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Image Music TextMostly bullshit special interest vague unproductive theories bad writing style lack of logic and layman readabilityEven with the non special interest essays I wasn t impressed The writing style is simply bad in my opinion there are way too many arentheses sometimes as many as normal text and his arguments lack structure ironically and logic If i recall correctly i never saw a single definition of a term even in The Grain of the Voice he only defines grain very late after using it and only vaguelyBarthes simply likes to let his creative associative owers loose on adjectives terms and relations jumping from one to the next without showing a logical connection between themAnd even in The Death of the Author which seems to have become famous and whose idea he seems to be credited with an idea i like a lot he just mostly writes sorry meaningless bullshitWith special interest I mean two things First of all most of these essays writes sorry meaningless bullshitWith special interest I mean two things First of all most of these essays to support the theoretic system of semiology with its own specific terms If you are not auainted with this special field even with the translator s introduction explaining the different french terms that often don t have exact introduction explaining the different french terms that often don t have exact counterparts you will likely not understand or be interested in much of what Barthes writes This was my introduction to semiology and it strikes me as arbitrary It doesn t explain much of literature or visual art forms it just tries to fit them into its own system of terms Maybe it s a good system of description maybe not but it doesn t have any meaning to me And i m not averse to theory I ve happily gone my way through university and delved into theories in literature and other fields not my ownWith Image Music Text I expected interesting ideas for the layman like Hawkings A Brief History of Time but I got academically entrenched apers instead that reuire a lot of background knowledge in their unexplained referencesThe second way this collection is special interest is by its subjects 6 of 13 essays deal with objects that are likely not familiar to most readers Eisenstein film stills a biblical Alles in meinem Dasein ist Musik... passage Beethoven siano music two classical singers in Panzera and Fischer Dieskau the former obscure being the object of his admiration and japanese Bunraku theatreLet me criticize some examplesNow even and above all if the image is in a certain manner the limit of meaningwhat does that mean that there can be no meaning than in an image what is the limit of meaning and why would it be the imageIntroduction to the Structural Analysis of Narratives IntroductionThe narratives of the world are numberless almost a Witch Is Why The Moon Disappeared page of meaningless introductionMust we conclude from this universality that narrative is insignificantRidiculous idea not worthy to be discussed which he goes on to do Why would significant things need to be rare We can easily conjure counter examples literature love any artworks humans stylistic elementsIn short this introduction is not onlyointless but also stupidWhere then are we to look for the structures of narratives Doubtless in narratives themselvesThis sentence joins the introduction in being one of the most stupid things i read for a long timeThe sentence being an order and not a serieshow what is an order or a series here I guess he means that there s order in a sentence it s not just a random series but a series can also have order This IS JUST ANOTHER EXAMPLE OF BARTHES THROWING TERMS AT just another example of Barthes throwing terms at without explanation Like the following completely unexplained euationThe levels are operationsAt some oint Barthes makes the oint that linguists only look at single sentences and that discourse operates as a higher level of language than linguists by being organized over multiple sentences Then he contradicts himself by saying that this higher discourse conception is now developed by linguists It seems Barthes has a naive view of linguisticsAccording to this code the fantasmatic that is to say corporal image which guided the Underground (Unbelievers, performer was that of a song spun out inwardlyphantasmatic whyever Barthes or the translator chose that word means incorporeal so a contradiction Alsoiano The Letters and Lessons of Teddy Roosevelt for His Sons pieces are not songs especially not Beethoveniano ieces This whole essay is a bit naive musically Why does Barthes try himself in writing about music and even in music criticism in The Grain of Voiceto want to lay Beethoven is to see oneself as the conductor of an orchestraNope Polyphonic The Purposeful Graduate pianoieces and orchestral works are two completely different worldsI don t see how this collection of essays is so opular even the film theory is completely isolated and teaches you nothing about how film works Though i was too disgusted not to skim some of the essays about visuals after a while so I d be glad to be corrected Image Music Text comprises a number of texts by Roland Barthes with edition and selection by Stephen Heath The topics covered are broad in both content and subject ranging from considerations on Eisenstein s hotograms with Thailand's Sickest - Hell To Pay particular incidence and considerations on Eisenstein s decorative meaning to a textual analysis of The struggle with the angel aassage from GenesisBarthes is with no uestion both a writer and a teacher despite and in concordance with the sort of dichotomy created by him in the last text in the book Writers Intellectuals Teachers Here he argues that the fundamental differences between writing static and discourse dynamic with teaching as an example make the former explicitly different from the latter even though writing always tries to model discourse In spite of this Barthes writing still feels fairly modern as far as essays are concerned for a static iece. Image Music Text brings together major essays by Roland Barthes on the structural analysis of narrative and on issues in literary theory on the semiotics of hotograph and film and on the ractice of music and voiceThroughout the volume runs a constant movement from work ,
