents/in/Film_Moving_images?f_ri=8491"},{"id":18977,"name":"Soviet Union (History)","url":"https://www.academia.edu/Documents/in/Soviet_Union_History_?f_ri=8491"},{"id":21751,"name":"Russian \u0026 Soviet Art","url":"https://www.academia.edu/Documents/in/Russian_and_Soviet_Art?f_ri=8491"},{"id":73713,"name":"Sergei Eisenstein","url":"https://www.academia.edu/Documents/in/Sergei_Eisenstein?f_ri=8491"},{"id":92682,"name":"Cinema of the Soviet Union","url":"https://www.academia.edu/Documents/in/Cinema_of_the_Soviet_Union?f_ri=8491"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_27207755" data-work_id="27207755" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/27207755/a_Letter_a_Litter_Analysis_of_Joyces_Ulysses">a Letter a Litter; Analysis of Joyce's 'Ulysses'</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The following essay will look at the issue of neologisms and the ‘chains of Equivalences’ as well as ways of attaining jouissance in James Joyce’s book “Ulysses”. The vast amount of neologisms, syllogisms, allusions, which are utilized... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_27207755" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The following essay will look at the issue of neologisms and the ‘chains of<br />Equivalences’ as well as ways of attaining jouissance in James Joyce’s book “Ulysses”.<br /><br />The vast amount of neologisms, syllogisms, allusions, which are utilized throughout this book raise a rather substantial issue, in that the meaning/comprehensibility of the text is constantly at odds apropos the execution - act of writing. The autonomous potential – literariness – of Ulysses’ language possesses a considerable freedom from referential restraint, while at the same time it makes it epistemologically highly volatile and fragile. Suffice to say that a single signifier is capable of launching intricate phenomenological repercussions, which ought to overcast the sentiment (i.e., considerations of truth and falsehood, beauty and ugliness, good and bad etc.) Moreover, the ‘word’ itself becomes merely a vicissitude/interchangeable with other signifiers. In other words, the Signifier word-sic and its grammatical omnipotence – literality - is perpetually trivialized and belittled by the contingency and arbitrariness of the mise-en-scene.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/27207755" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="656f08ab8c9d1b8324e779ca37f31819" rel="nofollow" data-download="{"attachment_id":47461823,"asset_id":27207755,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/47461823/download_file?st=MTczMzE3NzcxMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="31140264" href="https://goldsmiths.academia.edu/TadasVinokur">Tadas Vinokur</a><script data-card-contents-for-user="31140264" type="text/json">{"id":31140264,"first_name":"Tadas","last_name":"Vinokur","domain_name":"goldsmiths","page_name":"TadasVinokur","display_name":"Tadas Vinokur","profile_url":"https://goldsmiths.academia.edu/TadasVinokur?f_ri=8491","photo":"https://0.academia-photos.com/31140264/9159471/17205541/s65_tadas.vinokur.jpg"}</script></span></span></li><li class="js-paper-rank-work_27207755 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="27207755"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 27207755, container: ".js-paper-rank-work_27207755", }); 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$(".js-view-count[data-work-id=27207755]").text(description); $(".js-view-count-work_27207755").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_27207755").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="27207755"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i> <a class="InlineList-item-text u-positionRelative">9</a> </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="98" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2574" href="https://www.academia.edu/Documents/in/James_Joyce">James Joyce</a>, <script data-card-contents-for-ri="2574" type="text/json">{"id":2574,"name":"James Joyce","url":"https://www.academia.edu/Documents/in/James_Joyce?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6871" href="https://www.academia.edu/Documents/in/Bakhtin">Bakhtin</a>, <script data-card-contents-for-ri="6871" type="text/json">{"id":6871,"name":"Bakhtin","url":"https://www.academia.edu/Documents/in/Bakhtin?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8302" href="https://www.academia.edu/Documents/in/Gilles_Deleuze">Gilles Deleuze</a><script data-card-contents-for-ri="8302" type="text/json">{"id":8302,"name":"Gilles Deleuze","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze?f_ri=8491","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=27207755]'), work: {"id":27207755,"title":"a Letter a Litter; Analysis of Joyce's 'Ulysses'","created_at":"2016-07-23T13:51:37.939-07:00","url":"https://www.academia.edu/27207755/a_Letter_a_Litter_Analysis_of_Joyces_Ulysses?f_ri=8491","dom_id":"work_27207755","summary":"The following essay will look at the issue of neologisms and the ‘chains of\nEquivalences’ as well as ways of attaining jouissance in James Joyce’s book “Ulysses”.\n\nThe vast amount of neologisms, syllogisms, allusions, which are utilized throughout this book raise a rather substantial issue, in that the meaning/comprehensibility of the text is constantly at odds apropos the execution - act of writing. The autonomous potential – literariness – of Ulysses’ language possesses a considerable freedom from referential restraint, while at the same time it makes it epistemologically highly volatile and fragile. Suffice to say that a single signifier is capable of launching intricate phenomenological repercussions, which ought to overcast the sentiment (i.e., considerations of truth and falsehood, beauty and ugliness, good and bad etc.) Moreover, the ‘word’ itself becomes merely a vicissitude/interchangeable with other signifiers. In other words, the Signifier word-sic and its grammatical omnipotence – literality - is perpetually trivialized and belittled by the contingency and arbitrariness of the mise-en-scene.","downloadable_attachments":[{"id":47461823,"asset_id":27207755,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":31140264,"first_name":"Tadas","last_name":"Vinokur","domain_name":"goldsmiths","page_name":"TadasVinokur","display_name":"Tadas Vinokur","profile_url":"https://goldsmiths.academia.edu/TadasVinokur?f_ri=8491","photo":"https://0.academia-photos.com/31140264/9159471/17205541/s65_tadas.vinokur.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=8491","nofollow":false},{"id":2574,"name":"James 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itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/3633955/Baroni_R_2007_La_Tension_narrative_Suspense_curiosit%C3%A9_surprise_Paris_Seuil_coll_Po%C3%A9tique_">Baroni, R. (2007), La Tension narrative. Suspense, curiosité, surprise, Paris, Seuil, coll. « Poétique ».</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Suspendus aux lèvres d’un conteur, incapables d’interrompre la lecture d’un roman, captivés par un film haletant, nous faisons tous l’expérience quotidienne de ce plaisir apparemment paradoxal que nous tirons de notre insatisfaction... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_3633955" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Suspendus aux lèvres d’un conteur, incapables d’interrompre la lecture d’un roman, captivés par un film haletant, nous faisons tous l’expérience quotidienne de ce plaisir apparemment paradoxal que nous tirons de notre insatisfaction provisoire face à un récit inachevé. Bien qu’une mode esthétique et théorique ait tenté de nous convaincre que ce plaisir était honteux, on peut néanmoins avoir l’intuition que le cœur vivant de la narrativité réside précisément dans ce nœud coulant, toujours plus serré à mesure que nous progressons dans l’histoire, qui nous attache à l’intrigue et creuse la temporalité par l’attente impatiente d’un dénouement. Si le récit a quelque chose à voir avec la manière dont nous éprouvons le temps, cette expérience n’apparaît jamais avec autant d’éclat que dans le suspense, la curiosité ou la surprise qui font la force des intrigues fictionnelles. La compréhension des fonctions narratives engage donc non seulement l’analyse littéraire, linguistique et sémiotique, mais aussi l’analyse cognitive et la psychologie des émotions.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/3633955" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="aa24bcc21bb8a596d588e90c22c9f234" rel="nofollow" data-download="{"attachment_id":47158492,"asset_id":3633955,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/47158492/download_file?st=MTczMzE3NzcxMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4384264" href="https://unil.academia.edu/RaphaelBaroni">Raphaël Baroni</a><script data-card-contents-for-user="4384264" type="text/json">{"id":4384264,"first_name":"Raphaël","last_name":"Baroni","domain_name":"unil","page_name":"RaphaelBaroni","display_name":"Raphaël Baroni","profile_url":"https://unil.academia.edu/RaphaelBaroni?f_ri=8491","photo":"https://0.academia-photos.com/4384264/1869160/19548620/s65_rapha_l.baroni.jpg"}</script></span></span></li><li class="js-paper-rank-work_3633955 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="3633955"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 3633955, container: ".js-paper-rank-work_3633955", }); 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Writing","url":"https://www.academia.edu/Documents/in/Script_Writing?f_ri=8491"},{"id":416340,"name":"Reader","url":"https://www.academia.edu/Documents/in/Reader?f_ri=8491"},{"id":417137,"name":"Boris Tomachevski","url":"https://www.academia.edu/Documents/in/Boris_Tomachevski?f_ri=8491"},{"id":551930,"name":"Narratologia","url":"https://www.academia.edu/Documents/in/Narratologia?f_ri=8491"},{"id":965012,"name":"Narrativa Digital","url":"https://www.academia.edu/Documents/in/Narrativa_Digital?f_ri=8491"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37562511" data-work_id="37562511" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37562511/The_Communicology_of_Roland_Barthes_Camera_Lucida_Reflections_on_the_Sign_Body_Experience_of_Communication">The Communicology of Roland Barthes' Camera Lucida: Reflections on the Sign-Body Experience of Communication</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This article contributes both to the conversation about visual communication opened by Roland Barthes’ classic book, Camera Lucida: Reflections on Photography and current research in communicology (semiotic phenomenology). The article... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37562511" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article contributes both to the conversation about visual communication opened by Roland Barthes’ classic book, Camera Lucida: Reflections on Photography and current research in communicology (semiotic phenomenology). The article offers an interpretation (third step) to the reduction (second step) of the description (first step) of Barthes’ semiotic phenomenology of communication. Attention is paid to time consciousness, the concept of the punctum, and the interplay between presence and absence opened by it. The interpretation draws on Jean Luc Nancy’s philosophy of visual images in order to expand the discussion of three emergent themes in Camera Lucida: the unseen, exposure, and death. Discussion of these themes from a communicology perspective deepens our understanding of visual communication as a sign–body experience.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37562511" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="68a4b8d53b364d45657495b573e5e7f4" rel="nofollow" data-download="{"attachment_id":57539313,"asset_id":37562511,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57539313/download_file?st=MTczMzE3NzcxMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="94836402" href="https://duq.academia.edu/GarnetButchart">Garnet C Butchart</a><script data-card-contents-for-user="94836402" type="text/json">{"id":94836402,"first_name":"Garnet","last_name":"Butchart","domain_name":"duq","page_name":"GarnetButchart","display_name":"Garnet C Butchart","profile_url":"https://duq.academia.edu/GarnetButchart?f_ri=8491","photo":"https://0.academia-photos.com/94836402/20757703/21222402/s65_garnet.butchart.png"}</script></span></span></li><li class="js-paper-rank-work_37562511 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37562511"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37562511, container: ".js-paper-rank-work_37562511", }); 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$(".js-view-count[data-work-id=37562511]").text(description); $(".js-view-count-work_37562511").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37562511").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37562511"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i> <a class="InlineList-item-text u-positionRelative">5</a> </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="188" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8491" href="https://www.academia.edu/Documents/in/Roland_Barthes">Roland Barthes</a>, <script data-card-contents-for-ri="8491" type="text/json">{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="11467" href="https://www.academia.edu/Documents/in/Visual_Communication">Visual Communication</a>, <script data-card-contents-for-ri="11467" type="text/json">{"id":11467,"name":"Visual Communication","url":"https://www.academia.edu/Documents/in/Visual_Communication?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="13048" href="https://www.academia.edu/Documents/in/Philosophy_of_Communication">Philosophy of Communication</a><script data-card-contents-for-ri="13048" type="text/json">{"id":13048,"name":"Philosophy of Communication","url":"https://www.academia.edu/Documents/in/Philosophy_of_Communication?f_ri=8491","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37562511]'), work: {"id":37562511,"title":"The Communicology of Roland Barthes' Camera Lucida: Reflections on the Sign-Body Experience of Communication","created_at":"2018-10-10T06:22:10.994-07:00","url":"https://www.academia.edu/37562511/The_Communicology_of_Roland_Barthes_Camera_Lucida_Reflections_on_the_Sign_Body_Experience_of_Communication?f_ri=8491","dom_id":"work_37562511","summary":"This article contributes both to the conversation about visual communication opened by Roland Barthes’ classic book, Camera Lucida: Reflections on Photography and current research in communicology (semiotic phenomenology). The article offers an interpretation (third step) to the reduction (second step) of the description (first step) of Barthes’ semiotic phenomenology of communication. Attention is paid to time consciousness, the concept of the punctum, and the interplay between presence and absence opened by it. The interpretation draws on Jean Luc Nancy’s philosophy of visual images in order to expand the discussion of three emergent themes in Camera Lucida: the unseen, exposure, and death. 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$(".js-view-count[data-work-id=6891567]").text(description); $(".js-view-count-work_6891567").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_6891567").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="6891567"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i> <a class="InlineList-item-text u-positionRelative">3</a> </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="98" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8491" href="https://www.academia.edu/Documents/in/Roland_Barthes">Roland Barthes</a>, <script data-card-contents-for-ri="8491" type="text/json">{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="10187" href="https://www.academia.edu/Documents/in/Love">Love</a><script data-card-contents-for-ri="10187" type="text/json">{"id":10187,"name":"Love","url":"https://www.academia.edu/Documents/in/Love?f_ri=8491","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=6891567]'), work: {"id":6891567,"title":"Roland Barthes, A lovers discourse","created_at":"2014-04-27T21:21:55.174-07:00","url":"https://www.academia.edu/6891567/Roland_Barthes_A_lovers_discourse?f_ri=8491","dom_id":"work_6891567","summary":null,"downloadable_attachments":[{"id":33574020,"asset_id":6891567,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2816210,"first_name":"Bianca","last_name":"Basan","domain_name":"akademinvaland","page_name":"BiancaBasan","display_name":"Bianca Basan","profile_url":"https://akademinvaland.academia.edu/BiancaBasan?f_ri=8491","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=8491","nofollow":false},{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false},{"id":10187,"name":"Love","url":"https://www.academia.edu/Documents/in/Love?f_ri=8491","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_3546981" data-work_id="3546981" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/3546981/Narrative_Structure_in_Comics_Making_Sense_of_Fragments">Narrative Structure in Comics: Making Sense of Fragments</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In Narrative Structure in Comics: Making Sense of Fragments, Barbara Postema uses the notion of the gap to explain how comics create meaning. As texts that combine words and images, comics rely on the verbal register to communicate... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_3546981" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In Narrative Structure in Comics: Making Sense of Fragments, Barbara Postema uses the notion of the gap to explain how comics create meaning. As texts that combine words and images, comics rely on the verbal register to communicate meaning, but they also use images in a number of different ways, many of which are based on leaving out information, forcing readers to fill in the blanks. By foregrounding the narrative qualities of comics, Postema demonstrates the ways in which comics are structured at every level of communication—image, panel, sequence, narration—to guide the reader to assemble the narrative from fragments. Besides advancing a new understanding of the structure of meaning in comics, this work’s exploration into the form of comics integrates two traditionally separate approaches to the study of comics, namely, the semiotics of the Franco-Belgian school of visual culture and comics studies, and the practice-based comics theory advanced by American cartoonists Will Eisner and Scott McCloud. It combines these traditions to advance a novel analytical framework and a vocabulary to study the form, an approach that is demonstrated through a series of readings of contemporary North-American comics.