1. MYTHOLOGIES MYTHOLOGIES Books by Roland Barthes A Barthes Reader Camera Lucida Critical Essays The Eiffel Tower and Other Mythologies Elements of Semiology The Empire of Signs The Fashion System The Grain of the Voice Image-Music-Text A Lover's Discourse Michelet Mythologies New Critical Essays On Racine The Pleasure of the Text.
2. Roland Barthes writes about the toys that the children of this generation are given to play with. These toys are miniature versions of the adult world because sadly the child is considered to be a smaller adult and not a younger adult. The ability to think, imagine and create is killed by these toys because of their complex nature.

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ISBN 978 1 8496 4722 9 PDF eBook. By Roland Barthes between 1961 and 1973. Steak and fries, plastic and wood. Roland Barthes Plastic Pdf Format MYTHOLOGIES MYTHOLOGIES Books by Roland Barthes A Barthes Reader Camera Lucida Critical Essays The Eiffel Tower and Other Mythologies Elements of Semiology The Empire of Signs The Fashion System The Grain of the Voice Image-Music-Text A Lover's Discourse Michelet Mythologies New Critical Essays On Racine The. At the bottom where there are signs like toy, plastic, food, ornament, spectacles etc. And at the same time these signs are dominant in today’s world. French philosopher Roland Barthes (1915-1980) was first among those who successfully found out the myths of today’s world which build up the concrete shape of the society.

Roland Barthes. Barthes' ideas explored a diverse range of fields and he influenced the development of many schools of theory, including structuralism, semiotics, social theory, design theory, anthropology, and post-structuralism.

Sterilization

Accordingto Roland Barthes, Toys are copies of the adult world given to the child. Theyare child size versions of the real world. In other words the toys are astructural representation of what is expected of them and what they shouldexpect when they become adults. They are simply smaller version of the worldwhich we are given to accept. The toys represent real world objects orconcepts. There is no or little room for originality. We are brainwashed fromchildren to become proper adults, who do not do or think for themselves. Thechild, with no choice of their own, is subject to what the adult gives thechild. They do not make decisions for themselves. They learn to expect what ishanded to them and to deal with it.

Childrenare exposed to a miniaturized version of the real world, or the real world asis depicted by those in power portrayed. Early on we are branded to acceptthings that we will encounter in the “real world”. Ugliness, beauty, death,war, even sexual identities are all given to us as signs/toys. The fireman andfiretruck are given to the boy. He should be masculine, strong, defending. Batmanteaches boys not to cry. Plastic pink ovens are given to girls, so that theycan learn to cook. The Barbie dream house is given to the girl, she should bewanting more, having what she wants, be a mother, be girly, become a consumernot a creator. While these stereotypes have lessened over the years withacceptance of boys getting girl toys and so on, they still exist. A boy withgirl shoes is made fun of because he is different. Adults think that isterrible to do this practice. Stereotypes are thus forms of conformity. Thisteaches that we all must be the same.

The toysbecome signs. Signifier is that the toy is what is expected of the child. Signs=signifiersand the signified versions of what is supposed to be reality for the child whenthey become an adult. I must be a man is the image that carpentry toys portray.I must be concerned with my image is what Barbie portrays.

Theevolution of toys from a natural material to an unnatural material may bebecause of the evolution of the adult or concept of the adult life. Where oncewarm, loving families were portrayed with wooden toys and the natural elementssuch as woven dolls, plastic and manmade materials have overtaken the toymarket to replace warmth and love with cold and sterility. The family lifestylehas changed a lot in the past 100 years. Where once families lived together inhouses, today parents are separated and the children are split up. The coldnessof technology reflects the modern day era. The toys represent beliefs, values,overlying structures of real life.

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There arethe toy versions of justice and judicial systems (like cops and robber figures,even ideological versions of the adult world, such as Batman, wonder woman,woody from Toy Story). Toys that allow for creation and ingenuity are rare.Building blocks made out of wood or modern day Lego blocks are one of the fewremaining examples. We are taught not to think, but to conform. As children weare given objects that will grow us into controlled adults. Girls are givenbaby dolls to prepare them for motherhood. Boys are given toy soldiers toenhance the idea of patriotism and prepare them for the harshness of the worldsuch as war and death.

