Roland Barthes lectura: măsoară valoarea și decodează semnificația textelor?

The term ‘producerly’, Fiske ... practices. For Barthes, readerly texts summon readers who are passive, receptive, and disciplined in nature, and who accept the literal meaning of the text....

Revolution). The Text, on the other hand, is read without the

Barthes's works illustrate the tension between deep attention and drifting in literary analysis. Attention modulation involves shifting focus between deep analysis and skimming for comprehension. Current fMRI studies at Yale and Stanford explore cognitive responses to reading, impacting literary studies. The concept of 'cruft' highlights the challenge of distinguishing meaningful text from excess in mega-novels.

This difference may be because of the time, which was a period of transition from structuralism to post-structuralism. So, these two works of Barthes can be regarded as important documents as far as Barthes' theoretical ideas are concerned. In this article I have tried show the different attitudes of Barthes in these two works about how to read and understand a literary text.

The term distant reading was coined by Franco Moretti to name a method of reading that is capable of directly addressing a very large number of texts without relying on the accumulated accounts of prior readings. Distant reading names a process of reading that differs from close reading in terms of how we select the evidence through which we might make interpretive arguments.

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The shift of perspective from the author to the text that Barthes takes from the Russian Formalists is also central to Gerard Gennete’s narratology, Julia Kristeva’s poststructuralist theory of intertextuality, and Derrida’s postulation of the abandonment of the “transcendental signified”. ... Tags: Balzac, horizontal and vertical, jouissance, Linguistics, Literary Criticism, Literary Theory, plaisir, Readerly and Writerly Texts, Roland Barthes, s/z, Sarrasine

This pleasure, which is typical of the readable text, contrasts with the text of jouissance (the text of enjoyment, bliss, loss of self). The text of pleasure is often of a supreme delicacy and refinement, in contrast to the often unreadable, poetic text of jouissance. Barthes’s texts themselves, especially from 1973 onwards, can be accurately described in terms of this conception of pleasure.

The first step to interrogation, and potentially to resistance, is to recognize symbols as such, but this is an increasingly harrowing task in a society where, as Benjamin writes in “The Work of Art in the Age of Mechanical Reproduction,” “self-alienation has reached such a degree that it can experience its own destruction as an aesthetic pleasure of the first order.” ... Our symbols are convoluted, but in order to decode them from their environment before decoding them themselves, we need to know what carries semantic weight: in other words, we need to know what can be read outright (what our de facto texts are), what can be textified, and what can’t.