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/3546981" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="70b3eeab781d11ecaf011df7c44860ec" rel="nofollow" data-download="{"attachment_id":58347533,"asset_id":3546981,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58347533/download_file?st=MTczMzE3NzcxMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="397562" href="https://rug.academia.edu/BarbaraPostema">Barbara Postema</a><script data-card-contents-for-user="397562" type="text/json">{"id":397562,"first_name":"Barbara","last_name":"Postema","domain_name":"rug","page_name":"BarbaraPostema","display_name":"Barbara Postema","profile_url":"https://rug.academia.edu/BarbaraPostema?f_ri=8491","photo":"https://0.academia-photos.com/397562/102382/22794724/s65_barbara.postema.png"}</script></span></span></li><li class="js-paper-rank-work_3546981 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="3546981"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 3546981, container: ".js-paper-rank-work_3546981", }); 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As texts that combine words and images, comics rely on the verbal register to communicate meaning, but they also use images in a number of different ways, many of which are based on leaving out information, forcing readers to fill in the blanks. By foregrounding the narrative qualities of comics, Postema demonstrates the ways in which comics are structured at every level of communication—image, panel, sequence, narration—to guide the reader to assemble the narrative from fragments. Besides advancing a new understanding of the structure of meaning in comics, this work’s exploration into the form of comics integrates two traditionally separate approaches to the study of comics, namely, the semiotics of the Franco-Belgian school of visual culture and comics studies, and the practice-based comics theory advanced by American cartoonists Will Eisner and Scott McCloud. It combines these traditions to advance a novel analytical framework and a vocabulary to study the form, an approach that is demonstrated through a series of readings of contemporary North-American comics.","downloadable_attachments":[{"id":58347533,"asset_id":3546981,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":397562,"first_name":"Barbara","last_name":"Postema","domain_name":"rug","page_name":"BarbaraPostema","display_name":"Barbara Postema","profile_url":"https://rug.academia.edu/BarbaraPostema?f_ri=8491","photo":"https://0.academia-photos.com/397562/102382/22794724/s65_barbara.postema.png"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=8491","nofollow":false},{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=8491","nofollow":false},{"id":3893,"name":"Comics Studies","url":"https://www.academia.edu/Documents/in/Comics_Studies?f_ri=8491","nofollow":false},{"id":3934,"name":"Visual Narrative","url":"https://www.academia.edu/Documents/in/Visual_Narrative?f_ri=8491","nofollow":false},{"id":4399,"name":"Visual Semiotics","url":"https://www.academia.edu/Documents/in/Visual_Semiotics?f_ri=8491"},{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491"},{"id":8695,"name":"Comics/Sequential Art","url":"https://www.academia.edu/Documents/in/Comics_Sequential_Art?f_ri=8491"},{"id":19818,"name":"Narrative Theory","url":"https://www.academia.edu/Documents/in/Narrative_Theory?f_ri=8491"},{"id":29963,"name":"Comics and Graphic Novels","url":"https://www.academia.edu/Documents/in/Comics_and_Graphic_Novels?f_ri=8491"},{"id":38090,"name":"Gerard Genette","url":"https://www.academia.edu/Documents/in/Gerard_Genette?f_ri=8491"},{"id":650741,"name":"Will Eisner","url":"https://www.academia.edu/Documents/in/Will_Eisner?f_ri=8491"},{"id":981272,"name":"Thierry Groensteen","url":"https://www.academia.edu/Documents/in/Thierry_Groensteen?f_ri=8491"},{"id":981282,"name":"Charles Schulz","url":"https://www.academia.edu/Documents/in/Charles_Schulz?f_ri=8491"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_62601948" data-work_id="62601948" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/62601948/Visualization_participation_and_rhetoric_The_discursive_power_of_landscape_design_representations_in_participatory_processes">Visualization, participation and rhetoric: The discursive power of landscape design representations in participatory processes</a></div></div><div 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type="text/json">{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8491" href="https://www.academia.edu/Documents/in/Roland_Barthes">Roland Barthes</a>, <script data-card-contents-for-ri="8491" type="text/json">{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="19818" href="https://www.academia.edu/Documents/in/Narrative_Theory">Narrative Theory</a>, <script data-card-contents-for-ri="19818" type="text/json">{"id":19818,"name":"Narrative Theory","url":"https://www.academia.edu/Documents/in/Narrative_Theory?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="39678" href="https://www.academia.edu/Documents/in/Roland_Barthes_Literature_">Roland Barthes (Literature)</a><script 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PSYCHIC AWAKENING IN THE VIRTUAL WORLD</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Before we can assess the impact of the digital revolution on our conception of psychic work, the author argues, we need to understand how the new spatio-temporal coordinates instituted by the Digital Revolution demand a revisioning of our... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_11059616" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Before we can assess the impact of the digital revolution on our conception of psychic work, the author argues, we need to understand how the new spatio-temporal coordinates instituted by the Digital Revolution demand a revisioning of our conceptions of objectivity, subjectivity, and intersubjectivity. The melancholic dimension and the narcissistic regression involved in the virtual must, therefore, be reconceived if we are to recognize the transfiguring power of the virtual phenomenon.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11059616" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="49942f6292cd40af7b1866f9a1d3667f" rel="nofollow" data-download="{"attachment_id":36760510,"asset_id":11059616,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36760510/download_file?st=MTczMzE3NzcxMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1669263" href="https://pucp.academia.edu/VICTORJKREBS">VICTOR J. 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$(".js-view-count[data-work-id=6905401]").text(description); $(".js-view-count-work_6905401").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_6905401").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="6905401"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i> <a class="InlineList-item-text u-positionRelative">11</a> </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="384" href="https://www.academia.edu/Documents/in/German_Studies">German Studies</a>, <script data-card-contents-for-ri="384" type="text/json">{"id":384,"name":"German Studies","url":"https://www.academia.edu/Documents/in/German_Studies?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="662" href="https://www.academia.edu/Documents/in/German_Literature">German Literature</a>, <script data-card-contents-for-ri="662" type="text/json">{"id":662,"name":"German Literature","url":"https://www.academia.edu/Documents/in/German_Literature?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6461" href="https://www.academia.edu/Documents/in/Heinrich_von_Kleist">Heinrich von Kleist</a>, <script data-card-contents-for-ri="6461" type="text/json">{"id":6461,"name":"Heinrich von Kleist","url":"https://www.academia.edu/Documents/in/Heinrich_von_Kleist?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8491" href="https://www.academia.edu/Documents/in/Roland_Barthes">Roland Barthes</a><script data-card-contents-for-ri="8491" type="text/json">{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=6905401]'), work: {"id":6905401,"title":"Introduction: The Case of Citation: On Literary and Pragmatic Reference","created_at":"2014-04-28T23:38:42.407-07:00","url":"https://www.academia.edu/6905401/Introduction_The_Case_of_Citation_On_Literary_and_Pragmatic_Reference?f_ri=8491","dom_id":"work_6905401","summary":null,"downloadable_attachments":[{"id":37150331,"asset_id":6905401,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1852376,"first_name":"Arne","last_name":"Hoecker","domain_name":"colorado","page_name":"ArneHoecker","display_name":"Arne Hoecker","profile_url":"https://colorado.academia.edu/ArneHoecker?f_ri=8491","photo":"https://0.academia-photos.com/1852376/629500/83520129/s65_arne.hoecker.jpeg"}],"research_interests":[{"id":384,"name":"German Studies","url":"https://www.academia.edu/Documents/in/German_Studies?f_ri=8491","nofollow":false},{"id":662,"name":"German Literature","url":"https://www.academia.edu/Documents/in/German_Literature?f_ri=8491","nofollow":false},{"id":6461,"name":"Heinrich von Kleist","url":"https://www.academia.edu/Documents/in/Heinrich_von_Kleist?f_ri=8491","nofollow":false},{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false},{"id":10232,"name":"Intertextuality","url":"https://www.academia.edu/Documents/in/Intertextuality?f_ri=8491"},{"id":14571,"name":"Julia Kristeva","url":"https://www.academia.edu/Documents/in/Julia_Kristeva?f_ri=8491"},{"id":15622,"name":"German Literature and Culture","url":"https://www.academia.edu/Documents/in/German_Literature_and_Culture?f_ri=8491"},{"id":33398,"name":"Friedrich Schiller","url":"https://www.academia.edu/Documents/in/Friedrich_Schiller?f_ri=8491"},{"id":197035,"name":"Georg Büchner","url":"https://www.academia.edu/Documents/in/Georg_B%C3%BCchner?f_ri=8491"},{"id":199319,"name":"Citation","url":"https://www.academia.edu/Documents/in/Citation?f_ri=8491"},{"id":1119906,"name":"Jean Paul","url":"https://www.academia.edu/Documents/in/Jean_Paul?f_ri=8491"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44736657" data-work_id="44736657" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44736657/LebensZeichen_Roland_Barthes_zur_Einf%C3%BChrung">LebensZeichen. Roland Barthes zur Einführung</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44736657" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6f17cfeafec187f026923c72aed5b13b" rel="nofollow" data-download="{"attachment_id":65221796,"asset_id":44736657,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65221796/download_file?st=MTczMzE3NzcxMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="180982910" href="https://bbaw.academia.edu/OttmarEtte">Ottmar Ette</a><script data-card-contents-for-user="180982910" type="text/json">{"id":180982910,"first_name":"Ottmar","last_name":"Ette","domain_name":"bbaw","page_name":"OttmarEtte","display_name":"Ottmar Ette","profile_url":"https://bbaw.academia.edu/OttmarEtte?f_ri=8491","photo":"https://0.academia-photos.com/180982910/50133791/38133322/s65_ottmar.ette.jpg"}</script></span></span></li><li class="js-paper-rank-work_44736657 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44736657"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44736657, container: ".js-paper-rank-work_44736657", }); 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$(".js-view-count[data-work-id=44736657]").text(description); $(".js-view-count-work_44736657").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44736657").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44736657"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i> <a class="InlineList-item-text u-positionRelative">4</a> </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3773" href="https://www.academia.edu/Documents/in/Literary_Criticism">Literary Criticism</a>, <script data-card-contents-for-ri="3773" type="text/json">{"id":3773,"name":"Literary Criticism","url":"https://www.academia.edu/Documents/in/Literary_Criticism?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="7888" href="https://www.academia.edu/Documents/in/Literary_Theory">Literary Theory</a>, <script data-card-contents-for-ri="7888" type="text/json">{"id":7888,"name":"Literary Theory","url":"https://www.academia.edu/Documents/in/Literary_Theory?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8265" href="https://www.academia.edu/Documents/in/Biography">Biography</a>, <script data-card-contents-for-ri="8265" type="text/json">{"id":8265,"name":"Biography","url":"https://www.academia.edu/Documents/in/Biography?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8491" href="https://www.academia.edu/Documents/in/Roland_Barthes">Roland Barthes</a><script data-card-contents-for-ri="8491" type="text/json">{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44736657]'), work: {"id":44736657,"title":"LebensZeichen. Roland Barthes zur Einführung","created_at":"2020-12-19T02:19:47.966-08:00","url":"https://www.academia.edu/44736657/LebensZeichen_Roland_Barthes_zur_Einf%C3%BChrung?f_ri=8491","dom_id":"work_44736657","summary":null,"downloadable_attachments":[{"id":65221796,"asset_id":44736657,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":180982910,"first_name":"Ottmar","last_name":"Ette","domain_name":"bbaw","page_name":"OttmarEtte","display_name":"Ottmar Ette","profile_url":"https://bbaw.academia.edu/OttmarEtte?f_ri=8491","photo":"https://0.academia-photos.com/180982910/50133791/38133322/s65_ottmar.ette.jpg"}],"research_interests":[{"id":3773,"name":"Literary Criticism","url":"https://www.academia.edu/Documents/in/Literary_Criticism?f_ri=8491","nofollow":false},{"id":7888,"name":"Literary Theory","url":"https://www.academia.edu/Documents/in/Literary_Theory?f_ri=8491","nofollow":false},{"id":8265,"name":"Biography","url":"https://www.academia.edu/Documents/in/Biography?f_ri=8491","nofollow":false},{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_16879341" data-work_id="16879341" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/16879341/Metrical_Action_in_the_Free_Verse_of_Bob_Holman">Metrical Action in the Free Verse of Bob Holman</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Metrical patterns and metrical narrativities are analyzed in the free verse of oral poet, language conservator, and slam guru Bob Holman using Annie Finch’s theory of the metrical code. The term metrical code denotes the way a free verse... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_16879341" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Metrical patterns and metrical narrativities are analyzed in the free verse of oral poet, language conservator, and slam guru Bob Holman using Annie Finch’s theory of the metrical code. The term metrical code denotes the way a free verse poem’s partial, irregular, and/or conflicting usages of meter encode the poet’s relationship to the poem’s content, other meters, and literature. The concept of metrical action, or the ways in which meter connotes, builds suspense, creates a narrative, and renders a poem dialogic with other poems, is introduced. Scansions of Holman’s poetry in griot, postmodernist, avant, and performative free verse styles are deconstructed and metrically decoded. The meaning of meter in Holman’s work is discussed along with the connection between meter and the immediate, “one-time” nature of oral poetry. The metrical mythology of an oral poet in the 21st century is explored.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/16879341" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="12a1500b875601246bb557bebeed88df" rel="nofollow" data-download="{"attachment_id":39234203,"asset_id":16879341,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/39234203/download_file?st=MTczMzE3NzcxMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="9176847" href="https://barnard.academia.edu/LarissaShmailo">Larissa Shmailo</a><script data-card-contents-for-user="9176847" type="text/json">{"id":9176847,"first_name":"Larissa","last_name":"Shmailo","domain_name":"barnard","page_name":"LarissaShmailo","display_name":"Larissa Shmailo","profile_url":"https://barnard.academia.edu/LarissaShmailo?f_ri=8491","photo":"https://0.academia-photos.com/9176847/3000067/7241278/s65_larissa.shmailo.jpg"}</script></span></span></li><li class="js-paper-rank-work_16879341 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="16879341"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 16879341, container: ".js-paper-rank-work_16879341", }); 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$(".js-view-count[data-work-id=16879341]").text(description); $(".js-view-count-work_16879341").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_16879341").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="16879341"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i> <a class="InlineList-item-text u-positionRelative">5</a> </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3581" href="https://www.academia.edu/Documents/in/Poetry">Poetry</a>, <script data-card-contents-for-ri="3581" type="text/json">{"id":3581,"name":"Poetry","url":"https://www.academia.edu/Documents/in/Poetry?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8491" href="https://www.academia.edu/Documents/in/Roland_Barthes">Roland Barthes</a>, <script data-card-contents-for-ri="8491" type="text/json">{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="19471" href="https://www.academia.edu/Documents/in/Contemporary_Poetry">Contemporary Poetry</a>, <script data-card-contents-for-ri="19471" type="text/json">{"id":19471,"name":"Contemporary Poetry","url":"https://www.academia.edu/Documents/in/Contemporary_Poetry?