Of text Image Music Text does not feel old The first few four essays are devoted to the analysis of images with focus on semiology and attempting to establish a structural analysis framework for images Rhetoric of the Image is especially good and a good example of this while being a worthy introduction to the basic rinciples of the semiology in images Apart from this The Third Meaning also stands out as a new way to readinterpret images using Eisenstein s hotograms with an additional meaning the first two here are the obvious meanings as they come to seek out the reader the obtuse meaning that of the signifier without a signified that which makes the distinction between the expression authentic and the disguise inauthentic thinner the filmic meaning This segues nicely into Diderot Brecht Eisentstein which would in a way combine this third meaning and the other two as well into a new form of criticism which considers simultaneously the vertical ie which and how different elementssignifierssignifieds are arranged in an image and horizontal axis ie a time characteristic that allows the image to move from the The Bias of Communication pregnant moment where itermanently liesThe fifth essay Introduction to the Structural Analysis of Narrative is one of my favourite ieces in Image Music Text as this was my one true introduction to structural analysis in general this to me should have been the first text in the book Oddly enough this transitions into The Struggle With the Angel a textual ie the ossible interpretations of what is written in the text and not really structural as Barthes mentions analysis The Death of the Author comes next which is Barthes s best known work In essence it is the first ush against the critic s inherent necessity still very much alive today to link aesthetics to ethics and to incorporate an author s life and intentions into whatever work he is reviewing Barthes is firmly against this because it greatly reduces the search space for a text s interpretations trying to create objectivity where to him there should be none I have absolutely nothing against this erspective and can happily agree with it in fact this stands out as one of my favourite texts from the book This makes way for From Work to Text where Barthes further develops this thought calling for the shift from the interpretation of the work ie something that semiologically holds a single correct interpretation to the text ie something that holds not only several meanings but also several layers of meanings arranged into several different levels creating what to me feels a lot like a nicely done marriage between reductionism and emerging ropertiesThe remainder of the texts that I did not mention did not cause much of an impression on me when compared with the ones mentioned In articular those about the analysis of audio aesthetics were erhaps the dullest good reads nonetheless but they do break the natural flow of Image Music Text This is of course a conseuence of how comprehensive this book is something that if you try to summarise work conseuence of how comprehensive this book is something that if you try to summarise work not really a choice but a necessity In summary I can safely say this was one hell of a journey but definitely a worthy one if the topic of structuralismsemiology interests you Barthes is a giant on these fields and while it may be a complicated read it is also a very worthy introduction Alas it does have it s shortfalls The language while clear holds several terms that made me reread the same sentence several timeseventually give up and Google whatever they meant A small glossary for these terms would have been than welcome but not strictly necessary with the advent of the Internet Something that also made this a bit complicated to read were references to the work of others contemporary to Barthes which if you have no articular clue about who they are only make the whole thing a bit confusing Brilliant stuff I want to be a French Interior Designs: An Adult Coloring Book with Beautifully Decorated Houses, Inspirational Room Designs, and Relaxing Modern Architecture philosopher when I grow up It s my firist time to read critical essays so it s alittle bit hard to jugeThe firist two articles are abouthotographey but the most amazing essays was the death of the author and music Gläsern practisa The death of the author is adopting what most modern critics like TS Eliot adopted about focusing on the work of art itself rather than the author his motives or feelings it was something I used to believe that the authorsersonality is showing in his writes but actully writing is escaping from the writers Detention of Doom personalitymusicractisa is involving bethoven s works and it drew mt attentiont to very important thing is the disappearance of the ameutres and it s only the Fromentin purerofessionals and only listners which threatnes the music education issues This is a classic work of critical theory by the French writer Roland Barthes It is by turn illuminating bewildering infuriating contradictory and revelatory For graphic designes the most relevant essays are The Rhetoric of the Image about the signification of commercial Punishing My Slutty Little Sister photography and The Death of the Author and From Work to Text about new models of reading and writing The last twoiece in Blood+: Russian Rose, Volume 2 particular had a big impact on experimental design in the late 80s and early 90s Those were some inventive times Barthes is not as difficult as he initially seems toeople including myself The guy has what every great critic has a sense of humour ristine rose and razor sharp insight And don t mistake him for a cut and dry New Critics level formalist I have nothing against them let me note his reasoning is better and his ambitions greater The New Critics can be seen as reductive in certain respects but if Barthes commits an act of apparent red. O text an attention to the very ‘grain’ of signifying activity and the desire to follow – in literature image film song and theatre – whatever turns displaces shifts dispersesStephen Heath whose translation has been described as ‘skilful and readable’ TLS and .


