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  1. Theodor Wiesengrund Adorno, Giorgio Agamben, Louis Althusser, Hannah Arendt, John Langshaw Austin, Gaston Bachelard, Alain Badiou, Mikhail Mikhaylovich Bakhtin, Roland Barthes & Georges Bataille (2006). Names and Terms. In Paul Wake & Simon Malpas (eds.), The Routledge Companion to Critical Theory. Routledge.
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  2. Roland Barthes, Elements of Semiology.
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  3. Roland Barthes (forthcoming). Arcimboldo lub Retor i Magik. Estetyka I Krytyka 15 (15/16):225-239.
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  4. Roland Barthes (2010). Camera Lucida : Reflections on Photography. In Christopher Want (ed.), Philosophers on Art From Kant to the Postmodernists: A Critical Reader. Columbia University Press.
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  5. Roland Barthes (2007). U9 Roland Barthes. In Diarmuid Costello & Jonathan Vickery (eds.), Art: Key Contemporary Thinkers. Berg. 149.
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  6. Roland Barthes (2005). Relationship Between Writing, Reading and the Dominant Cultural Discourse. Perhaps the Most Important Philo-Sophical Influence on Barthes Was The. In Siobhan Chapman & Christopher Routledge (eds.), Key Thinkers in Linguistics and the Philosophy of Language. Edinburgh University Press. 27.
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  7. Roland Barthes (2005). The Neutral: Lecture Course at the Collège De France, 1977-1978. Columbia University Press.
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  8. Roland Barthes (1994). Taking Sides. In Barry Smart (ed.), Michel Foucault: Critical Assessments. Routledge. 24.
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  9. Roland Barthes (1981). 2 Theory of the Text. In Robert Young (ed.), Untying the Text: A Post-Structuralist Reader. Routledge & Kegan Paul. 31.
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  10. Roland Barthes (1981). On Émile Benveniste. Semiotica 37 (s1):25-46.
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  11. Roland Barthes (1977). Barthes, R. (1977). Image, Music, Text. (S. Heath, Ed.)The Journal of Aesthetics and Art Criticism (Vol. 37, P. 220). Hill and Wang. Doi:10.2307/429854Image, Music, Text. [REVIEW] Journal of Aesthetics and Art Criticism 37 (2).
    Roland Barthes, the French critic and semiotician, was one of the most important critics and essayists of this century. His work continues to influence contemporary literary theory and cultural studies. Image-Music-Text collects Barthes's best writings on photography and the cinema, as well as fascinating articles on the relationship between images and sound. Two of Barthes's most important essays, "Introduction to the Structural Analysis of Narrative" and "The Death of the Author" are also included in this fine anthology, an excellent introduction (...)
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  12. Guillaume Bellon (2012). Une Parole Inquiète: Barthes Et Foucault au Collège de France. Ellug, Université Stendhal.
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  13. Rudolf Bernet (1991). L'encadrement du souvenir chez HusserI, Proust et Barthes. Études Phénoménologiques 7 (13-14):59-83.
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  14. Thorsten Botz-Bornstein (2012). The Conscious and the Unconscious in History:Lévi-Strauss, Collingwood, Bally, Barthes. Journal of the Philosophy of History 6 (2):151-172.
  15. Mark Brunger (2014). Exploring the Myth of the Bobby and the Intrusion of the State Into Social Space. International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique 27 (1):121-134.
    This paper aims to increase the reader’s understanding of how the notion of the ‘bobby on the beat’ has been elevated to iconic, if not mythical, status within British policing. In doing so, the article utilises the semiotic idea of myth, as conceptualized by Roland Barthes, to explore how through representations of the ‘bobby on the beat’ police officers have been projected in a more avuncular re-assuring role to a public fearful of crime, which fails to do service to the (...)
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  16. Gerald Bruns (2010). Review of Leslie Hill, Radical Indecision: Barthes, Blanchot, Derrida, and the Future of Criticism. [REVIEW] Notre Dame Philosophical Reviews 2010 (3).
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  17. Sean Burke (1998). The Death and Return of the Author: Criticism and Subjectivity in Barthes, Foucault and Derrida. Edinburgh University Press.
    In the revised and updated edition of this popular book, Sean Burke shows how the attempt to abolish the author is fundamentally misguided and philosophically ...
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  18. William E. Cain (1990). The Ecstasies of Roland Barthes (Review). Philosophy and Literature 14 (1):175-176.
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  19. Patrizia Calefato (2008). On Myths and Fashion. Sign Systems Studies 36 (1):71-80.