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="184999" href="https://www.academia.edu/Documents/in/Metrics_and_Prosody">Metrics and Prosody</a><script data-card-contents-for-ri="184999" type="text/json">{"id":184999,"name":"Metrics and Prosody","url":"https://www.academia.edu/Documents/in/Metrics_and_Prosody?f_ri=8491","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=16879341]'), work: {"id":16879341,"title":"Metrical Action in the Free Verse of Bob Holman","created_at":"2015-10-16T08:27:56.770-07:00","url":"https://www.academia.edu/16879341/Metrical_Action_in_the_Free_Verse_of_Bob_Holman?f_ri=8491","dom_id":"work_16879341","summary":"Metrical patterns and metrical narrativities are analyzed in the free verse of oral poet, language conservator, and slam guru Bob Holman using Annie Finch’s theory of the metrical code. The term metrical code denotes the way a free verse poem’s partial, irregular, and/or conflicting usages of meter encode the poet’s relationship to the poem’s content, other meters, and literature. The concept of metrical action, or the ways in which meter connotes, builds suspense, creates a narrative, and renders a poem dialogic with other poems, is introduced. Scansions of Holman’s poetry in griot, postmodernist, avant, and performative free verse styles are deconstructed and metrically decoded. The meaning of meter in Holman’s work is discussed along with the connection between meter and the immediate, “one-time” nature of oral poetry. The metrical mythology of an oral poet in the 21st century is explored.","downloadable_attachments":[{"id":39234203,"asset_id":16879341,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":9176847,"first_name":"Larissa","last_name":"Shmailo","domain_name":"barnard","page_name":"LarissaShmailo","display_name":"Larissa Shmailo","profile_url":"https://barnard.academia.edu/LarissaShmailo?f_ri=8491","photo":"https://0.academia-photos.com/9176847/3000067/7241278/s65_larissa.shmailo.jpg"}],"research_interests":[{"id":3581,"name":"Poetry","url":"https://www.academia.edu/Documents/in/Poetry?f_ri=8491","nofollow":false},{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false},{"id":19471,"name":"Contemporary Poetry","url":"https://www.academia.edu/Documents/in/Contemporary_Poetry?f_ri=8491","nofollow":false},{"id":184999,"name":"Metrics and Prosody","url":"https://www.academia.edu/Documents/in/Metrics_and_Prosody?f_ri=8491","nofollow":false},{"id":241061,"name":"Meter and Rhythm","url":"https://www.academia.edu/Documents/in/Meter_and_Rhythm?f_ri=8491"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_6841455" data-work_id="6841455" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/6841455/Tragic_phenomenon_of_love_in_philosophical_and_aesthetic_discourse_from_Aristotle_to_R_Barthes_in_Russian_">Tragic phenomenon of love in philosophical and aesthetic discourse: from Aristotle to R. Barthes (in Russian)</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/6841455" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1f4cadb16ff2837f2b59f4398c2f939a" rel="nofollow" data-download="{"attachment_id":33535015,"asset_id":6841455,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/33535015/download_file?st=MTczMzE3NzcxMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4959836" href="https://univ-kiev.academia.edu/VitaliTurenko">Vitalii Turenko</a><script data-card-contents-for-user="4959836" type="text/json">{"id":4959836,"first_name":"Vitalii","last_name":"Turenko","domain_name":"univ-kiev","page_name":"VitaliTurenko","display_name":"Vitalii Turenko","profile_url":"https://univ-kiev.academia.edu/VitaliTurenko?f_ri=8491","photo":"https://0.academia-photos.com/4959836/2145721/104176328/s65_vitalii.turenko.jpg"}</script></span></span></li><li class="js-paper-rank-work_6841455 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="6841455"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 6841455, container: ".js-paper-rank-work_6841455", }); });</script></li><li class="js-percentile-work_6841455 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 6841455; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_6841455"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_6841455 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="6841455"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 6841455; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=6841455]").text(description); $(".js-view-count-work_6841455").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_6841455").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="6841455"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i> <a class="InlineList-item-text u-positionRelative">6</a> </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2019" href="https://www.academia.edu/Documents/in/Aristotle">Aristotle</a>, <script data-card-contents-for-ri="2019" type="text/json">{"id":2019,"name":"Aristotle","url":"https://www.academia.edu/Documents/in/Aristotle?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8491" href="https://www.academia.edu/Documents/in/Roland_Barthes">Roland Barthes</a>, <script data-card-contents-for-ri="8491" type="text/json">{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="18900" href="https://www.academia.edu/Documents/in/Philosophy_of_Love">Philosophy of Love</a><script data-card-contents-for-ri="18900" type="text/json">{"id":18900,"name":"Philosophy of Love","url":"https://www.academia.edu/Documents/in/Philosophy_of_Love?f_ri=8491","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=6841455]'), work: {"id":6841455,"title":"Tragic phenomenon of love in philosophical and aesthetic discourse: from Aristotle to R. Barthes (in Russian)","created_at":"2014-04-22T22:10:23.320-07:00","url":"https://www.academia.edu/6841455/Tragic_phenomenon_of_love_in_philosophical_and_aesthetic_discourse_from_Aristotle_to_R_Barthes_in_Russian_?f_ri=8491","dom_id":"work_6841455","summary":null,"downloadable_attachments":[{"id":33535015,"asset_id":6841455,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4959836,"first_name":"Vitalii","last_name":"Turenko","domain_name":"univ-kiev","page_name":"VitaliTurenko","display_name":"Vitalii Turenko","profile_url":"https://univ-kiev.academia.edu/VitaliTurenko?f_ri=8491","photo":"https://0.academia-photos.com/4959836/2145721/104176328/s65_vitalii.turenko.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=8491","nofollow":false},{"id":2019,"name":"Aristotle","url":"https://www.academia.edu/Documents/in/Aristotle?f_ri=8491","nofollow":false},{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false},{"id":18900,"name":"Philosophy of Love","url":"https://www.academia.edu/Documents/in/Philosophy_of_Love?f_ri=8491","nofollow":false},{"id":31000,"name":"Tragedy (Philosophy)","url":"https://www.academia.edu/Documents/in/Tragedy_Philosophy_?f_ri=8491"},{"id":54171,"name":"Denis de Rougemont","url":"https://www.academia.edu/Documents/in/Denis_de_Rougemont?f_ri=8491"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_11752933" data-work_id="11752933" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/11752933/Literatura_v_perspektiv%C4%9B_%C5%BEivota_nebo_%C5%BEivot_v_perspektiv%C3%A1ch_literatury">Literatura v perspektivě života, nebo život v perspektivách literatury?</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This article examines a chronicle of Bohumil Hrabal's life and work: Hlucna samota: sto let Bohumila Hrabala, 1914-2014, Too Loud a Solitude: A Hundred Years of Bohumil Hrabal, 1914-2014, the most valuable of all the publications to have... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_11752933" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article examines a chronicle of Bohumil Hrabal's life and work: Hlucna samota: sto let Bohumila Hrabala, 1914-2014, Too Loud a Solitude: A Hundred Years of Bohumil Hrabal, 1914-2014, the most valuable of all the publications to have come out on Hrabal's centenary. This chronology is outstanding for its critical presentation of the rich and varied archive material, in which the authors place Hrabal's key biographical and literary details, as well as some marginalia too, on his timeline. This is the first truly critical examination of Hrabal's life, and the most systematically supported by a knowledge of the sources. The chronology also raises questions that go beyond its intended horizons, as the authors are not only solving the riddles of literature, but they are also presenting the twists and turns of his life. However, as Hrabal assumes a creative and sometimes an almost imperceptibly ironic view of history and various events in the past, it would be worth considering an examination of his life from the standpoint of literature (and not just of literature from the standpoint of his life), which in spite of his considerable literary stylization is normally considered to be realistic and authentic in its way. This article focuses on further use of alternative sources that might help us to reveal certain narrative strategies that can be summarized under the term "illusion of reality". "Realism" can be seen in Hrabal's case to be an illusion constructed by particular strategies, which we can understand better by taking into account the alternative contexts.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11752933" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="98677e96f24c956df18d6cdb883cc038" rel="nofollow" data-download="{"attachment_id":37179763,"asset_id":11752933,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37179763/download_file?st=MTczMzE3NzcxMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="20343979" href="https://cuni.academia.edu/JakubCeska">Jakub Ceska</a><script data-card-contents-for-user="20343979" type="text/json">{"id":20343979,"first_name":"Jakub","last_name":"Ceska","domain_name":"cuni","page_name":"JakubCeska","display_name":"Jakub Ceska","profile_url":"https://cuni.academia.edu/JakubCeska?f_ri=8491","photo":"https://0.academia-photos.com/20343979/5657529/26413203/s65_jakub.ceska.jpg"}</script></span></span></li><li class="js-paper-rank-work_11752933 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11752933"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11752933, container: ".js-paper-rank-work_11752933", }); });</script></li><li class="js-percentile-work_11752933 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11752933; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_11752933"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_11752933 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="11752933"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11752933; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11752933]").text(description); $(".js-view-count-work_11752933").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_11752933").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="11752933"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i> <a class="InlineList-item-text u-positionRelative">3</a> </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="8491" href="https://www.academia.edu/Documents/in/Roland_Barthes">Roland Barthes</a>, <script data-card-contents-for-ri="8491" type="text/json">{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="39761" href="https://www.academia.edu/Documents/in/Bohumil_Hrabal">Bohumil Hrabal</a>, <script data-card-contents-for-ri="39761" type="text/json">{"id":39761,"name":"Bohumil Hrabal","url":"https://www.academia.edu/Documents/in/Bohumil_Hrabal?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="153637" href="https://www.academia.edu/Documents/in/Reality_Effect">Reality Effect</a><script data-card-contents-for-ri="153637" type="text/json">{"id":153637,"name":"Reality Effect","url":"https://www.academia.edu/Documents/in/Reality_Effect?f_ri=8491","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=11752933]'), work: {"id":11752933,"title":"Literatura v perspektivě života, nebo život v perspektivách literatury?","created_at":"2015-04-01T04:01:01.822-07:00","url":"https://www.academia.edu/11752933/Literatura_v_perspektiv%C4%9B_%C5%BEivota_nebo_%C5%BEivot_v_perspektiv%C3%A1ch_literatury?f_ri=8491","dom_id":"work_11752933","summary":"This article examines a chronicle of Bohumil Hrabal's life and work: Hlucna samota: sto let Bohumila Hrabala, 1914-2014, Too Loud a Solitude: A Hundred Years of Bohumil Hrabal, 1914-2014, the most valuable of all the publications to have come out on Hrabal's centenary. This chronology is outstanding for its critical presentation of the rich and varied archive material, in which the authors place Hrabal's key biographical and literary details, as well as some marginalia too, on his timeline. This is the first truly critical examination of Hrabal's life, and the most systematically supported by a knowledge of the sources. The chronology also raises questions that go beyond its intended horizons, as the authors are not only solving the riddles of literature, but they are also presenting the twists and turns of his life. However, as Hrabal assumes a creative and sometimes an almost imperceptibly ironic view of history and various events in the past, it would be worth considering an examination of his life from the standpoint of literature (and not just of literature from the standpoint of his life), which in spite of his considerable literary stylization is normally considered to be realistic and authentic in its way. This article focuses on further use of alternative sources that might help us to reveal certain narrative strategies that can be summarized under the term \"illusion of reality\". \"Realism\" can be seen in Hrabal's case to be an illusion constructed by particular strategies, which we can understand better by taking into account the alternative contexts.","downloadable_attachments":[{"id":37179763,"asset_id":11752933,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":20343979,"first_name":"Jakub","last_name":"Ceska","domain_name":"cuni","page_name":"JakubCeska","display_name":"Jakub Ceska","profile_url":"https://cuni.academia.edu/JakubCeska?f_ri=8491","photo":"https://0.academia-photos.com/20343979/5657529/26413203/s65_jakub.ceska.jpg"}],"research_interests":[{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false},{"id":39761,"name":"Bohumil Hrabal","url":"https://www.academia.edu/Documents/in/Bohumil_Hrabal?f_ri=8491","nofollow":false},{"id":153637,"name":"Reality Effect","url":"https://www.academia.edu/Documents/in/Reality_Effect?f_ri=8491","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_78064582" data-work_id="78064582" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/78064582/Wings_Legs_and_Tails_Zoomorphic_Fashion_Lovers_in_Punch_Magazine_In_Russian_%D0%9A%D1%80%D1%8B%D0%BB%D1%8C%D1%8F_%D0%BD%D0%BE%D0%B3%D0%B8_%D0%B8_%D1%85%D0%B2%D0%BE%D1%81%D1%82%D1%8B_%D0%B7%D0%BE%D0%BE%D0%BC%D0%BE%D1%80%D1%84%D0%BD%D1%8B%D0%B5_%D0%BC%D0%BE%D0%B4%D0%BD%D0%B8%D1%86%D1%8B_%D0%B2_%D0%B6%D1%83%D1%80%D0%BD%D0%B0%D0%BB%D0%B5_%D0%9F%D0%B0%D0%BD%D1%87_">Wings, Legs and Tails: Zoomorphic Fashion Lovers in Punch Magazine [In Russian] / Крылья, ноги и хвосты: зооморфные модницы в журнале "Панч"</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The article examines Edward Linley Sambourne’s cartoon series ‘Mr. Punch’s Designs After Nature’ which appeared in Punch from the late 1860s onwards. The images show women morphing into animals and birds, or wearing them as exaggerated... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_78064582" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The article examines Edward Linley Sambourne’s cartoon series ‘Mr. Punch’s Designs After Nature’ which appeared in Punch from the late 1860s onwards. The images show women morphing into animals and birds, or wearing them as exaggerated forms of decoration. Some of the cartoons explicitly satirise specific fashion trends or silhouettes, whilst others poke fun at fashion generally. The author’s focus is on the iconography of ‘Mr. Punch’s Designs After Nature’, the real 1860s and 1870s fashions giving rise to these images' creation, as well as the visual and textual tradition of satire within which Sambourne’s cartoons can be situated. The article pays particular attention to the re-evaluation of the relationship between human and non-human in the light of Darwin’s ideas, and to the gender-related aspects of Sambourne’s zoomorphic images.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/78064582" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="61b47fbedb8e431bfdecc3ed9ef18276" rel="nofollow" data-download="{"attachment_id":85241199,"asset_id":78064582,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/85241199/download_file?st=MTczMzE3NzcxMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="68746504" href="https://rggu.academia.edu/KseniaGusarova">Ksenia Gusarova</a><script data-card-contents-for-user="68746504" type="text/json">{"id":68746504,"first_name":"Ksenia","last_name":"Gusarova","domain_name":"rggu","page_name":"KseniaGusarova","display_name":"Ksenia Gusarova","profile_url":"https://rggu.academia.edu/KseniaGusarova?f_ri=8491","photo":"https://0.academia-photos.com/68746504/32630611/35445917/s65_ksenia.gusarova.jpg"}</script></span></span></li><li class="js-paper-rank-work_78064582 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="78064582"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 78064582, container: ".js-paper-rank-work_78064582", }); 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$(".js-view-count[data-work-id=78064582]").text(description); $(".js-view-count-work_78064582").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_78064582").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="78064582"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i> <a class="InlineList-item-text u-positionRelative">16</a> </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="8357" href="https://www.academia.edu/Documents/in/Fashion_History">Fashion History</a>, <script data-card-contents-for-ri="8357" type="text/json">{"id":8357,"name":"Fashion History","url":"https://www.academia.edu/Documents/in/Fashion_History?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8491" href="https://www.academia.edu/Documents/in/Roland_Barthes">Roland Barthes</a>, <script data-card-contents-for-ri="8491" type="text/json">{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="35668" href="https://www.academia.edu/Documents/in/John_Stuart_Mill">John Stuart Mill</a>, <script data-card-contents-for-ri="35668" type="text/json">{"id":35668,"name":"John Stuart Mill","url":"https://www.academia.edu/Documents/in/John_Stuart_Mill?