The toyindustry is changing. In fact there are fewer and fewer “toys” but more andmore adult objects given to children as toys. Books have become a thing of thepast. Visual representations have taken over. Real interaction is replaced withtexts and messaging. The recent age of the Ipad has allowed children to focusless on social skills and originality and more on conformity and comfort. Whyhave real friends when you can be friends online with people all over theworld? Why have real relationships when you can have false ones online? Youmust fill the false hole of identity with objects. Consumerism at its best.Here the structuralism is two-fold. We are taught that the world is one wherewe must buy and are expected to be bought.

Takeplastic toys for example. Cheap, flimsy material that breaks in seconds. It isthe era of the cheap, the easily replaceable, replications of the real world.They are taken over by the disposable, the un-lasting. This teaches childrenthat they are expected to be in a world where stability no longer exists. It isokay to just replace what is broken. Gone are the days of the old toys, passeddown through generations. Gone are the permanent careers, replaced by thetemporary and changing cycles of employment and life intermixed.

The warmstuffed animal is exchanged for the cold, heartless steel of the computer. Itdoes all of the thinking for you = you will not have to think when you grow up.You will not have to be “real”= you can have an idealized version of yourselfthat you portray to the world.

Takefacebook for example. The site itself is a representation of reality. Theprofile and picture you post are all representations of yourself that you wishto portray to the real world. They are not real. They are idealized versions ofreality. The social contexts of chatting and messaging without actualinteraction, signifiers that the real world is not something you have toactually be in. Everything is disposable, including you!

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You canbuild or buy a new version of yourself, just as you can easily replace your brokenheadphones and computer when the cheap parts break…besides they are outdatedwhen you get them! Advertisements constantly tell us of what’s new and comingsoon! The new update for apple is coming out! New styles of clothes can replaceold uncool ones. Why have used clothes when you can have new. There is alwayssomething better coming soon! The children of today have become the Me Only generation.It is all about me. I must have what I want. The new Ipad Air is coming out! Iwill throw a fit until I get it.

Roland Barthes Plastic Pdf Cover

In this waychildren learn the cold, true cruelty of the real world (they know that if theycry enough they will get it), but are also desensitized to become complacent cogsin the society. There originality and childness is replaced with the problemsof the adult world on the shoulders of the child, the need for massiveconformity and belonging deepening with the loss of the idea of the warm home,the worn down blanket, the importance of the individual. The old ways aregoing, with the deaths of the baby boomers. Gone are the ideas of family, home,and friendship. Instead the ideas of falseness, façade, separation. Thesterilization of society is evolving.

Advances in technology allow greateraccess to information. This is good in that humans can accomplish things thatwere only dreamed of before, but it is also bad that it desensitizes children.There for them, the whole world is available to be seen in all its goryrealness (trust me the kids find a way around that parental block thing). Thechildhood dream is crashing, replaced with the reality of the adult world. Herewe see the youth, stripped of its innocence, replaced with cold hard reality.Mom and Dad aren’t getting back together. Small children are having sex thanksto easily accessible information on what sex is. It’s like Scooby Doo, whereall the monsters are really humans.

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Roland Gérard Barthes (1915–1980) was a French literary theorist, philosopher, linguist, critic, and semiotician. His ideas explored a diverse range of fields and he influenced the development of schools of theory including structuralism, semiotics, social theory, anthropology and post-structuralism.

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Life and work[edit]

Roland Barthes was born in Cherbough, Manche. His father died in a naval battle in Barthes' infancy, forcing his mother to move to Bayonne. Barthes spent his early childhood there, until they moved to Paris in 1924 where he attended the Lycée Montagne, followed by studies at the Lycée Louis-le-Grand from 1930-34. Life became difficult for them when Barthes mother had an illegitimate child, for their grandparents refused to give her financial aid, and so she took work as a bookbinder. Barthes was able to continue his studies at the Sorbonne, in classical letters, grammar and philology (receiving a degrees in 1939 and 1943 respectively), and Greek tragedy.

