ABSTRACT
In his 1957 Mythologies, Roland Barthes proposes a second‐order semiological system, in which a familiar sign is repurposed to become a new signifier and in the process mythologises the ...previous sign system. This article adapts this principle to musical topics in twentieth‐century music, using the case study of the eighteenth‐century topical universe as it appears in Sergey Prokofiev's two String Quartets.
I approach this from two directions, exploring in turn the mechanics of internal relationships and wider historical‐political implications. First, drawing upon William Caplin's concept of formal functions and their various possible associations with topics (Caplin 2005), I propose that topics with formal associations can express formal functions without the requirement for clarity in the primary parameters of harmony, tonality, grouping and cadence. Accordingly, they signify on a second‐order plane. The recurring Mannheim rocket in the first movement of Prokofiev's String Quartet No. 1 (1931) provides a case study. Second, I demonstrate the parallels between a second‐order system and key tenets of socialist realism. Concepts such as dostupnost′ (making the work understandable to everyone) and opora na klassiku (based on past Classical models) echo Barthes's model, as meaning is drawn from reference to Enlightenment‐associated art as a whole, rather than the individual topics. I demonstrate these principles in practice with reference to Prokofiev's Quartet No. 2 (1941). Together, these second‐order perspectives show the deeply rooted reliance on eighteenth‐century semantics in Prokofiev's music and their wider aesthetic implications.
Pierced Eardrums ffrench, Patrick
Angelaki : journal of theoretical humanities,
06/2023, Letnik:
28, Številka:
3
Journal Article
Recenzirano
Odprti dostop
Emerging in the wake of the broad paradigm of semiotics in discourses in the human sciences in France in the 1960s, and from other developments and emergent tendencies in philosophy and critical ...theory, a cluster of works in French thought of the 1970s, by Gilles Deleuze and Félix Guattari, Jean-François Lyotard, and Roland Barthes, investigate the liminal spaces and dynamic relations between sense, sound, and noise. Depending on the angle adopted, these investigations bear upon the relations between articulated sound and noise; language and sound, the formed and the unformed, the coded and the non-coded, sound and music, sound and silence, and other formulations of acoustic liminality. This article brings to light how noise is an operative concept across this material; I argue for its pertinence to the question of the “mental state of noise” as elaborated by Steven Sands and John Ratey in their seminal piece “The Concept of Noise,” and then critically assessed by Cécile Malaspina in The Epistemology of Noise.
Em 1979, diante da fotografia da mãe falecida, Roland Barthes escreveu os 48 pequenos capítulos de A Câmara Clara. Publicado em 1980, jamais deixou de ser debatido, admirado, criticado. Esse debate, ...no entanto, raramente serviu para alargar seu alcance ou aprofundar seus insights. Reduzido a um pequeno número de citações, a multidimensionalidade do texto se perdeu. Esse artigo é a segunda parte de uma releitura do ensaio onde os conceitos são pensados como episódios e a exegese subordina-se às tramas da narrativa. Os aspectos priorizados nesse Lado-B de phi (Ф) são: puncta, a palinódia, interfuit, eidos e aoristo.
Al día siguiente de la muerte de su madre, el 25 de octubre de 1977, Roland Barthes comienza el Diario de duelo. La última entrada está fechada el 15 de septiembre de 1979. Durante estos dos años, ...inmerso en el dolor, Barthes se dedica a escribir, para mantener vivo el recuerdo de su madre. Pero, ¿cómo escribir? ¿Qué lenguaje inventar? ¿Hablar todavía sigue siendo posible? La muerte compromete el lenguaje, se cuela en los intersticios de la palabra, hasta que desgarra el discurso. Por eso, el 4 de noviembre de 1978, Barthes constata que la escritura ya no es posible.
The rise of the diaristic mode in contemporary art might seem like the return of the dead author in a particularly self‐absorbed frame of mind. Yet the diary is a form of writing that relinquishes ...authorial control to the passing moods and contingencies of the day. The diarist writes hastily, automatically, involuntarily, thereby giving access to insights unavailable to deliberation. An account of Roland Barthes's Mourning Diary, 2009, and his reflections on the diary as a form of writing serve to introduce the diaristic work of two contemporary artists, Moyra Davey and Susan Morris. Their work is directly informed by Barthes's and others' experiments with a mode of address that is intimate, but also de‐centred and fragmentary.