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="35941" href="https://www.academia.edu/Documents/in/Darwinian_evolution">Darwinian evolution</a><script data-card-contents-for-ri="35941" type="text/json">{"id":35941,"name":"Darwinian evolution","url":"https://www.academia.edu/Documents/in/Darwinian_evolution?f_ri=8491","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=78064582]'), work: {"id":78064582,"title":"Wings, Legs and Tails: Zoomorphic Fashion Lovers in Punch Magazine [In Russian] / Крылья, ноги и хвосты: зооморфные модницы в журнале \"Панч\"","created_at":"2022-04-30T11:38:34.699-07:00","url":"https://www.academia.edu/78064582/Wings_Legs_and_Tails_Zoomorphic_Fashion_Lovers_in_Punch_Magazine_In_Russian_%D0%9A%D1%80%D1%8B%D0%BB%D1%8C%D1%8F_%D0%BD%D0%BE%D0%B3%D0%B8_%D0%B8_%D1%85%D0%B2%D0%BE%D1%81%D1%82%D1%8B_%D0%B7%D0%BE%D0%BE%D0%BC%D0%BE%D1%80%D1%84%D0%BD%D1%8B%D0%B5_%D0%BC%D0%BE%D0%B4%D0%BD%D0%B8%D1%86%D1%8B_%D0%B2_%D0%B6%D1%83%D1%80%D0%BD%D0%B0%D0%BB%D0%B5_%D0%9F%D0%B0%D0%BD%D1%87_?f_ri=8491","dom_id":"work_78064582","summary":"The article examines Edward Linley Sambourne’s cartoon series ‘Mr. Punch’s Designs After Nature’ which appeared in Punch from the late 1860s onwards. The images show women morphing into animals and birds, or wearing them as exaggerated forms of decoration. Some of the cartoons explicitly satirise specific fashion trends or silhouettes, whilst others poke fun at fashion generally. The author’s focus is on the iconography of ‘Mr. Punch’s Designs After Nature’, the real 1860s and 1870s fashions giving rise to these images' creation, as well as the visual and textual tradition of satire within which Sambourne’s cartoons can be situated. The article pays particular attention to the re-evaluation of the relationship between human and non-human in the light of Darwin’s ideas, and to the gender-related aspects of Sambourne’s zoomorphic images. ","downloadable_attachments":[{"id":85241199,"asset_id":78064582,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":68746504,"first_name":"Ksenia","last_name":"Gusarova","domain_name":"rggu","page_name":"KseniaGusarova","display_name":"Ksenia Gusarova","profile_url":"https://rggu.academia.edu/KseniaGusarova?f_ri=8491","photo":"https://0.academia-photos.com/68746504/32630611/35445917/s65_ksenia.gusarova.jpg"}],"research_interests":[{"id":8357,"name":"Fashion History","url":"https://www.academia.edu/Documents/in/Fashion_History?f_ri=8491","nofollow":false},{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false},{"id":35668,"name":"John Stuart Mill","url":"https://www.academia.edu/Documents/in/John_Stuart_Mill?f_ri=8491","nofollow":false},{"id":35941,"name":"Darwinian evolution","url":"https://www.academia.edu/Documents/in/Darwinian_evolution?f_ri=8491","nofollow":false},{"id":58828,"name":"Charles Baudelaire","url":"https://www.academia.edu/Documents/in/Charles_Baudelaire?f_ri=8491"},{"id":111346,"name":"Mermaids","url":"https://www.academia.edu/Documents/in/Mermaids?f_ri=8491"},{"id":130958,"name":"Zoomorphism","url":"https://www.academia.edu/Documents/in/Zoomorphism?f_ri=8491"},{"id":172396,"name":"Racial Stereotypes","url":"https://www.academia.edu/Documents/in/Racial_Stereotypes?f_ri=8491"},{"id":226693,"name":"Misogyny","url":"https://www.academia.edu/Documents/in/Misogyny?f_ri=8491"},{"id":430462,"name":"Feathers","url":"https://www.academia.edu/Documents/in/Feathers?f_ri=8491"},{"id":544446,"name":"Friedrich Theodor Vischer","url":"https://www.academia.edu/Documents/in/Friedrich_Theodor_Vischer?f_ri=8491"},{"id":576333,"name":"Seaside resorts","url":"https://www.academia.edu/Documents/in/Seaside_resorts?f_ri=8491"},{"id":634705,"name":"George Du Maurier","url":"https://www.academia.edu/Documents/in/George_Du_Maurier?f_ri=8491"},{"id":663431,"name":"Grandville","url":"https://www.academia.edu/Documents/in/Grandville?f_ri=8491"},{"id":778664,"name":"Punch Cartoons","url":"https://www.academia.edu/Documents/in/Punch_Cartoons?f_ri=8491"},{"id":1205139,"name":"History of Hairstyles","url":"https://www.academia.edu/Documents/in/History_of_Hairstyles?f_ri=8491"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_6941907" data-work_id="6941907" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/6941907/Na_retaguarda_da_vanguarda_Fernando_Pessoa_e_a_tradi%C3%A7%C3%A3o">Na retaguarda da vanguarda: Fernando Pessoa e a tradição</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/6941907" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="639c11d9cab0fc118a6c0f226d6e2228" rel="nofollow" data-download="{"attachment_id":33612602,"asset_id":6941907,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/33612602/download_file?st=MTczMzE3NzcxMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4039084" href="https://usp-br.academia.edu/RodrigoDamasceno">Rodrigo Lobo Damasceno</a><script data-card-contents-for-user="4039084" type="text/json">{"id":4039084,"first_name":"Rodrigo Lobo","last_name":"Damasceno","domain_name":"usp-br","page_name":"RodrigoDamasceno","display_name":"Rodrigo Lobo Damasceno","profile_url":"https://usp-br.academia.edu/RodrigoDamasceno?f_ri=8491","photo":"https://0.academia-photos.com/4039084/3516245/4128946/s65_rodrigo_lobo.damasceno.jpg"}</script></span></span></li><li class="js-paper-rank-work_6941907 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="6941907"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 6941907, container: ".js-paper-rank-work_6941907", }); });</script></li><li class="js-percentile-work_6941907 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 6941907; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_6941907"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_6941907 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="6941907"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 6941907; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=6941907]").text(description); $(".js-view-count-work_6941907").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_6941907").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" 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Barthes: considerações sobre o conceito de “Obra” e “Texto”</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/27801189" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="64b4c18dcb3fa894e0d19dfa32381774" rel="nofollow" data-download="{"attachment_id":48082882,"asset_id":27801189,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" 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href="https://www.academia.edu/Documents/in/Teoria_da_literatura">Teoria da literatura</a>, <script data-card-contents-for-ri="135688" type="text/json">{"id":135688,"name":"Teoria da literatura","url":"https://www.academia.edu/Documents/in/Teoria_da_literatura?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="566537" href="https://www.academia.edu/Documents/in/Texto">Texto</a><script data-card-contents-for-ri="566537" type="text/json">{"id":566537,"name":"Texto","url":"https://www.academia.edu/Documents/in/Texto?f_ri=8491","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=27801189]'), work: {"id":27801189,"title":"Kafka \u0026 Barthes: considerações sobre o conceito de “Obra” e 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hermétisme, de leur inutilité aussi bien, qu’on la prenne au sens métaphysique de Blaise Pascal, ou au sens pragmatique de l’application que nous imposent... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40297283" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Ce livre participe à la question de l’écriture des mathématiques, de leur hermétisme, de leur inutilité aussi bien, qu’on la prenne au sens métaphysique de Blaise Pascal, ou au sens pragmatique de l’application que nous imposent aujourd’hui certains tenants des algorithmes. Dans ce livre s’impose la référence à Jacques Roubaud — poète et mathé- maticien et historien critique—, l’allusion à Yves Bonnefoy, à Stéphane Mallarmé, à Samuel Beckett, et à Edgar Allen Poe. Il y a le parcours de la galerie de génies tels Galois. Et les réflexions de Leopardi, ou de Malherbe, parmi tant d’autres. <br /> <br />Cet ouvrage se débarrasse du genre de l’anthologie, pour accéder, grâce à trois voix bien différentes mais parallèles, à une réflexion qui n’évite pas la question de l’esthétique et du sublime, et n’en fait pas l’objet d’une dissertation imposée en classe de terminale. Est en jeu l’invention humaine, sa construction ou tout aussi bien sa découverte, mais en plus la façon dont l’inventeur aussi bien que le lecteur se les approprient. Avec le beau dilemme de savoir si doivent se louer le résultat ou la façon de le trouver ou de le retrouver, problème qui touche chacun de nous, mathématicien ou non, poète on non.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40297283" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d155b067ec4747c30279a9cf043b6978" rel="nofollow" data-download="{"attachment_id":60537162,"asset_id":40297283,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60537162/download_file?st=MTczMzE3NzcxMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="293683" href="https://ulondon.academia.edu/JoanneBrueton">Joanne Brueton</a><script data-card-contents-for-user="293683" type="text/json">{"id":293683,"first_name":"Joanne","last_name":"Brueton","domain_name":"ulondon","page_name":"JoanneBrueton","display_name":"Joanne Brueton","profile_url":"https://ulondon.academia.edu/JoanneBrueton?f_ri=8491","photo":"https://0.academia-photos.com/293683/72426/29103818/s65_joanne.brueton.jpg"}</script></span></span></li><li class="js-paper-rank-work_40297283 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40297283"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40297283, container: ".js-paper-rank-work_40297283", }); 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Roland Barthes und der Mythos vom Plastik als unendlich formbarem Material</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/57445772" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a62d2b5e0a2d9fce5fc795e4eb339031" rel="nofollow" data-download="{"attachment_id":72345967,"asset_id":57445772,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/72345967/download_file?st=MTczMzE3NzcxMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="68613022" href="https://unibas.academia.edu/JodokTr%C3%B6sch">Jodok Trösch</a><script data-card-contents-for-user="68613022" type="text/json">{"id":68613022,"first_name":"Jodok","last_name":"Trösch","domain_name":"unibas","page_name":"JodokTrösch","display_name":"Jodok Trösch","profile_url":"https://unibas.academia.edu/JodokTr%C3%B6sch?f_ri=8491","photo":"https://0.academia-photos.com/68613022/17808049/35896765/s65_jodok.tr_sch.jpg"}</script></span></span></li><li class="js-paper-rank-work_57445772 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="57445772"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 57445772, container: ".js-paper-rank-work_57445772", }); });</script></li><li class="js-percentile-work_57445772 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 57445772; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_57445772"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_57445772 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="57445772"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 57445772; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=57445772]").text(description); $(".js-view-count-work_57445772").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_57445772").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="57445772"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i> <a class="InlineList-item-text u-positionRelative">2</a> </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3903" href="https://www.academia.edu/Documents/in/Cultural_Semiotics">Cultural Semiotics</a>, <script data-card-contents-for-ri="3903" type="text/json">{"id":3903,"name":"Cultural Semiotics","url":"https://www.academia.edu/Documents/in/Cultural_Semiotics?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8491" href="https://www.academia.edu/Documents/in/Roland_Barthes">Roland Barthes</a><script data-card-contents-for-ri="8491" type="text/json">{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=57445772]'), work: {"id":57445772,"title":"„Life in plastic – it’s fantastic“. Roland Barthes und der Mythos vom Plastik als unendlich formbarem Material","created_at":"2021-10-13T01:14:14.594-07:00","url":"https://www.academia.edu/57445772/_Life_in_plastic_it_s_fantastic_Roland_Barthes_und_der_Mythos_vom_Plastik_als_unendlich_formbarem_Material?f_ri=8491","dom_id":"work_57445772","summary":null,"downloadable_attachments":[{"id":72345967,"asset_id":57445772,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":68613022,"first_name":"Jodok","last_name":"Trösch","domain_name":"unibas","page_name":"JodokTrösch","display_name":"Jodok Trösch","profile_url":"https://unibas.academia.edu/JodokTr%C3%B6sch?f_ri=8491","photo":"https://0.academia-photos.com/68613022/17808049/35896765/s65_jodok.tr_sch.jpg"}],"research_interests":[{"id":3903,"name":"Cultural Semiotics","url":"https://www.academia.edu/Documents/in/Cultural_Semiotics?f_ri=8491","nofollow":false},{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_23098507" data-work_id="23098507" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/23098507/The_Praxis_of_the_Tractrix">The Praxis of the Tractrix</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This essay analyzes Zorns Lemma (1962–1970), a film made by American artist Hollis Frampton (1936–1984). Noting Frampton’s use of Robert Grosseteste’s thirteenth-century treatise De luce [‘On Light’] as a key aspect of the film’s... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_23098507" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This essay analyzes Zorns Lemma (1962–1970), a film made by American artist Hollis Frampton (1936–1984). Noting Frampton’s use of Robert Grosseteste’s thirteenth-century treatise De luce [‘On Light’] as a key aspect of the film’s soundtrack, the essay argues that Grosseteste’s investigations of light as a medium played a key role in Frampton’s theorization of cinema. As such, his interest in medieval light theories spurred him to develop a powerful, idiosyncratic response to prevailing discourses of media and medium specificity during the 1960s. When examined in light of contemporaneous projects by Pier Paolo Pasolini (1922–1975) and Roland Barthes (1915–1980), Zorns Lemma points up the significance of medieval thought in the period’s conceptions of art and time.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/23098507" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1a17cf4f7df7578b988c9a632fa9b629" rel="nofollow" data-download="{"attachment_id":43596795,"asset_id":23098507,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/43596795/download_file?st=MTczMzE3NzcxMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3544778" href="https://usc.academia.edu/LukeFidler">Luke Fidler</a><script data-card-contents-for-user="3544778" type="text/json">{"id":3544778,"first_name":"Luke","last_name":"Fidler","domain_name":"usc","page_name":"LukeFidler","display_name":"Luke Fidler","profile_url":"https://usc.academia.edu/LukeFidler?f_ri=8491","photo":"https://0.academia-photos.com/3544778/1226642/76823564/s65_luke.fidler.jpeg"}</script></span></span></li><li class="js-paper-rank-work_23098507 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="23098507"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 23098507, container: ".js-paper-rank-work_23098507", }); 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$(".js-view-count[data-work-id=23098507]").text(description); $(".js-view-count-work_23098507").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_23098507").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="23098507"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i> <a class="InlineList-item-text u-positionRelative">10</a> </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1016" href="https://www.academia.edu/Documents/in/Avant-Garde_Cinema">Avant-Garde Cinema</a>, <script data-card-contents-for-ri="1016" type="text/json">{"id":1016,"name":"Avant-Garde Cinema","url":"https://www.academia.edu/Documents/in/Avant-Garde_Cinema?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4066" href="https://www.academia.edu/Documents/in/Medievalism">Medievalism</a>, <script data-card-contents-for-ri="4066" type="text/json">{"id":4066,"name":"Medievalism","url":"https://www.academia.edu/Documents/in/Medievalism?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8491" href="https://www.academia.edu/Documents/in/Roland_Barthes">Roland Barthes</a>, <script data-card-contents-for-ri="8491" type="text/json">{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="9535" href="https://www.academia.edu/Documents/in/Giorgio_Agamben">Giorgio Agamben</a><script data-card-contents-for-ri="9535" type="text/json">{"id":9535,"name":"Giorgio Agamben","url":"https://www.academia.edu/Documents/in/Giorgio_Agamben?f_ri=8491","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=23098507]'), work: {"id":23098507,"title":"The Praxis of the Tractrix","created_at":"2016-03-10T13:07:14.132-08:00","url":"https://www.academia.edu/23098507/The_Praxis_of_the_Tractrix?f_ri=8491","dom_id":"work_23098507","summary":"This essay analyzes Zorns Lemma (1962–1970), a film made by American artist Hollis Frampton (1936–1984). Noting Frampton’s use of Robert Grosseteste’s thirteenth-century treatise De luce [‘On Light’] as a key aspect of the film’s soundtrack, the essay argues that Grosseteste’s investigations of light as a medium played a key role in Frampton’s theorization of cinema. As such, his interest in medieval light theories spurred him to develop a powerful, idiosyncratic response to prevailing discourses of media and medium specificity during the 1960s. When examined in light of contemporaneous projects by Pier Paolo Pasolini (1922–1975) and Roland Barthes (1915–1980), Zorns Lemma points up the significance of medieval thought in the period’s conceptions of art and time.","downloadable_attachments":[{"id":43596795,"asset_id":23098507,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3544778,"first_name":"Luke","last_name":"Fidler","domain_name":"usc","page_name":"LukeFidler","display_name":"Luke Fidler","profile_url":"https://usc.academia.edu/LukeFidler?f_ri=8491","photo":"https://0.academia-photos.com/3544778/1226642/76823564/s65_luke.fidler.jpeg"}],"research_interests":[{"id":1016,"name":"Avant-Garde Cinema","url":"https://www.academia.edu/Documents/in/Avant-Garde_Cinema?f_ri=8491","nofollow":false},{"id":4066,"name":"Medievalism","url":"https://www.academia.edu/Documents/in/Medievalism?f_ri=8491","nofollow":false},{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false},{"id":9535,"name":"Giorgio Agamben","url":"https://www.academia.edu/Documents/in/Giorgio_Agamben?f_ri=8491","nofollow":false},{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=8491"},{"id":22386,"name":"Medieval Art","url":"https://www.academia.edu/Documents/in/Medieval_Art?f_ri=8491"},{"id":28350,"name":"Robert Grosseteste","url":"https://www.academia.edu/Documents/in/Robert_Grosseteste?f_ri=8491"},{"id":52745,"name":"Cinema Studies","url":"https://www.academia.edu/Documents/in/Cinema_Studies?f_ri=8491"},{"id":835557,"name":"Hollis Frampton","url":"https://www.academia.edu/Documents/in/Hollis_Frampton?f_ri=8491"},{"id":1328312,"name":"Medieval Theories and Theologies of Light","url":"https://www.academia.edu/Documents/in/Medieval_Theories_and_Theologies_of_Light?f_ri=8491"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_62155666" data-work_id="62155666" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/62155666/The_Triumph_of_the_Narrator_James_Joyces_Araby_through_Lacan_and_Tarasti">The Triumph of the Narrator - James Joyce's Araby through Lacan and Tarasti</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/62155666" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="34203811" href="https://helsinki.academia.edu/SayantanDasgupta">Sayantan Dasgupta</a><script data-card-contents-for-user="34203811" type="text/json">{"id":34203811,"first_name":"Sayantan","last_name":"Dasgupta","domain_name":"helsinki","page_name":"SayantanDasgupta","display_name":"Sayantan Dasgupta","profile_url":"https://helsinki.academia.edu/SayantanDasgupta?f_ri=8491","photo":"https://0.academia-photos.com/34203811/16451741/16807627/s65_sayantan.dasgupta.jpg"}</script></span></span></li><li class="js-paper-rank-work_62155666 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="62155666"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 62155666, container: ".js-paper-rank-work_62155666", }); });</script></li><li class="js-percentile-work_62155666 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 62155666; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_62155666"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_62155666 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="62155666"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 62155666; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=62155666]").text(description); $(".js-view-count-work_62155666").