Barthes' doctoral studies were hampered by ill health. He suffered from tuberculosis, spending time in sanatoriums in the years 1934-5 and 1942-46, during the occupation. He continued to read and write, established a theatrical group, and in spite of his condition, managed to teach at lycées in Biarritz (1939), Bayonne (1939-40), Paris (1942-46), at the French Institute, Bucharest, Romania (1948-49), University of Alexandria, Egypt (1949-50), and Direction Générale des Affaires Culturelles (1950-52). His teaching career expanded: research positions with the Centre National de la Recherche Scientifique (1952-59), a directorship of studies at the École Practique des Hautes Étude (1960-76), a teacher at Johns Hopkins University in Baltimore (1967-68), and a chair of literary semiology at Collège de France (1976 to 1980). [1]

Barthes died in 1980 at the age of 64 from injuries suffered after being struck by an automobile. Several posthumous collections of his writings have been published, including A Barthes Reader (1982), edited by his friend and admirer Susan Sontag, and Incidents (1987). [2]

Roland Barthes Plastic Pdf

Works[edit]

Monographs[edit]

• Le degré zéro de l'écriture, Paris: Seuil, 1953; repr., Paris: Denoël/Gonthier, 1965; new ed., Paris: Seuil, 1972, ARG 2up, HTML.
  • Writing Degree Zero, trans. Annette Lavers and Colin Smith, London: Jonathan Cape, 1967; New York: Hill and Wang, 1968, ARG 2up. (English)
  • Nulový stupeň rukopisu: základy sémiologie, trans. Josef Čermák and Josef Dubský, Prague: Československý spisovatel, 1967, xxi+88 pp. (Czech)
  • Yazının Sıfır Derecesi, Metis Yayınları, 2006, PDF. (Turkish)
  • Gradul Zero al scriiturii. Noi eseuri critice, trans. Alex. Cistelcan, Chişinău: Cartier, 2006, 196 pp. (Romanian)

• Michelet par lui-même, Paris: Seuil, 1954.

• Mythologies, Paris: Seuil, 1957, ARG, PDF, PDF; 1970.
  • Mythologies, trans. Annette Lavers, New York: Farrar, Straus & Giroux, 1972, ARG, PDF. (English)
  • Mitologías, trans. Hector Schmucler, Madrid: Siglo XXI, 1980, PDF. (Spanish)
  • Mytologie, trans. Josef Fulka, Prague: Dokořán, 2004, 170 pp. (Czech)
  • Mythen des Alltags. Vollständige Ausgabetrans, trans. Horst Brühmann, Berlin: Suhrkamp, 2010, PDF. (German)
  • Mythologies: The Complete Edition, trans. Richard Howard and Annette Lavers, New York: Hill and Wang, 2012. (English). Review.
  • Mitologii, trans. Maria Carpov, Bucharest: VELLANT, 2015, 271 p. {ro}}

• Sur Racine, Paris: Seuil, 1963; 1979.
  • On Racine, trans. Richard Howard, New York: Hill and Wang, 1964, xii+172 pp. (English)

• 'Éléments de Sémiologie', Communications 4, 1964, pp 91-135, HTML; repr. as Eléments de sémiologie, Paris: Denoël/Gonthier, 1965. MIA, excerpts. (French)
  • Elementos de semiología, trans. Alberto Méndez, Madrid: Alberto Corazón, 1971, PDF. (Spanish)[3].
  • Elementos de semiologia, trans. Izidoro Blikstein, São Paulo: Cultrix, 1971, PDF. (Brazilian Portuguese)
  • Elements of Semiology, trans. Annette Lavers and Colin Smith, New York: Hill and Wang, 1977, ARG, PDF. (English)