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Uction it is to open whole avenues of exploration there are exceptions but that is the rule The three really famous essays contained here are all worthy of their acclaim especially The Death of the Author which has to be one of the most concise and cutting and connotation acked essays in literary theory Barthes is freuently misinterpreted and the victim of rejudice especially from the Anglo American academy to which I rofess allegiance btw and like many other continental thinkers is often thought of as The Taste of Her Blood (A Lesbian Vampire Tale) plentyretentious and well obnoxious than he actually is The best thing about Barthes writing is that it is loose and non conformist to the usual rules of academic writing while this tendency can make him harder to follow than the clearer hilosophers and critics in the Anglo American tradition Barthes is a cut above most of his contemporary continental thinkers and deserves the attention but scarcely the vitriolic attacks he receives Thinks like an angel writes like the Devil Inevitably rofound olitical lucid and richly ersonalI was Learn English: A Beginner's Guide for ESL Learners particularly struck by his idea of the third meaning the obtuse meaning and the filmic something I have never seen or heard mentioned but ALWAYS EXPERIENCED It is as if the secret life of art were suddenly illuminated I think like manyeople I first read The Death of the Author as a stand alone essay a while before taking the time to engage with Barthes Who Is Gloria Steinem? project it s easy to take thatarticular essay as a kind of synecdochic stand in for the whole of Barthes work and also to slide immediately from the death of the author and the refusal of God and his hypostases reason science law into oststructuralism 147 But trite as this may be to oint out the other essays are also good I think Introduction to the Structural Analysis of Narratives is actually the heart of this book its longest and most systematic essay It could be read as a less rovocative version of The Death of the Author It also airs very well with The Struggle with the Angel which I actually thought was the most enjoyable essay in here He clarifies that his reactions to this text are those of a reader today which means he approaches the biblical assage in a way that reproduces certain impressions and reactions that we can much easily recognise in ourselves even if he works them out in sophisticated detail This is artly a conseuence of an approach that as he admits is only the working out of a new system of analysis maybe even one that just collages what is being developed round about him 164 He is staking out new ground in the Corazones solitarios practice of reading and you can follow hisrocess Napříč nekonečnem pretty closely and with a reasonable degree of satisfaction even 50 years laterI feel like the essays that deal with music Musica Practica and inarticular The Grain of the Voice go underappreciated in the musicological sector of the academy There s naturally a story about the slow speed at which musicology has aid attention to semiotics as a discipline but it s interesting over and above this to read Barthes explicitly make the claim in 1972 that the simple consideration of grain in music could lead to a different history of music a history that would totally recast the centrality of tonality to musical history 189 Like he just comes out and says This No Need For A Musicologist To Draw Interdisciplinarily On no need for a musicologist to draw interdisciplinarily on work they could just read it To be fair grain is an unusual concept for literary theory too thus the innovativeness of Barthes for all who read him but it s interesting that he effectively develops this concept out of an immanent roblem with music criticism the roblem of music criticism s reliance on the adjective on its inability to analyse music in a way that moves beyond a superficial aradigm of representation Grain means here the gap that opens up between the music and the language as if they were recto and verso of a sheet of Now Pitching, Bob Feller: A Baseball Memoir paper called lied or in other words the gap between the level of the sign what I have called thearadigm of representation and the underlying level of the ure "signifiers its hysical dimension There s maybe an interesting unstated similarity between the concept of grain "its Mermaid physical dimension There s maybe an interesting unstated similarity between the concept of grain the layers of meaning that Barthes identifies in the first two essays in this collection about thehotograph the opening up of a grain is analogous to the opening up of the Hochzeit mit Hindernissen photograph into its linguistic or cultural messages and itshotograph message which erhaps like the grain is a message without a code 17 This grain admits of an erotics but is also the domain for the application of a systematic structural investigation which would be not just a solution to one of music criticism s big roblems but which was also a historical moment of development for the history of literary criticism So literary criticism was listening to the innovations of music criticism one might say while musicology was not reciprocating What I sounded like at 20 Bong rip The author s dead fuckers Turn left Hey wanna go back to mine Sound of vintage ballet flats moving across the hardwood as far away from my After Effects Expressions pathetic ass as uickly asossibleSo yeah I d read a bunch of these before It s a lot of vintage Barthes which is always a good time Now some of the deeper semiotic dives the ones where it gets into hardcore full contact structuralism not for me Nor are the essays about music really because with rare exceptions music seems damn near impossible to theorize about other than in explicit music theory and musicological terms and frankly I don t know enough about the canon of classical music to address his oints intelligently But the rest are very much worth your tim. ??uite brilliant’ TES is the author of Vertige du déplacement a study of Barthes His selection of essays each important in its own right also serves as ‘the best introduction so far to Barthes’ career as the slayer of contemporary myths’ John Sturrock New Statesma. .