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_62155666").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="62155666"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i> <a class="InlineList-item-text u-positionRelative">18</a> </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="98" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="244" href="https://www.academia.edu/Documents/in/Psychoanalysis">Psychoanalysis</a>, <script data-card-contents-for-ri="244" type="text/json">{"id":244,"name":"Psychoanalysis","url":"https://www.academia.edu/Documents/in/Psychoanalysis?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="386" href="https://www.academia.edu/Documents/in/Irish_Studies">Irish Studies</a>, <script data-card-contents-for-ri="386" type="text/json">{"id":386,"name":"Irish Studies","url":"https://www.academia.edu/Documents/in/Irish_Studies?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="803" href="https://www.academia.edu/Documents/in/Philosophy">Philosophy</a><script data-card-contents-for-ri="803" type="text/json">{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=8491","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=62155666]'), work: {"id":62155666,"title":"The Triumph of the Narrator - James Joyce's Araby through Lacan and Tarasti","created_at":"2021-11-21T23:37:50.006-08:00","url":"https://www.academia.edu/62155666/The_Triumph_of_the_Narrator_James_Joyces_Araby_through_Lacan_and_Tarasti?f_ri=8491","dom_id":"work_62155666","summary":null,"downloadable_attachments":[],"ordered_authors":[{"id":34203811,"first_name":"Sayantan","last_name":"Dasgupta","domain_name":"helsinki","page_name":"SayantanDasgupta","display_name":"Sayantan Dasgupta","profile_url":"https://helsinki.academia.edu/SayantanDasgupta?f_ri=8491","photo":"https://0.academia-photos.com/34203811/16451741/16807627/s65_sayantan.dasgupta.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=8491","nofollow":false},{"id":244,"name":"Psychoanalysis","url":"https://www.academia.edu/Documents/in/Psychoanalysis?f_ri=8491","nofollow":false},{"id":386,"name":"Irish Studies","url":"https://www.academia.edu/Documents/in/Irish_Studies?f_ri=8491","nofollow":false},{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=8491","nofollow":false},{"id":885,"name":"English Literature","url":"https://www.academia.edu/Documents/in/English_Literature?f_ri=8491"},{"id":1394,"name":"Irish Literature","url":"https://www.academia.edu/Documents/in/Irish_Literature?f_ri=8491"},{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=8491"},{"id":2574,"name":"James Joyce","url":"https://www.academia.edu/Documents/in/James_Joyce?f_ri=8491"},{"id":8338,"name":"Jacques Lacan","url":"https://www.academia.edu/Documents/in/Jacques_Lacan?f_ri=8491"},{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491"},{"id":19818,"name":"Narrative Theory","url":"https://www.academia.edu/Documents/in/Narrative_Theory?f_ri=8491"},{"id":44819,"name":"Lacanian psychoanalysis","url":"https://www.academia.edu/Documents/in/Lacanian_psychoanalysis?f_ri=8491"},{"id":63288,"name":"Narration","url":"https://www.academia.edu/Documents/in/Narration?f_ri=8491"},{"id":134459,"name":"Dubliners","url":"https://www.academia.edu/Documents/in/Dubliners?f_ri=8491"},{"id":811760,"name":"James Joyce The Dubliners","url":"https://www.academia.edu/Documents/in/James_Joyce_The_Dubliners?f_ri=8491"},{"id":1342996,"name":"Araby","url":"https://www.academia.edu/Documents/in/Araby?f_ri=8491"},{"id":1351987,"name":"Existential Semiotics","url":"https://www.academia.edu/Documents/in/Existential_Semiotics?f_ri=8491"},{"id":1820108,"name":"Eero Tarasti","url":"https://www.academia.edu/Documents/in/Eero_Tarasti?f_ri=8491"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40040649" data-work_id="40040649" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40040649/2016_What_got_lost_Roland_Barthes_Lewis_Payne_and_the_pruned_materiality">2016_What got lost. Roland Barthes, Lewis Payne and the pruned materiality</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Roland Barthes' famous essay Camera Lucida. Reflections on Photography first published in Paris, 1980, has been honoured as well as criticised in countless books and papers within the last decades. It seems to be common sense that the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40040649" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Roland Barthes' famous essay Camera Lucida. Reflections on Photography first published in Paris, 1980, has been honoured as well as criticised in countless books and papers within the last decades. It seems to be common sense that the philosophical approach of this semiologist has contributed to our understanding of the nature and essence of photography from a spectator's point of view. His concept of the indexical character of photography, instead, was eyed with suspicion. Barthes himself foresaw this when he wrote: "the Photograph, they say, is not an analogon of the world; what it represents is fabricated". Nevertheless, Barthes cherishes the idea that this "argument is futile: nothing can prevent the Photograph from being analogical". This assertion has been questioned rightly. But, as far as I am aware of, the layout of the photographic pictures printed in the book, which were chosen and discussed by Barthes, have never been scrutinised critically. This paper aims to undertake a first step in order to fill this gap by focusing on one concrete example.<br />In his 39th chapter, Barthes refers to a photograph taken by Alexander Gardner in 1865 that shows Lewis Payne. The picture is accompanied by a quotation of the text itself and reads as follows: "He is dead and he is going to die...". With this the author wants to emphasise the concept of the punctum of the photograph, which means in this case the visual experiencable anticipation of the death of every single person being photographed. He believes that this aspect is most obvious in historical photographs such as the one of Lewis Payne who was sentenced to death. As the premise of this readability and, supplementary, as a fundamental condition of photographic images, Barthes defines their pure mimetic capacity as mentioned above. Following Barthes, it is only the motif but never the picture itself that we see. Therefore, it seems to be astonishing that he chose exactly this historical photograph in order to underline his argument since it is rather qualified to make a claim to the contrary. When we have a look at the image as it appears in the book, he can hardly be doubted; whereas its original size, as to be seen in the Library of Congress in Washington, let us view the picture in a different light. What has got lost on its way into this book? What was cut off?<br />This paper will show that the photograph bears distinctive traces of its production which enable us to reconstruct the photographic setting and, consequently, to initialise a new dimension of interpretation.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40040649" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e4348a47a02c3bd6f269d63f67b42815" rel="nofollow" data-download="{"attachment_id":60238784,"asset_id":40040649,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60238784/download_file?st=MTczMzE3NzcxMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="36212113" href="https://folkwang-uni.academia.edu/FranziskaKunze">Franziska Kunze</a><script data-card-contents-for-user="36212113" type="text/json">{"id":36212113,"first_name":"Franziska","last_name":"Kunze","domain_name":"folkwang-uni","page_name":"FranziskaKunze","display_name":"Franziska Kunze","profile_url":"https://folkwang-uni.academia.edu/FranziskaKunze?f_ri=8491","photo":"https://0.academia-photos.com/36212113/10434279/35390809/s65_franziska.kunze.jpg"}</script></span></span></li><li class="js-paper-rank-work_40040649 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40040649"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40040649, container: ".js-paper-rank-work_40040649", }); });</script></li><li class="js-percentile-work_40040649 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 40040649; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_40040649"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_40040649 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="40040649"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40040649; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=40040649]").text(description); $(".js-view-count-work_40040649").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_40040649").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="40040649"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i> <a class="InlineList-item-text u-positionRelative">5</a> </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1589" href="https://www.academia.edu/Documents/in/Photography">Photography</a>, <script data-card-contents-for-ri="1589" type="text/json">{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8491" href="https://www.academia.edu/Documents/in/Roland_Barthes">Roland Barthes</a>, <script data-card-contents-for-ri="8491" type="text/json">{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="10503" href="https://www.academia.edu/Documents/in/Photography_Theory">Photography Theory</a>, <script data-card-contents-for-ri="10503" type="text/json">{"id":10503,"name":"Photography Theory","url":"https://www.academia.edu/Documents/in/Photography_Theory?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15296" href="https://www.academia.edu/Documents/in/Philosophy_of_Photography">Philosophy of Photography</a><script data-card-contents-for-ri="15296" type="text/json">{"id":15296,"name":"Philosophy of Photography","url":"https://www.academia.edu/Documents/in/Philosophy_of_Photography?f_ri=8491","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=40040649]'), work: {"id":40040649,"title":"2016_What got lost. Roland Barthes, Lewis Payne and the pruned materiality","created_at":"2019-08-08T11:17:42.426-07:00","url":"https://www.academia.edu/40040649/2016_What_got_lost_Roland_Barthes_Lewis_Payne_and_the_pruned_materiality?f_ri=8491","dom_id":"work_40040649","summary":"Roland Barthes' famous essay Camera Lucida. Reflections on Photography first published in Paris, 1980, has been honoured as well as criticised in countless books and papers within the last decades. It seems to be common sense that the philosophical approach of this semiologist has contributed to our understanding of the nature and essence of photography from a spectator's point of view. His concept of the indexical character of photography, instead, was eyed with suspicion. Barthes himself foresaw this when he wrote: \"the Photograph, they say, is not an analogon of the world; what it represents is fabricated\". Nevertheless, Barthes cherishes the idea that this \"argument is futile: nothing can prevent the Photograph from being analogical\". This assertion has been questioned rightly. But, as far as I am aware of, the layout of the photographic pictures printed in the book, which were chosen and discussed by Barthes, have never been scrutinised critically. This paper aims to undertake a first step in order to fill this gap by focusing on one concrete example.\nIn his 39th chapter, Barthes refers to a photograph taken by Alexander Gardner in 1865 that shows Lewis Payne. The picture is accompanied by a quotation of the text itself and reads as follows: \"He is dead and he is going to die...\". With this the author wants to emphasise the concept of the punctum of the photograph, which means in this case the visual experiencable anticipation of the death of every single person being photographed. He believes that this aspect is most obvious in historical photographs such as the one of Lewis Payne who was sentenced to death. As the premise of this readability and, supplementary, as a fundamental condition of photographic images, Barthes defines their pure mimetic capacity as mentioned above. Following Barthes, it is only the motif but never the picture itself that we see. Therefore, it seems to be astonishing that he chose exactly this historical photograph in order to underline his argument since it is rather qualified to make a claim to the contrary. When we have a look at the image as it appears in the book, he can hardly be doubted; whereas its original size, as to be seen in the Library of Congress in Washington, let us view the picture in a different light. What has got lost on its way into this book? What was cut off?\nThis paper will show that the photograph bears distinctive traces of its production which enable us to reconstruct the photographic setting and, consequently, to initialise a new dimension of interpretation. \n","downloadable_attachments":[{"id":60238784,"asset_id":40040649,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":36212113,"first_name":"Franziska","last_name":"Kunze","domain_name":"folkwang-uni","page_name":"FranziskaKunze","display_name":"Franziska Kunze","profile_url":"https://folkwang-uni.academia.edu/FranziskaKunze?f_ri=8491","photo":"https://0.academia-photos.com/36212113/10434279/35390809/s65_franziska.kunze.jpg"}],"research_interests":[{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=8491","nofollow":false},{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false},{"id":10503,"name":"Photography Theory","url":"https://www.academia.edu/Documents/in/Photography_Theory?f_ri=8491","nofollow":false},{"id":15296,"name":"Philosophy of Photography","url":"https://www.academia.edu/Documents/in/Philosophy_of_Photography?f_ri=8491","nofollow":false},{"id":20079,"name":"History of photography","url":"https://www.academia.edu/Documents/in/History_of_photography?f_ri=8491"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43108818" data-work_id="43108818" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/43108818/Fotografia_e_melancolia_Al_Berto_e_Barthes_">Fotografia e melancolia - Al Berto (e Barthes)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Este estudo visa a articulação entre fotografia e melancolia presentes na obra do escritor lusitano Al Berto (1948-1997). Essa relação se intensifica e se ilumina com base em Giorgio Agamben e Sigmund Freud. No caso da articulação com o... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_43108818" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Este estudo visa a articulação entre fotografia e melancolia presentes na obra do escritor lusitano Al Berto (1948-1997). Essa relação se intensifica e se ilumina com base em Giorgio Agamben e Sigmund Freud. No caso da articulação com o psicanalista, a abordagem é menos associada à afecção melancólica – suas derivações nosográficas e psicologizantes –, do que àquela feita pela via estética, mais explícita no pensador italiano. As relações mais estreitas entre fotografia e melancolia se estabelecem ainda por meio das reflexões de Roland Barthes e Susan Sontag, autores que dedicaram livros e estudos sobre o assunto.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43108818" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="87bb68db1f269b2b42f85657ee3b89dc" rel="nofollow" data-download="{"attachment_id":63363240,"asset_id":43108818,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/63363240/download_file?st=MTczMzE3NzcxMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5145845" href="https://ufmg.academia.edu/GustavoCerqueiraGuimar%C3%A3es">Gustavo Cerqueira Guimarães</a><script data-card-contents-for-user="5145845" type="text/json">{"id":5145845,"first_name":"Gustavo","last_name":"Cerqueira Guimarães","domain_name":"ufmg","page_name":"GustavoCerqueiraGuimarães","display_name":"Gustavo Cerqueira Guimarães","profile_url":"https://ufmg.academia.edu/GustavoCerqueiraGuimar%C3%A3es?f_ri=8491","photo":"https://0.academia-photos.com/5145845/2260111/2642167/s65_gustavo.cerqueira_guimar_es.jpg"}</script></span></span></li><li class="js-paper-rank-work_43108818 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43108818"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43108818, container: ".js-paper-rank-work_43108818", }); });</script></li><li class="js-percentile-work_43108818 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 43108818; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_43108818"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_43108818 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="43108818"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43108818; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43108818]").text(description); $(".js-view-count-work_43108818").