    Roland Barthes’s work has confronted contemporary culture with the question of what happens when an object turns into language. This question allowed Barthes to “construct” well known cultural objects — from novels to music, from images to classical rhetoric, from love to theatre — in an unthought way, and to create new, even more unknown ones — from contemporary myth to fashion, from Japan to food culture. In this paper, Barthes’s cultural criticism is considered alongside with the issues raised by (...)
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  20. Howard Caygill (2004). Barthes and the Lesson of Saenredam. Diacritics 32 (1):38-48.
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  21. Jonathan Culler (2002). Barthes: A Very Short Introduction. OUP Oxford.
    This acclaimed short study, originally published in 1983, and now thoroughly updated, elucidates the varied theoretical contributions of Roland Barthes (1915-80), the 'incomparable enlivener of the literary mind' whose lifelong fascination was with the way people make their world intelligible. He has a multi-faceted claim to fame: to some he is the structuralist who outlined a 'science of literature', and the most prominent promoter of semiology; to others he stands not for science but pleasure, espousing a theory of literature which (...)
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  22. William DeFotis (forthcoming). The “Music” in Barthes' A Lover's Discourse. Semiotics:53-56.
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  23. Jacques Derrida (1988). The Deaths of Roland Barthes. In Hugh J. Silverman (ed.), Philosophy and Non-Philosophy Since Merleau-Ponty. Routledge.
  24. Denis Dutton, Mythologies of Tribal Art.
    Forty years ago Roland Barthes defined a mythology as those “falsely obvious” ideas which an age so takes for granted that it is unaware of its own belief. An illustration of what he meant can be seen in his 1957 critique of the photographic exhibition, The Family of Man . Barthes declares that the myth it promotes stresses exoticism, complacently projecting a Babel of human diversity over the globe. From this image of diversity a pluralistic humanism “is magically produced: man (...)
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  25. Gene Fendt (1995). Confessions'bliss: Postmodern Criticism as a Palimpsest of Augustine's Confessions. Heythrop Journal 36 (1):30–45.
  26. Patrick Ffrench (2013). Catastrophe, Adherence, Proximity Sartre (with Barthes) in the Cinema. Sartre Studies International 19 (1):35-54.
    Sartre's recollection, in Les Mots , of his first visit to the cinema is a multi-layered and ambivalent text through which Sartre proposes a number of interlocking arguments: concerning the contrast between the 'sacred' space of the theatre and the non-ceremonial space of the cinema, between the theatre as associated with paternal authority, and the cinema as associated with a clandestine bond with the mother. But the text also sets up a quasi-sociological account of the public Sartre encounters in the (...)
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  27. Andrew Fisher (2008). Beyond Barthes: Rethinking the Phenomenology of Photography. Radical Philosophy 148.
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  28. David Funt (1968). Roland Barthes and the Nouvelle Critique. Journal of Aesthetics and Art Criticism 26 (3):329-340.
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  29. Nicholas P. Greco (2013). Roland Barthes , The Preparation of the Novel, Trans. Kate Briggs . Reviewed By. Philosophy in Review 33 (3):177–178.
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  30. Nicholas Huckle (1985). On Representation and Essence: Barthes and Heidegger. Journal of Aesthetics and Art Criticism 43 (3):275-280.
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  31. William Irwin (2004). Against Intertextuality. Philosophy and Literature 28 (2):227-242.
    : Julia Kristeva coined the term intertextuality in 1966, and since that time intertextuality has come to have almost as many meanings as users. No small task, I clarify what intertextuality means for Kristeva and her mentor/colleague, Roland Barthes before criticizing their concept of intertextuality and its application in interpretation. Because no rational and coherent concept of intertextuality is offered by Kristeva, Barthes, or their Epigoni, I conclude that intertextuality should be stricken from the lexicon of sincere and intelligent humanists.
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  32. Kajetan Maria Jaksender (2010). Żałobny pątnik. Roland Barthes, śmierć, pustka i literatura. Humanistyka I Przyrodoznawstwo 16.
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  33. Alexander V. Kozin (2005). Crossing Over with the Angel. Sign Systems Studies 33 (2):273-294.
    This essay is an analytical extension of Roland Barthes’ structural analysis of an excerpt from the Old Testament (Genesis 32: 22–32), known as “The Struggle with the Angel”. It thus continues the search for “the third meaning” of this enigmatic passage. In this essay, “The Struggle with the Angel” is undertaken in the phenomenological (xenological) register which situates it in the liminal sphere at the crossing of disclosure and concealment. Subsequent semiotic analyses of three visual renditions of Genesis 32: 22–32, (...)
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  34. Lucian Krukowski (1990). Artist-Work-Audience: Musings on Barthes and Tolstoy. British Journal of Aesthetics 30 (2):143-148.