In this article, I focus on the complex relationship between psychoanalysis and semiology, some aspects of which were discussed by Roland Barthes. Referring to his Oeuvres complètes, I begin with the ...signifier and signification, taking both a semiological and psychoanalytic approach. My hypothesis is that, in Barthes' quest for a new semiology that could recognize and assign proper value to the signifier, he takes an ambiguous attitude to psychoanalysis. As we will see, he views psychoanalysis as an enemy just as much as an ally. Secondly, I show why it was important for Barthes to reconceive the problem of "symbol" and "symbolization" in psychoanalysis and semiology. Lastly, I emphasize the importance of Lacanian psychoanalysis for Barthes' semiological remarks.
L’articolo analizza il ruolo dell’immagine nella scrittura di Italo Calvino e in particolare come l’immagine rappresenti per l’autore una distanza, ovvero un punto di vista fuori dall’intenzionalità ...del pensiero del soggetto conoscente. La prima parte del saggio esamina diversi testi nei quali Calvino pensa la distanza in termini di solitudine, tempo, novità e silenzio. Il saggio poi guarda alle potenzialità gnoseologiche che Calvino riconosce all’immagine fotografica e alla fotografia come tecnica attraverso l’analisi del racconto L’avventura di un fotografo (da Gli amori difficili ), del libro La giornata d’uno scrutatore e dell’articolo “In memoria di Roland Barthes” uscito su La Repubblica in occasione della morte del filosofo. Quella che emerge da questo saggio è una vera e propria fenomenologia del visibile che Calvino sviluppa attraverso personaggi immaginari e riflessioni sue che lo avvicinano a filosofi quali Barthes e Walter Benjamin e anticipano ambiti di teoria critica contemporanea come, ad esempio, la affect theory (“teoria dell’affetto”).
The Theatricality of Grief Wilson, Harry Robert
Performance research,
06/2019, Letnik:
24, Številka:
4
Journal Article
Recenzirano
Odprti dostop
Roland Barthes's influential book on photography Camera Lucida has been discussed by Michael Fried as an exercise in 'anti-theatrical critical thought', for its celebration of the accidental, ...non-intentional, detail and the naïve non-performance of the photographed subject (see Fried 2008). However, in Barthes's comparison between photography and theatre in the book he evokes Samuel Weber's definition of theatricality as an interruption of the Aristotelean movement toward a 'meaningful goal' (Weber 2004: 46). Barthes explores the photograph's 'foreclosure of the Tragic' that 'excludes all purification, all catharsis', writing that nothing in the photograph 'can transform my grief into mourning' (Barthes 1993: 90). In these remarks Barthes sets up a distinction between the self-affirming cultural practice of mourning and the more painful, ongoing affective realm of grief. In 2017 I staged After Camera Lucida, a practice-as-research performance at the Citizens Theatre in Glasgow that responded to the concepts, methods and form of Barthes's book through my own personal experience of losing my mother when I was 14. This article critically reflects on After Camera Lucida, contextualising the performance through Barthes's ideas, Weber's concept of theatricality and recent scholarly work between theatre studies, visual studies and film. The article explores the ways that After Camera Lucida practised the suspension of mourning and catharsis as a particularly theatrical a/effect and how the slowing down of movement and time in the work explored a radical theatricality circulating between bodies, spaces and images.The article is punctuated by photographic documentation of the performance from Glasgow-based artist Julia-Kristina Bauer.
Cet article tente d’élargir les travaux sur la réception de l’œuvre de Roland Barthes à travers une étude comparée. À y regarder de près, on se rend compte que la frontière politique séparant ...l’Europe de l’Est de la Turquie aura tôt fait de creuser un fossé artificiel entre deux territoires d’une même région historique. Ainsi cette étude tente-t-elle de relever les points communs et les décalages entre deux processus de modernisation forcée dont l’œuvre de Barthes sera un excellent révélateur.
This article attempts to extend the work on the reception of Roland Barthes’ output through a comparative study. If we look closely, we realize that the political border separating Eastern Europe from Turkey will soon create an artificial gap between two territories of the same historical region. Thus, this study attempts to identify commonalities and discrepancies between two processes of forced modernization, which are remarkably revealed by Barthes’ work.
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