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_43108818").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="43108818"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i> <a class="InlineList-item-text u-positionRelative">4</a> </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="8491" href="https://www.academia.edu/Documents/in/Roland_Barthes">Roland Barthes</a>, <script data-card-contents-for-ri="8491" type="text/json">{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="92202" href="https://www.academia.edu/Documents/in/Psican%C3%A1lise">Psicanálise</a>, <script data-card-contents-for-ri="92202" type="text/json">{"id":92202,"name":"Psicanálise","url":"https://www.academia.edu/Documents/in/Psican%C3%A1lise?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="145703" href="https://www.academia.edu/Documents/in/Melancolia">Melancolia</a>, <script data-card-contents-for-ri="145703" type="text/json">{"id":145703,"name":"Melancolia","url":"https://www.academia.edu/Documents/in/Melancolia?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2536082" href="https://www.academia.edu/Documents/in/Al_Berto">Al Berto</a><script data-card-contents-for-ri="2536082" type="text/json">{"id":2536082,"name":"Al Berto","url":"https://www.academia.edu/Documents/in/Al_Berto?f_ri=8491","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=43108818]'), work: {"id":43108818,"title":"Fotografia e melancolia - Al Berto (e Barthes)","created_at":"2020-05-19T11:27:22.363-07:00","url":"https://www.academia.edu/43108818/Fotografia_e_melancolia_Al_Berto_e_Barthes_?f_ri=8491","dom_id":"work_43108818","summary":"Este estudo visa a articulação entre fotografia e melancolia presentes na obra do escritor lusitano Al Berto (1948-1997). Essa relação se intensifica e se ilumina com base em Giorgio Agamben e Sigmund Freud. No caso da articulação com o psicanalista, a abordagem é menos associada à afecção melancólica – suas derivações nosográficas e psicologizantes –, do que àquela feita pela via estética, mais explícita no pensador italiano. As relações mais estreitas entre fotografia e melancolia se estabelecem ainda por meio das reflexões de Roland Barthes e Susan Sontag, autores que dedicaram livros e estudos sobre o assunto.","downloadable_attachments":[{"id":63363240,"asset_id":43108818,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5145845,"first_name":"Gustavo","last_name":"Cerqueira Guimarães","domain_name":"ufmg","page_name":"GustavoCerqueiraGuimarães","display_name":"Gustavo Cerqueira Guimarães","profile_url":"https://ufmg.academia.edu/GustavoCerqueiraGuimar%C3%A3es?f_ri=8491","photo":"https://0.academia-photos.com/5145845/2260111/2642167/s65_gustavo.cerqueira_guimar_es.jpg"}],"research_interests":[{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false},{"id":92202,"name":"Psicanálise","url":"https://www.academia.edu/Documents/in/Psican%C3%A1lise?f_ri=8491","nofollow":false},{"id":145703,"name":"Melancolia","url":"https://www.academia.edu/Documents/in/Melancolia?f_ri=8491","nofollow":false},{"id":2536082,"name":"Al Berto","url":"https://www.academia.edu/Documents/in/Al_Berto?f_ri=8491","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39628169" data-work_id="39628169" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39628169/Barthes_lecteur_de_Segalen">Barthes, lecteur de Segalen?</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39628169" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="90431f1e9a35aea9397fde1fbc19f0fb" rel="nofollow" data-download="{"attachment_id":59785951,"asset_id":39628169,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59785951/download_file?st=MTczMzE3NzcxMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1904212" href="https://kent.academia.edu/MathildePoizatAmar">Mathilde Poizat-Amar</a><script data-card-contents-for-user="1904212" type="text/json">{"id":1904212,"first_name":"Mathilde","last_name":"Poizat-Amar","domain_name":"kent","page_name":"MathildePoizatAmar","display_name":"Mathilde Poizat-Amar","profile_url":"https://kent.academia.edu/MathildePoizatAmar?f_ri=8491","photo":"https://0.academia-photos.com/1904212/644140/798704/s65_mathilde.poizat-amar.jpg"}</script></span></span></li><li class="js-paper-rank-work_39628169 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39628169"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39628169, container: ".js-paper-rank-work_39628169", }); 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$(".js-view-count[data-work-id=39628169]").text(description); $(".js-view-count-work_39628169").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39628169").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="39628169"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i> <a class="InlineList-item-text u-positionRelative">2</a> </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="8491" href="https://www.academia.edu/Documents/in/Roland_Barthes">Roland Barthes</a>, <script data-card-contents-for-ri="8491" type="text/json">{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="505822" href="https://www.academia.edu/Documents/in/Victor_Segalen">Victor Segalen</a><script data-card-contents-for-ri="505822" type="text/json">{"id":505822,"name":"Victor Segalen","url":"https://www.academia.edu/Documents/in/Victor_Segalen?f_ri=8491","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39628169]'), work: {"id":39628169,"title":"Barthes, lecteur de Segalen?","created_at":"2019-06-18T11:09:51.417-07:00","url":"https://www.academia.edu/39628169/Barthes_lecteur_de_Segalen?f_ri=8491","dom_id":"work_39628169","summary":null,"downloadable_attachments":[{"id":59785951,"asset_id":39628169,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1904212,"first_name":"Mathilde","last_name":"Poizat-Amar","domain_name":"kent","page_name":"MathildePoizatAmar","display_name":"Mathilde Poizat-Amar","profile_url":"https://kent.academia.edu/MathildePoizatAmar?f_ri=8491","photo":"https://0.academia-photos.com/1904212/644140/798704/s65_mathilde.poizat-amar.jpg"}],"research_interests":[{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false},{"id":505822,"name":"Victor Segalen","url":"https://www.academia.edu/Documents/in/Victor_Segalen?f_ri=8491","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_28444602" data-work_id="28444602" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/28444602/_Love_is_An_Inaesthetic_Inquiry_on_Love_and_Attention_in_Aureus_Solitos_The_Blossoming_of_Maximo_Oliveros">"Love is...": An Inaesthetic Inquiry on Love and Attention in Aureus Solito's The Blossoming of Maximo Oliveros</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Drawing from Alain Badiou's concept of inaesthetics, which proposes that art conditions philosophical thought, this essay offers an inaesthetic reading of The Blossoming of Maximo Oliveros (2005) and suggests that it is a film that offers... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_28444602" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Drawing from Alain Badiou's concept of inaesthetics, which proposes that art conditions philosophical thought, this essay offers an inaesthetic reading of The Blossoming of Maximo Oliveros (2005) and suggests that it is a film that offers enabling possibilities in the thinking of love by providing the spectator with a different experience of cinematic attention in the visual field. The author suggests that the film raises the philosophical question " What is love? " and attempts to answer the very question it poses through punctual encounters, which are moments of cinematic interruption—described by Roland Barthes as " what I add. .. and what nonetheless is already there " (A Lover's Discourse 55)—that may offer opportunities for philosophical speculation. This essay further argues that those punctual moments initiate a new form of attention that is not sustained by " visual pleasure, " as theorized by Laura Mulvey, but by the " movement of thought " (Badiou, Cinema 17). The film uses that mode of attention as a way to think about love while also suggesting that love itself is a form of attention.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/28444602" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6c06d27cd83b7d731ea039ccac25abbb" rel="nofollow" data-download="{"attachment_id":48793923,"asset_id":28444602,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/48793923/download_file?st=MTczMzE3NzcxMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="24935" href="https://umac.academia.edu/jeremydechavez">Jeremy De Chavez (卢杰)</a><script data-card-contents-for-user="24935" type="text/json">{"id":24935,"first_name":"Jeremy","last_name":"De Chavez (卢杰)","domain_name":"umac","page_name":"jeremydechavez","display_name":"Jeremy De Chavez (卢杰)","profile_url":"https://umac.academia.edu/jeremydechavez?f_ri=8491","photo":"https://0.academia-photos.com/24935/8059/40352943/s65_jeremy.de_chavez_.jpg"}</script></span></span></li><li class="js-paper-rank-work_28444602 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="28444602"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 28444602, container: ".js-paper-rank-work_28444602", }); 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The author suggests that the film raises the philosophical question \" What is love? \" and attempts to answer the very question it poses through punctual encounters, which are moments of cinematic interruption—described by Roland Barthes as \" what I add. .. and what nonetheless is already there \" (A Lover's Discourse 55)—that may offer opportunities for philosophical speculation. This essay further argues that those punctual moments initiate a new form of attention that is not sustained by \" visual pleasure, \" as theorized by Laura Mulvey, but by the \" movement of thought \" (Badiou, Cinema 17). The film uses that mode of attention as a way to think about love while also suggesting that love itself is a form of attention.","downloadable_attachments":[{"id":48793923,"asset_id":28444602,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":24935,"first_name":"Jeremy","last_name":"De Chavez (卢杰)","domain_name":"umac","page_name":"jeremydechavez","display_name":"Jeremy De Chavez (卢杰)","profile_url":"https://umac.academia.edu/jeremydechavez?f_ri=8491","photo":"https://0.academia-photos.com/24935/8059/40352943/s65_jeremy.de_chavez_.jpg"}],"research_interests":[{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=8491","nofollow":false},{"id":5288,"name":"Philosophy of Film","url":"https://www.academia.edu/Documents/in/Philosophy_of_Film?f_ri=8491","nofollow":false},{"id":5960,"name":"Continental Philosophy","url":"https://www.academia.edu/Documents/in/Continental_Philosophy?f_ri=8491","nofollow":false},{"id":8282,"name":"Film-Philosophy","url":"https://www.academia.edu/Documents/in/Film-Philosophy?f_ri=8491","nofollow":false},{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491"},{"id":16209,"name":"Alain Badiou","url":"https://www.academia.edu/Documents/in/Alain_Badiou?f_ri=8491"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_11106925" data-work_id="11106925" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/11106925/On_Phototextuality_History_reading_and_theory">On Phototextuality. History, reading and theory</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11106925" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b28d0b5f859b3f6a5fa4058a21552e38" rel="nofollow" data-download="{"attachment_id":36780145,"asset_id":11106925,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36780145/download_file?st=MTczMzE3NzcxMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="8869490" href="https://nb.academia.edu/MariusWulfsberg">Marius Wulfsberg</a><script data-card-contents-for-user="8869490" type="text/json">{"id":8869490,"first_name":"Marius","last_name":"Wulfsberg","domain_name":"nb","page_name":"MariusWulfsberg","display_name":"Marius Wulfsberg","profile_url":"https://nb.academia.edu/MariusWulfsberg?f_ri=8491","photo":"https://0.academia-photos.com/8869490/2913598/19635459/s65_marius.wulfsberg.jpg"}</script></span></span></li><li class="js-paper-rank-work_11106925 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11106925"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11106925, container: ".js-paper-rank-work_11106925", }); 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u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/65346019/The_21st_Century_Superhero_Essays_on_Gender_Genre_and_Globalization_in_Film">The 21st Century Superhero: Essays on Gender, Genre and Globalization in Film</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Introduction / Richard J. Gray II and Betty Kaklamanidou -- Globalization. Exceptional Recognition: The U.S. Global Dilemma in The Incredible Hulk, Iron Man, and Avatar / Anthony Peter Spanakos -- &quot;You Took My Advice About... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_65346019" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Introduction / Richard J. Gray II and Betty Kaklamanidou -- Globalization. Exceptional Recognition: The U.S. Global Dilemma in The Incredible Hulk, Iron Man, and Avatar / Anthony Peter Spanakos -- &quot;You Took My Advice About Theatricality a Bit -- Literally&quot;: Theatricality and Cybernetics of Good and Evil in Batman Begins, The Dark Knight, and X-Men / Johannes Schlegel and Frank Habermann -- Power, Choice, and September 11 in The Dark Knight / Christine Muller -- Gender. The Mythos of Patriarchy in the X-Men Films / Betty Kaklamanidou -- Vivacious Vixens and Scintillating Super-Hotties: Deconstructing the Superheroine / Richard J. Gray II -- Evolving Portrayals of Masculinity in Superhero Films: Hancock / Christina Adamou -- Genre. Genre and Super-Heroism: Batman in the New Millennium / Vincent M. Gaine -- Super-Intertextuality and 21st Century Individualized Social Advocacy in Spider-Man and Kick-Ass / Justin S. Schumaker -- The Watchmen, Neo-Noir and Pastiche / Phillip Dav...</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/65346019" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="304995" href="https://auth.academia.edu/BettyKaklamanidou">Betty Kaklamanidou</a><script data-card-contents-for-user="304995" type="text/json">{"id":304995,"first_name":"Betty","last_name":"Kaklamanidou","domain_name":"auth","page_name":"BettyKaklamanidou","display_name":"Betty Kaklamanidou","profile_url":"https://auth.academia.edu/BettyKaklamanidou?f_ri=8491","photo":"https://0.academia-photos.com/304995/75250/99308755/s65_betty.kaklamanidou.jpeg"}</script></span></span></li><li class="js-paper-rank-work_65346019 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="65346019"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 65346019, container: ".js-paper-rank-work_65346019", }); 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Gray II and Betty Kaklamanidou -- Globalization. Exceptional Recognition: The U.S. Global Dilemma in The Incredible Hulk, Iron Man, and Avatar / Anthony Peter Spanakos -- \u0026quot;You Took My Advice About Theatricality a Bit -- Literally\u0026quot;: Theatricality and Cybernetics of Good and Evil in Batman Begins, The Dark Knight, and X-Men / Johannes Schlegel and Frank Habermann -- Power, Choice, and September 11 in The Dark Knight / Christine Muller -- Gender. The Mythos of Patriarchy in the X-Men Films / Betty Kaklamanidou -- Vivacious Vixens and Scintillating Super-Hotties: Deconstructing the Superheroine / Richard J. Gray II -- Evolving Portrayals of Masculinity in Superhero Films: Hancock / Christina Adamou -- Genre. Genre and Super-Heroism: Batman in the New Millennium / Vincent M. Gaine -- Super-Intertextuality and 21st Century Individualized Social Advocacy in Spider-Man and Kick-Ass / Justin S. 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Following the same line of thought, in 2010, black feminist and theorist Moya... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39321904" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In 1957 Roland Barthes published Mythologies, a text examining how culture has the power to shape social perception and interpretation of the world around us. Following the same line of thought, in 2010, black feminist and theorist Moya Bailey coined the term ‘misogynoir’ to mimic sentiments expressed by early black feminists such as Pauli Murray surrounding the earlier vernacular “Jane crow.” These terms verbalized concepts of intersecting racial and gender hierarchies that uniquely converge to articulate the discrimination experienced by black women in particular. These discriminations in society that targeted black women arose from a long history of the dynamics between mythologies in a Barthesian sense within our collective and immutable perception of the world. The word misogynoir encapsulates the professed ‘second language’ or code that shapes our reality according to Barthes. Misogynoir played a major influencing role in the development of the Civil Rights Movement, which acted as a critical notion in the development of the narrative and actions of the Civil Rights Movement. Through an analysis of the movement so intertwined with and influenced by misogynoir, this paper aims to more fully understand its impact on hierarchical subjugation established through cultural signs and semiology’s second language, as well as how we interpret the world around us. Hence, the Civil Rights Movement serves as a lens to examine the intersections between race and gender, and the consequential manifestation of misogynoir, in patriarchal society.