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  35. Annette Lavers (1982). Roland Barthes, Structuralism and After. Methuen.
    1 Where to begin? 'Life and times' Roland Barthes is generally acknowledged, even by those not conversant with his books, as one of the leading figures of ...
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  36. Lior Levy (2009). The Question of Photographic Meaning in Roland Barthes' Camera Lucida. Philosophy Today 53 (4):395-406.
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  37. Christian Lotz (2010). The Photographic Attitude : Barthes with Husserl. In Pol Vandevelde & Sebastian Luft (eds.), Epistemology, Archaeology, Ethics: Current Investigations of Husserl's Corpus. Continuum.
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  38. Christian Lotz (2010). The Photographic Attitude: Barthes for Phenomenologists. In Pol Vandevelde & Sebastian Luft (eds.), Epistemology, Archaeology, Ethics.
  39. Iwona Maria Malec (forthcoming). Roland Barthes: malarska retoryka Arcimbolda. Estetyka I Krytyka 15 (15/16):240-246.
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  40. Magdalena Marciniak (forthcoming). \"Na Skrzyżowaniu wszystkich dzieł-prawdopodobnie teatr\" (Roland Barthes Pisma o teatrze). Estetyka I Krytyka 19 (19):175-178.
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  41. Hanna Meretoja (2010). Robbe-Grillet's Ethics of Non-Narrativity in the Post-War Context (Sartre, Levinas, Barthes). In Kuisma Korhonen & Pajari Räsänen (eds.), The Event of Encounter in Art and Philosophy: Continental Perspectives. Gaudeamus.
  42. James Michels (forthcoming). Roland Barthes on the Cosmo Cover Girl. Semiotics:195-202.
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  43. Christopher Norris (1974). Les Plaisirs Des Clercs: Barthes's Latest Writing. British Journal of Aesthetics 14 (3):250-257.
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  44. David Novitz (2001). Postmodernism: Barthes and Derrida. In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
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  45. Fontana Press, Annette Lavers, Roland Barthes & Harvester Wheatsheaf (2005). Primary Works. In Siobhan Chapman & Christopher Routledge (eds.), Key Thinkers in Linguistics and the Philosophy of Language. Edinburgh University Press.
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  46. Steven Rendall (1985). Roland Barthes (Review). Philosophy and Literature 9 (1):111-113.
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  47. Federica Riviello (2012). I lectores medioevali tra il libro e il testo. Doctor Virtualis 11 (11).
    L’intento del lavoro è di problematizzare alcuni aspetti, generalmente ritenuti emblematici, della relazione tra i litterati medievali e il libro – nelle sue declinazioni di Testo sacro, Libro della natura e auctoritates . L’impiego, come strumenti di lavoro, di concetti di recente elaborazione e di osservazioni di pensatori contemporanei sull’argomento, non è finalizzato ad attualizzare tale relazione, quanto piuttosto ad ampliare i punti di vista su di essa e a metterne alla prova la capacità di offrire originali spunti di riflessione. (...)
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  48. Mary F. Rogers (1984). Everyday Life as Text. Sociological Theory 2:165-186.
    The work of literary structuralists, particularly Roland Barthes, provides sharper insights into ethnomethodology than symbolic interactionism, labeling theory, or phenomenology. Further, it suggests that the metaphor of text may be fruitful for analysts of everyday life. Greater theoretical benefits derive from that metaphor, however, if one applies it using the ideas of literary theorists outside the structuralist tradition.
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  49. Jacob Rump (2012). Levi-Strauss, Barthes, and the "Structuralist Activity" of Sartre's Dialectical Reason. Sartre Studies International 17 (2):1-15.
    The paper examines Lévi-Strauss' criticisms of Sartre's conception of dialectical reason and history as presented in the last chapter of La Pensée Sauvage , suggesting that these criticisms are misplaced. Sartre's notion of reason and history in the Critique is much closer to structuralist accounts than Lévi-Strauss seems to recognize, but it differs in placing a strong emphasis on activity and praxis in place of the latter's passive conception of reason. The active role of the inquirer in structuralist thought is (...)
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  50. Anne Sivuoja-Gunaratnam (2008). Voicing Le Neutre in the Invisible Choir in Richard Wagner's Parsifal. Sign Systems Studies 36 (1):83-110.
    Roland Barthes was suspicious about the ability of music and voice to signify, as revealed in many of his writings. However, his somewhat limited views on music and voice need not to restrain from profiting his semiotic theorising and his reasoning, which can be adapted for musical instances in ways not envisaged by Barthes. The Neutral (Le Neutre) is a recurrent topic in Barthes’s oeuvre from his first book, Writing Zero Degree (1953) up to his 1978 lecture series on The (...)
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