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39321904" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="2aeb2429e311a8d95a1626c567dc8f0f" rel="nofollow" data-download="{"attachment_id":59460949,"asset_id":39321904,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59460949/download_file?st=MTczMzE3NzcxNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="115373736" href="https://uoregon.academia.edu/aohara">Abbie O'Hara</a><script data-card-contents-for-user="115373736" type="text/json">{"id":115373736,"first_name":"Abbie","last_name":"O'Hara","domain_name":"uoregon","page_name":"aohara","display_name":"Abbie O'Hara","profile_url":"https://uoregon.academia.edu/aohara?f_ri=8491","photo":"https://0.academia-photos.com/115373736/27959187/26214299/s65_abbie.ohara.jpg"}</script></span></span></li><li class="js-paper-rank-work_39321904 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39321904"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39321904, container: ".js-paper-rank-work_39321904", }); 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A Barthesian Analysis of a Historic Struggle as the Intersection of Race and Gender","created_at":"2019-05-31T00:08:47.119-07:00","url":"https://www.academia.edu/39321904/Misogynoir_and_The_Civil_Rights_Movement_A_Barthesian_Analysis_of_a_Historic_Struggle_as_the_Intersection_of_Race_and_Gender?f_ri=8491","dom_id":"work_39321904","summary":"In 1957 Roland Barthes published Mythologies, a text examining how culture has the power to shape social perception and interpretation of the world around us. Following the same line of thought, in 2010, black feminist and theorist Moya Bailey coined the term ‘misogynoir’ to mimic sentiments expressed by early black feminists such as Pauli Murray surrounding the earlier vernacular “Jane crow.” These terms verbalized concepts of intersecting racial and gender hierarchies that uniquely converge to articulate the discrimination experienced by black women in particular. These discriminations in society that targeted black women arose from a long history of the dynamics between mythologies in a Barthesian sense within our collective and immutable perception of the world. The word misogynoir encapsulates the professed ‘second language’ or code that shapes our reality according to Barthes. Misogynoir played a major influencing role in the development of the Civil Rights Movement, which acted as a critical notion in the development of the narrative and actions of the Civil Rights Movement. Through an analysis of the movement so intertwined with and influenced by misogynoir, this paper aims to more fully understand its impact on hierarchical subjugation established through cultural signs and semiology’s second language, as well as how we interpret the world around us. Hence, the Civil Rights Movement serves as a lens to examine the intersections between race and gender, and the consequential manifestation of misogynoir, in patriarchal society. \n","downloadable_attachments":[{"id":59460949,"asset_id":39321904,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":115373736,"first_name":"Abbie","last_name":"O'Hara","domain_name":"uoregon","page_name":"aohara","display_name":"Abbie O'Hara","profile_url":"https://uoregon.academia.edu/aohara?f_ri=8491","photo":"https://0.academia-photos.com/115373736/27959187/26214299/s65_abbie.ohara.jpg"}],"research_interests":[{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false},{"id":14412,"name":"Black feminism","url":"https://www.academia.edu/Documents/in/Black_feminism?f_ri=8491","nofollow":false},{"id":14437,"name":"Civil Rights Movement","url":"https://www.academia.edu/Documents/in/Civil_Rights_Movement?f_ri=8491","nofollow":false},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=8491","nofollow":false},{"id":196762,"name":"SNCC","url":"https://www.academia.edu/Documents/in/SNCC?f_ri=8491"},{"id":426311,"name":"Pauli Murray","url":"https://www.academia.edu/Documents/in/Pauli_Murray?f_ri=8491"},{"id":573792,"name":"Ida B. Wells","url":"https://www.academia.edu/Documents/in/Ida_B._Wells?f_ri=8491"},{"id":736468,"name":"Rosa Parks","url":"https://www.academia.edu/Documents/in/Rosa_Parks?f_ri=8491"},{"id":1122752,"name":"SCLC","url":"https://www.academia.edu/Documents/in/SCLC?f_ri=8491"},{"id":1741492,"name":"Ella Baker","url":"https://www.academia.edu/Documents/in/Ella_Baker?f_ri=8491"},{"id":1766406,"name":"Misogynoir","url":"https://www.academia.edu/Documents/in/Misogynoir?f_ri=8491"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29326186" data-work_id="29326186" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29326186/Roland_Barthes_biographie_de_Tiphaine_Samoyault_2015_">Roland Barthes, biographie de Tiphaine Samoyault (2015)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Compte rendu par Maïté Snauwaert Spirale : arts • lettres • sciences humaines, n° 255, 2016, p. 12-14.<br />Pour citer ce compte rendu, utiliser l'adresse suivante : <a href="http://id.erudit.org/iderudit/81099ac" rel="nofollow">http://id.erudit.org/iderudit/81099ac</a></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29326186" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="2fda4c2c5147e59cc765e76607336aae" rel="nofollow" data-download="{"attachment_id":49765914,"asset_id":29326186,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/49765914/download_file?st=MTczMzE3NzcxNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1873076" href="https://ualberta.academia.edu/ma%C3%AFt%C3%A9snauwaert">maïté snauwaert</a><script data-card-contents-for-user="1873076" type="text/json">{"id":1873076,"first_name":"maïté","last_name":"snauwaert","domain_name":"ualberta","page_name":"maïtésnauwaert","display_name":"maïté snauwaert","profile_url":"https://ualberta.academia.edu/ma%C3%AFt%C3%A9snauwaert?f_ri=8491","photo":"https://0.academia-photos.com/1873076/649576/805124/s65_ma_t_.snauwaert.jpg"}</script></span></span></li><li class="js-paper-rank-work_29326186 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29326186"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29326186, container: ".js-paper-rank-work_29326186", }); 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Fiches, carnets et notes inédits </a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Presque trente ans après sa disparition, le critique-écrivain suscite toujours autant la lecture et le commentaire. Cette fois, il « refait signe », comme le déclare le titre d'un numéro du Magazine littéraire, à travers deux publications... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_3420272" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Presque trente ans après sa disparition, le critique-écrivain suscite toujours autant la lecture et le commentaire. Cette fois, il « refait signe », comme le déclare le titre d'un numéro du Magazine littéraire, à travers deux publications posthumes, les Carnets du voyage en Chine et le Journal de deuil, où on retrouve avec bonheur l'intellectuel émouvant et personnel, fragilisé par le deuil, reclus dans sa solitude méditative, en éternel décrochage des effets de mode et des discours trop répétés.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/3420272" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ba34cb06f729e024e58d303791acd50e" rel="nofollow" data-download="{"attachment_id":31634891,"asset_id":3420272,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/31634891/download_file?st=MTczMzE3NzcxNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1035024" href="https://sorbonneparisnord.academia.edu/Val%C3%A9rieSti%C3%A9non">Valérie Stiénon</a><script data-card-contents-for-user="1035024" type="text/json">{"id":1035024,"first_name":"Valérie","last_name":"Stiénon","domain_name":"sorbonneparisnord","page_name":"ValérieStiénon","display_name":"Valérie Stiénon","profile_url":"https://sorbonneparisnord.academia.edu/Val%C3%A9rieSti%C3%A9non?f_ri=8491","photo":"https://0.academia-photos.com/1035024/1158878/18994553/s65_val_rie.sti_non.jpg"}</script></span></span></li><li class="js-paper-rank-work_3420272 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="3420272"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 3420272, container: ".js-paper-rank-work_3420272", }); 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Cette fois, il « refait signe », comme le déclare le titre d'un numéro du Magazine littéraire, à travers deux publications posthumes, les Carnets du voyage en Chine et le Journal de deuil, où on retrouve avec bonheur l'intellectuel émouvant et personnel, fragilisé par le deuil, reclus dans sa solitude méditative, en éternel décrochage des effets de mode et des discours trop répétés.","downloadable_attachments":[{"id":31634891,"asset_id":3420272,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1035024,"first_name":"Valérie","last_name":"Stiénon","domain_name":"sorbonneparisnord","page_name":"ValérieStiénon","display_name":"Valérie Stiénon","profile_url":"https://sorbonneparisnord.academia.edu/Val%C3%A9rieSti%C3%A9non?f_ri=8491","photo":"https://0.academia-photos.com/1035024/1158878/18994553/s65_val_rie.sti_non.jpg"}],"research_interests":[{"id":3773,"name":"Literary Criticism","url":"https://www.academia.edu/Documents/in/Literary_Criticism?f_ri=8491","nofollow":false},{"id":5539,"name":"Language and Ideology","url":"https://www.academia.edu/Documents/in/Language_and_Ideology?f_ri=8491","nofollow":false},{"id":7297,"name":"Autobiography","url":"https://www.academia.edu/Documents/in/Autobiography?f_ri=8491","nofollow":false},{"id":7888,"name":"Literary Theory","url":"https://www.academia.edu/Documents/in/Literary_Theory?f_ri=8491","nofollow":false},{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491"},{"id":15714,"name":"20th Century French Literature","url":"https://www.academia.edu/Documents/in/20th_Century_French_Literature?f_ri=8491"},{"id":18640,"name":"Ideology and Discourse Analysis","url":"https://www.academia.edu/Documents/in/Ideology_and_Discourse_Analysis?f_ri=8491"},{"id":20985,"name":"Memoir and Autobiography","url":"https://www.academia.edu/Documents/in/Memoir_and_Autobiography?f_ri=8491"},{"id":21277,"name":"Travel Literature","url":"https://www.academia.edu/Documents/in/Travel_Literature?f_ri=8491"},{"id":29866,"name":"Autobiographical Memory","url":"https://www.academia.edu/Documents/in/Autobiographical_Memory?f_ri=8491"},{"id":31319,"name":"20th century Avant-Garde","url":"https://www.academia.edu/Documents/in/20th_century_Avant-Garde?f_ri=8491"},{"id":73421,"name":"French Critical Theory","url":"https://www.academia.edu/Documents/in/French_Critical_Theory?f_ri=8491"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_12506241" data-work_id="12506241" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/12506241/Teori_Den_dari_Mazhab_Limau_Manis">Teori Den dari Mazhab Limau Manis</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Khaidir Anwar telah menghadirkan teori kebudayaan, dan jika diikuti oleh para murid dan koleganya di Kampus Limau Manis Universitas Andalas Padang, maka sudah mengalirlah sebuah mata air keilmuan, sebuah mazhab Limau Manis. Dulu... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_12506241" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Khaidir Anwar telah menghadirkan teori kebudayaan, dan jika diikuti oleh para murid dan koleganya di Kampus Limau Manis Universitas Andalas Padang, maka sudah mengalirlah sebuah mata air keilmuan, sebuah mazhab Limau Manis. Dulu skripsiku dibimbing oleh beliau, dengan demikian pemikiran beliau yang aku pahami, menurutku, adalah sebuah teori kebudayaan, dengan kata lain; itu adalah mutiara, yang sempat aku pungut, teori itu sudah aku gunakan dalam penulisan tesis S2-ku. Seandainya teori ini berkembang, mengalir sepanjang zaman, aku berharap ini menjadi pahala dan penghargaan untuk beliau di alam baka sana. 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Dulu skripsiku dibimbing oleh beliau, dengan demikian pemikiran beliau yang aku pahami, menurutku, adalah sebuah teori kebudayaan, dengan kata lain; itu adalah mutiara, yang sempat aku pungut, teori itu sudah aku gunakan dalam penulisan tesis S2-ku. Seandainya teori ini berkembang, mengalir sepanjang zaman, aku berharap ini menjadi pahala dan penghargaan untuk beliau di alam baka sana. 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href="https://www.academia.edu/26525456/%E9%9B%BB%E5%BD%B1%E7%AC%A6%E8%99%9F%E5%AD%B8_%E5%BE%9E%E5%8F%A4%E5%85%B8%E5%88%B0%E6%95%B8%E4%BD%8D%E6%99%82%E4%BB%A3_Cinema_Semiotics_From_Classical_to_Digital">電影符號學:從古典到數位時代 Cinema Semiotics From Classical to Digital</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">《電影符號學:從古典到數位時代(新版)》是電影理論工作者齊隆壬長期研究的成果,詳細耙梳並剖析符號學的發展源流與變革,以及著名學者的理論,如索緒爾、李維史陀、羅蘭巴特、皮爾斯等。接著帶出電影理論的關鍵人物──克利斯蒂安.梅茲,闡釋他如何把符號學,以及相關領域如語言學、結構主義、精神分析運用至電影分析,奠定電影符號學在電影理論界的重要地位。也因電影符號學涵蓋的範圍甚廣,而讓電影分析有了更多可能性。除了回顧西方符號學與電影符號學的理論與沿革,作者也把討論拉回台灣與中國大陸,介紹電影... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_26525456" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">《電影符號學:從古典到數位時代(新版)》是電影理論工作者齊隆壬長期研究的成果,詳細耙梳並剖析符號學的發展源流與變革,以及著名學者的理論,如索緒爾、李維史陀、羅蘭巴特、皮爾斯等。接著帶出電影理論的關鍵人物──克利斯蒂安.梅茲,闡釋他如何把符號學,以及相關領域如語言學、結構主義、精神分析運用至電影分析,奠定電影符號學在電影理論界的重要地位。也因電影符號學涵蓋的範圍甚廣,而讓電影分析有了更多可能性。除了回顧西方符號學與電影符號學的理論與沿革,作者也把討論拉回台灣與中國大陸,介紹電影符號學在兩岸的發展脈絡與特點。<br /><br /> 在理論層面之外,作者也引用許多影片分析的範例,清楚說明電影符號學是如何應用於電影研究之中。而近來電影科技日新月異,已進入數位電影時代,因此第九章即在討論電影由膠卷轉為數位影像的變革,除了提及古典電影如《波坦金戰艦》、《月球之旅》等必會出現的經典例子,更舉《阿凡達》、《全面啟動》、《雨果的冒險》為例,把電影符號學理論連結至最新的影片發展上。<br /><br /> 電影符號學雖看似古典,在現今的數位環境中非但沒有過時,反而受到電影理論學者大量援用,依然能夠提供理論架構和基本論點。而本書由符號學的發展開始,一直到電影符號學與數位電影的連結,提供了全面且獨到深入的見解,堪稱是近期電影理論的重量級著作,研究電影者不可不看!</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/26525456" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" 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href="https://www.academia.edu/Documents/in/Digital_Cinema">Digital Cinema</a>, <script data-card-contents-for-ri="4982" type="text/json">{"id":4982,"name":"Digital Cinema","url":"https://www.academia.edu/Documents/in/Digital_Cinema?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8302" href="https://www.academia.edu/Documents/in/Gilles_Deleuze">Gilles Deleuze</a>, <script data-card-contents-for-ri="8302" type="text/json">{"id":8302,"name":"Gilles Deleuze","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8491" href="https://www.academia.edu/Documents/in/Roland_Barthes">Roland Barthes</a><script data-card-contents-for-ri="8491" type="text/json">{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=26525456]'), work: {"id":26525456,"title":"電影符號學:從古典到數位時代 Cinema Semiotics From Classical to Digital","created_at":"2016-06-27T00:19:39.054-07:00","url":"https://www.academia.edu/26525456/%E9%9B%BB%E5%BD%B1%E7%AC%A6%E8%99%9F%E5%AD%B8_%E5%BE%9E%E5%8F%A4%E5%85%B8%E5%88%B0%E6%95%B8%E4%BD%8D%E6%99%82%E4%BB%A3_Cinema_Semiotics_From_Classical_to_Digital?f_ri=8491","dom_id":"work_26525456","summary":"《電影符號學:從古典到數位時代(新版)》是電影理論工作者齊隆壬長期研究的成果,詳細耙梳並剖析符號學的發展源流與變革,以及著名學者的理論,如索緒爾、李維史陀、羅蘭巴特、皮爾斯等。接著帶出電影理論的關鍵人物──克利斯蒂安.梅茲,闡釋他如何把符號學,以及相關領域如語言學、結構主義、精神分析運用至電影分析,奠定電影符號學在電影理論界的重要地位。也因電影符號學涵蓋的範圍甚廣,而讓電影分析有了更多可能性。除了回顧西方符號學與電影符號學的理論與沿革,作者也把討論拉回台灣與中國大陸,介紹電影符號學在兩岸的發展脈絡與特點。\n\n 在理論層面之外,作者也引用許多影片分析的範例,清楚說明電影符號學是如何應用於電影研究之中。而近來電影科技日新月異,已進入數位電影時代,因此第九章即在討論電影由膠卷轉為數位影像的變革,除了提及古典電影如《波坦金戰艦》、《月球之旅》等必會出現的經典例子,更舉《阿凡達》、《全面啟動》、《雨果的冒險》為例,把電影符號學理論連結至最新的影片發展上。\n\n 電影符號學雖看似古典,在現今的數位環境中非但沒有過時,反而受到電影理論學者大量援用,依然能夠提供理論架構和基本論點。而本書由符號學的發展開始,一直到電影符號學與數位電影的連結,提供了全面且獨到深入的見解,堪稱是近期電影理論的重量級著作,研究電影者不可不看!","downloadable_attachments":[{"id":57304748,"asset_id":26525456,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":50492706,"first_name":"Lung-Zin","last_name":"Chi","domain_name":"univ-paris3","page_name":"LzChi","display_name":"Lung-Zin Chi","profile_url":"https://univ-paris3.academia.edu/LzChi?f_ri=8491","photo":"https://0.academia-photos.com/50492706/20314033/20011302/s65_lung-zin.chi.jpg"}],"research_interests":[{"id":2869,"name":"Digital Media","url":"https://www.academia.edu/Documents/in/Digital_Media?f_ri=8491","nofollow":false},{"id":4982,"name":"Digital Cinema","url":"https://www.academia.edu/Documents/in/Digital_Cinema?f_ri=8491","nofollow":false},{"id":8302,"name":"Gilles Deleuze","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze?f_ri=8491","nofollow":false},{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false},{"id":13110,"name":"Charles S. Peirce","url":"https://www.academia.edu/Documents/in/Charles_S._Peirce?f_ri=8491"},{"id":14022,"name":"Film Semiotics","url":"https://www.academia.edu/Documents/in/Film_Semiotics?f_ri=8491"},{"id":48455,"name":"Ferdinand de Saussure","url":"https://www.academia.edu/Documents/in/Ferdinand_de_Saussure?f_ri=8491"},{"id":127678,"name":"Semiosis","url":"https://www.academia.edu/Documents/in/Semiosis?f_ri=8491"},{"id":246076,"name":"Christian Metz","url":"https://www.academia.edu/Documents/in/Christian_Metz?f_ri=8491"},{"id":1775775,"name":"Textual Semiotics","url":"https://www.academia.edu/Documents/in/Textual_Semiotics?f_ri=8491"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_41474874 coauthored" data-work_id="41474874" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/41474874/A_wound_in_the_heart_of_love_writing_in_Roland_Barthes_Mourning_Diary_Uma_ferida_no_cora%C3%A7%C3%A3o_do_amor_a_escrita_no_Di%C3%A1rio_de_luto_de_Roland_Barthes">A wound in the heart of love: writing in Roland Barthes' Mourning Diary / Uma ferida no coração do amor: a escrita no Diário de luto de Roland Barthes</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This paper addresses the notes published posthumously as Roland Barthes' Mourning diary. Considering its role in Barthes' oeuvre, we examine a) the special relationship between presence and absence that occurs in mourning, b) Barthes'... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_41474874" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper addresses the notes published posthumously as Roland Barthes' Mourning diary. Considering its role in Barthes' oeuvre, we examine a) the special relationship between presence and absence that occurs in mourning, b) Barthes' reckoning with that psychoanalytic concept and c) the particularities of writing harboured in grief. Our analysis revisits Freud's pioneering study "Mourning and melancholia", Kristeva's work on the same subject and Blanchot's musings on the close ties between writing and death, as well as critical studies of Barthes' Mourning diary and other writing projects equally haunted by the loss of his mother (Camera lucida and the intended novel Vita Nova); we also identify similarities between the writings-in-mourning undertaken by Barthes and by Dante Alighieri. At the end, we discuss inscriptions of affection in the experience of loss and the distinguishing traits of mourning writing; we propose that a certain pathos may be at work in the Diary, weaving a particular brand of connection between writing, love and their spectre-like objects and participants.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/41474874" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8400ca8534284953650c554bba745bcc" rel="nofollow" data-download="{"attachment_id":61647251,"asset_id":41474874,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/61647251/download_file?st=MTczMzE3NzcxNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="30521380" href="https://ufc.academia.edu/PriscilaPesceLdeOliveira">Priscila Pesce Lopes de Oliveira</a><script data-card-contents-for-user="30521380" type="text/json">{"id":30521380,"first_name":"Priscila","last_name":"Pesce Lopes de Oliveira","domain_name":"ufc","page_name":"PriscilaPesceLdeOliveira","display_name":"Priscila Pesce Lopes de Oliveira","profile_url":"https://ufc.academia.edu/PriscilaPesceLdeOliveira?f_ri=8491","photo":"https://0.academia-photos.com/30521380/61569365/49848354/s65_priscila.pesce_lopes_de_oliveira.jpeg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-41474874">+1</span><div class="hidden js-additional-users-41474874"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://ufc.academia.edu/B%C3%A1rbaraCostaRibeiro">Bárbara Costa Ribeiro</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-41474874'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-41474874').html(); } } new HoverPopover(popoverSettings); })();</script></li><li class="js-paper-rank-work_41474874 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="41474874"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 41474874, container: ".js-paper-rank-work_41474874", }); });</script></li><li class="js-percentile-work_41474874 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 41474874; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_41474874"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_41474874 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="41474874"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41474874; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=41474874]").text(description); $(".js-view-count-work_41474874").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_41474874").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="41474874"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="8491" href="https://www.academia.edu/Documents/in/Roland_Barthes">Roland Barthes</a><script data-card-contents-for-ri="8491" type="text/json">{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=41474874]'), work: {"id":41474874,"title":"A wound in the heart of love: writing in Roland Barthes' Mourning Diary / Uma ferida no coração do amor: a escrita no Diário de luto de Roland Barthes","created_at":"2019-12-31T08:51:00.148-08:00","url":"https://www.academia.edu/41474874/A_wound_in_the_heart_of_love_writing_in_Roland_Barthes_Mourning_Diary_Uma_ferida_no_cora%C3%A7%C3%A3o_do_amor_a_escrita_no_Di%C3%A1rio_de_luto_de_Roland_Barthes?f_ri=8491","dom_id":"work_41474874","summary":"This paper addresses the notes published posthumously as Roland Barthes' Mourning diary. Considering its role in Barthes' oeuvre, we examine a) the special relationship between presence and absence that occurs in mourning, b) Barthes' reckoning with that psychoanalytic concept and c) the particularities of writing harboured in grief. Our analysis revisits Freud's pioneering study \"Mourning and melancholia\", Kristeva's work on the same subject and Blanchot's musings on the close ties between writing and death, as well as critical studies of Barthes' Mourning diary and other writing projects equally haunted by the loss of his mother (Camera lucida and the intended novel Vita Nova); we also identify similarities between the writings-in-mourning undertaken by Barthes and by Dante Alighieri. At the end, we discuss inscriptions of affection in the experience of loss and the distinguishing traits of mourning writing; we propose that a certain pathos may be at work in the Diary, weaving a particular brand of connection between writing, love and their spectre-like objects and participants.","downloadable_attachments":[{"id":61647251,"asset_id":41474874,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":30521380,"first_name":"Priscila","last_name":"Pesce Lopes de Oliveira","domain_name":"ufc","page_name":"PriscilaPesceLdeOliveira","display_name":"Priscila Pesce Lopes de Oliveira","profile_url":"https://ufc.academia.edu/PriscilaPesceLdeOliveira?f_ri=8491","photo":"https://0.academia-photos.com/30521380/61569365/49848354/s65_priscila.pesce_lopes_de_oliveira.jpeg"},{"id":39019742,"first_name":"Bárbara","last_name":"Costa Ribeiro","domain_name":"ufc","page_name":"BárbaraCostaRibeiro","display_name":"Bárbara Costa Ribeiro","profile_url":"https://ufc.academia.edu/B%C3%A1rbaraCostaRibeiro?f_ri=8491","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45148015" data-work_id="45148015" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45148015/Fashion_Plastic_and_Myths_in_Color">Fashion, Plastic and Myths in Color</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This short article examines a photograph in a 1956 catalogue for the French department store Galeries Lafayette in the context of the country’s postwar modernization, Paris renovations and the development of the readymade garment... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45148015" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This short article examines a photograph in a 1956 catalogue for the French department store Galeries Lafayette in the context of the country’s postwar modernization, Paris renovations and the development of the readymade garment industry. It relates the production of image to the construction and dissemination of fashion and femininity in the print media. In particular, it notes how the use of changing technologies in image production, notably Kodachrome color film, shaped and exposed these constructions. Drawing on the notion of myth, as formulated by Roland Barthes, this article asks how the image spoke to modernity’s inherent contradictions, notably between old and new, in its depiction of bodies, plastic and synthetic fabric. Finally, it shows why this was particularly relevant in the culture of postwar France.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45148015" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d42584be17cf5552d74680502eaaf02f" rel="nofollow" data-download="{"attachment_id":66223361,"asset_id":45148015,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/66223361/download_file?st=MTczMzE3NzcxNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="993382" href="https://vermillionmediany.academia.edu/AlexisRomano">Alexis Romano</a><script data-card-contents-for-user="993382" type="text/json">{"id":993382,"first_name":"Alexis","last_name":"Romano","domain_name":"vermillionmediany","page_name":"AlexisRomano","display_name":"Alexis Romano","profile_url":"https://vermillionmediany.academia.edu/AlexisRomano?f_ri=8491","photo":"https://0.academia-photos.com/993382/463188/71607832/s65_alexis.romano.jpg"}</script></span></span></li><li class="js-paper-rank-work_45148015 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45148015"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45148015, container: ".js-paper-rank-work_45148015", }); 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It relates the production of image to the construction and dissemination of fashion and femininity in the print media. In particular, it notes how the use of changing technologies in image production, notably Kodachrome color film, shaped and exposed these constructions. Drawing on the notion of myth, as formulated by Roland Barthes, this article asks how the image spoke to modernity’s inherent contradictions, notably between old and new, in its depiction of bodies, plastic and synthetic fabric. Finally, it shows why this was particularly relevant in the culture of postwar France.","downloadable_attachments":[{"id":66223361,"asset_id":45148015,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":993382,"first_name":"Alexis","last_name":"Romano","domain_name":"vermillionmediany","page_name":"AlexisRomano","display_name":"Alexis Romano","profile_url":"https://vermillionmediany.academia.edu/AlexisRomano?f_ri=8491","photo":"https://0.academia-photos.com/993382/463188/71607832/s65_alexis.romano.jpg"}],"research_interests":[{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=8491","nofollow":false},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=8491","nofollow":false},{"id":1138,"name":"Women's Studies","url":"https://www.academia.edu/Documents/in/Womens_Studies?f_ri=8491","nofollow":false},{"id":1433,"name":"Fashion 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photography","url":"https://www.academia.edu/Documents/in/History_of_photography?f_ri=8491"},{"id":66245,"name":"Women's Magazines","url":"https://www.academia.edu/Documents/in/Womens_Magazines?f_ri=8491"},{"id":91839,"name":"Paris","url":"https://www.academia.edu/Documents/in/Paris?f_ri=8491"},{"id":323348,"name":"Dress History","url":"https://www.academia.edu/Documents/in/Dress_History?f_ri=8491"},{"id":323475,"name":"Kodachrome","url":"https://www.academia.edu/Documents/in/Kodachrome?f_ri=8491"},{"id":638520,"name":"Fashion","url":"https://www.academia.edu/Documents/in/Fashion?f_ri=8491"},{"id":698752,"name":"Midcentury Modernism","url":"https://www.academia.edu/Documents/in/Midcentury_Modernism?f_ri=8491"},{"id":777881,"name":"History of Color Photography","url":"https://www.academia.edu/Documents/in/History_of_Color_Photography?f_ri=8491"},{"id":881239,"name":"History of Postwar France","url":"https://www.academia.edu/Documents/in/History_of_Postwar_France?f_ri=8491"}]}, }) } 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Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false},{"id":10444,"name":"Postmodernism","url":"https://www.academia.edu/Documents/in/Postmodernism?f_ri=8491","nofollow":false},{"id":16032,"name":"Baudrillard","url":"https://www.academia.edu/Documents/in/Baudrillard?f_ri=8491","nofollow":false},{"id":31491,"name":"Jean Baudrillard","url":"https://www.academia.edu/Documents/in/Jean_Baudrillard?f_ri=8491"},{"id":51334,"name":"Orientalism","url":"https://www.academia.edu/Documents/in/Orientalism?f_ri=8491"},{"id":73676,"name":"Cultural Globalization","url":"https://www.academia.edu/Documents/in/Cultural_Globalization?f_ri=8491"},{"id":77898,"name":"Cultural Criticism","url":"https://www.academia.edu/Documents/in/Cultural_Criticism?f_ri=8491"},{"id":99586,"name":"Islamic Fashion","url":"https://www.academia.edu/Documents/in/Islamic_Fashion?f_ri=8491"},{"id":397096,"name":"Edward Said; orientalism; Anti-Westernism","url":"https://www.academia.edu/Documents/in/Edward_Said_orientalism_Anti-Westernism?f_ri=8491"},{"id":1295992,"name":"Roland Barthes, Mythologies - Roland Barthes,","url":"https://www.academia.edu/Documents/in/Roland_Barthes_Mythologies_-_Roland_Barthes_?f_ri=8491"},{"id":2213776,"name":"Fashion and Globalization","url":"https://www.academia.edu/Documents/in/Fashion_and_Globalization?f_ri=8491"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_1211640" data-work_id="1211640" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/1211640/Fenomenologi_og_semiotikk_i_teorier_om_de_fotografiske_medier">Fenomenologi og semiotikk i teorier om de fotografiske medier</a></div></div><div class="u-pb4x 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href="https://www.academia.edu/Documents/in/Roland_Barthes">Roland Barthes</a>, <script data-card-contents-for-ri="8491" type="text/json">{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="411104" href="https://www.academia.edu/Documents/in/Fenomenologi">Fenomenologi</a>, <script data-card-contents-for-ri="411104" type="text/json">{"id":411104,"name":"Fenomenologi","url":"https://www.academia.edu/Documents/in/Fenomenologi?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="618601" href="https://www.academia.edu/Documents/in/Fotografi">Fotografi</a>, <script data-card-contents-for-ri="618601" type="text/json">{"id":618601,"name":"Fotografi","url":"https://www.academia.edu/Documents/in/Fotografi?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1794121" href="https://www.academia.edu/Documents/in/Semiotikk">Semiotikk</a><script data-card-contents-for-ri="1794121" type="text/json">{"id":1794121,"name":"Semiotikk","url":"https://www.academia.edu/Documents/in/Semiotikk?f_ri=8491","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=1211640]'), work: {"id":1211640,"title":"Fenomenologi og semiotikk i teorier om de fotografiske medier","created_at":"2012-01-09T22:19:52.928-08:00","url":"https://www.academia.edu/1211640/Fenomenologi_og_semiotikk_i_teorier_om_de_fotografiske_medier?f_ri=8491","dom_id":"work_1211640","summary":null,"downloadable_attachments":[{"id":7542688,"asset_id":1211640,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":632389,"first_name":"Liv","last_name":"Hausken","domain_name":"uio","page_name":"LivHausken","display_name":"Liv 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class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9646633/_Every_author_has_a_way_of_his_own_in_his_bringing_his_points_to_bear_Consider_the_representation_of_the_role_of_the_author_in_Sterne_s_The_Life_and_Opinions_of_Tristram_Shandy_Gentleman_">“Every author has a way of his own in his bringing his points to bear.” Consider the representation of the role of the author in Sterne’s “The Life and Opinions of Tristram Shandy, Gentleman”.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">A consideration of the role of the author within Sterne's 'Tristram Shandy', particularly in relation to Barthes and Foucault's discussion of the role of the author and the metafictionality of 'Tristram Shandy'.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" 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window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=9646633]").text(description); $(".js-view-count-work_9646633").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_9646633").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="9646633"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i> <a class="InlineList-item-text u-positionRelative">5</a> </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="8491" href="https://www.academia.edu/Documents/in/Roland_Barthes">Roland Barthes</a>, <script data-card-contents-for-ri="8491" type="text/json">{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="11927" href="https://www.academia.edu/Documents/in/Michel_Foucault">Michel Foucault</a>, <script data-card-contents-for-ri="11927" type="text/json">{"id":11927,"name":"Michel Foucault","url":"https://www.academia.edu/Documents/in/Michel_Foucault?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="20154" href="https://www.academia.edu/Documents/in/Metafiction">Metafiction</a>, <script data-card-contents-for-ri="20154" type="text/json">{"id":20154,"name":"Metafiction","url":"https://www.academia.edu/Documents/in/Metafiction?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="62052" href="https://www.academia.edu/Documents/in/Laurence_Sterne">Laurence Sterne</a><script data-card-contents-for-ri="62052" type="text/json">{"id":62052,"name":"Laurence Sterne","url":"https://www.academia.edu/Documents/in/Laurence_Sterne?f_ri=8491","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=9646633]'), work: {"id":9646633,"title":"“Every author has a way of his own in his bringing his points to bear.” Consider the representation of the role of the author in Sterne’s “The Life and Opinions of Tristram Shandy, Gentleman”.","created_at":"2014-12-06T05:46:17.013-08:00","url":"https://www.academia.edu/9646633/_Every_author_has_a_way_of_his_own_in_his_bringing_his_points_to_bear_Consider_the_representation_of_the_role_of_the_author_in_Sterne_s_The_Life_and_Opinions_of_Tristram_Shandy_Gentleman_?f_ri=8491","dom_id":"work_9646633","summary":"A consideration of the role of the author within Sterne's 'Tristram Shandy', particularly in relation to Barthes and Foucault's discussion of the role of the author and the metafictionality of 'Tristram 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Shandy","url":"https://www.academia.edu/Documents/in/Tristram_Shandy?f_ri=8491"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44384086" data-work_id="44384086" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44384086/An%C3%A1lisis_Lexias">Análisis Lexias</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Antología y Análisis textual de La tía pobre de Haruki Murakami</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44384086" data-share-source="work_strip" 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itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="32328448" href="https://uam-xochimilco.academia.edu/ManuelD%C3%ADaz">Manuel Díaz</a><script data-card-contents-for-user="32328448" type="text/json">{"id":32328448,"first_name":"Manuel","last_name":"Díaz","domain_name":"uam-xochimilco","page_name":"ManuelDíaz","display_name":"Manuel Díaz","profile_url":"https://uam-xochimilco.academia.edu/ManuelD%C3%ADaz?f_ri=8491","photo":"https://0.academia-photos.com/32328448/9948252/34739192/s65_manuel.d_az.jpg"}</script></span></span></li><li class="js-paper-rank-work_44384086 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44384086"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44384086, container: ".js-paper-rank-work_44384086", }); 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Analysis","url":"https://www.academia.edu/Documents/in/Discourse_Analysis?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="98" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8491" href="https://www.academia.edu/Documents/in/Roland_Barthes">Roland Barthes</a>, <script data-card-contents-for-ri="8491" type="text/json">{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=8491","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="41982" href="https://www.academia.edu/Documents/in/An%C3%A1lisis_del_Discurso">Análisis del Discurso</a><script data-card-contents-for-ri="41982" type="text/json">{"id":41982,"name":"Análisis del 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itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/26514905/KATARINA_RISTI%C4%86_AGLAJA_Kula_Vetrova_potraga_za_parametrom_zla_">KATARINA RISTIĆ AGLAJA < Kula Vetrova - potraga za parametrom zla ></a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Historically-Fictional Novel related to one's new interpretation of an ancient scroll & palimpsest - pseudo-document and it's hyperreal effects, hypertext.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/26514905" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span 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