• Critique et vérité, Paris: Seuil, 1966; rev. ed., 2002, PDF, IA, ARG.
  • Crítica y verdad, trans. José Bianco, Buenos Aires: Siglo XXI, 1972, PDF. (Spanish)
  • Criticism and Truth, trans. Katrine Pilcher Keuneman, Athlone Press, 1987; London: Continuum, 2004; 2007, ARG. (English)
  • Kritika a pravda, trans. Josef Čermák, Josef Dubský and Julie Štěpánková, Liberec: Dauphin, 1997. (Czech)
  • Crítica e verdade, trans. Leyla Perrone-Moisés, 3rd edition, Sao Paulo: Perspectiva, 1999, PDF. (Brazilian Portuguese)

• Système de la Mode, Paris: Seuil, 1967.
  • The Fashion System, trans. Matthew Ward and Richard Howard, New York: Farrar, Straus and Giroux, 1983; University of alifornia Press, 1990, ARG. (English)

• S/Z, Paris: Seuil, 1970; 1976.
  • S/Z, trans. Richard Miller, intro. Richard Howard, New York: Farrar, Straus & Giroux, 1974; Blackwell, 1990; 2002, ARG, PDF. (English)
  • S/Z, trans. Josef Fulka, Prague, 2007, 431 pp. (Czech)

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• L'empire des signes, Paris: Skira, 1970; Paris: Flammarion, 1980.
  • Empire of Signs, trans. Richard Howard, New York: Hill and Wang, 1983; 1989, ARG, PDF. (English)
  • Imperiul Semnelor, trans. Alex. Cistelecan, Cartier, 2007. (Romanian)
  • Říše znaků, trans. Petr Zavadil, Prague: Fra, 2012, 168 pp. (Czech)

• Sade, Fourier, Loyola, Paris: Seuil, 1971; 1980.
  • Sade, Fourier, Loyola, trans. Maren Seil and Jürgen Hoch, Frankfurt am Main: Suhrkamp, 1986, PDF, IA, ARG. (German)
  • Sade, Fourier, Loyola, trans. Richard Miller, New York: Farrar, Straus & Giroux, 1974, University of California Press, 1989, ARG, PDF. (English)
  • Sade, Fourier, Loyola, trans. Josef Fulka, Prague: Dokořán, 2005, 190 pp. (Czech)

• Le Plaisir du texte, Paris: Seuil, 1973, ARG; 1982.
  • The Pleasure of the Text, trans. Richard Miller, New York: Hill and Wang, 1975, ARG, PDF, PDF. (English)
  • 'El placer del texto', trans. Nicolás Rosa, in: El placer del texto, seguido por Lección inaugural, México: Siglo XXI, 1982; 1993, pp 7-107. (Spanish)
  • Plăcerea textului. Roland Barthes despre Roland Barthes. Lecţia, trans. Marian Papahagi and Sorina Dănăilă, Cartier, 2006. (Romanian)
  • Rozkoš z textu, trans. Olga Špilarová, Prague: Triáda, 2008, 96 pp. (Czech)
  • Die Lust am Text, trans. Ottmar Ette, Berlin: Suhrkamp, 2010. [4](German)

• Alors la Chine?, Paris: Christian Bourgois, 1975.

• Roland Barthes par Roland Barthes, Paris: Seuil, 1975.
  • Roland Barthes by Roland Barthes, trans. Richard Howard, University of California Press, with New York: Hill and Wang, 1977, 188 pp, ARG, Log. (English)
  • Barthes Roland Barthes por Barthes, trans. J. Sucre, Barcelona: Kairós, 1978. (Spanish)
  • Roland Barthes o Rolandu Barthesovi, trans. Josef Fulka, Prague: Fra, 2015. Excerpt. (Czech)

• Fragments d’un discours amoureux, Paris: Seuil, 1977, PDF, PDF.
  • A Lover's Discourse: Fragments, trans. Richard Howard, New York: Hill and Wang, 1978, ARG, PDF, OL.
  • Fragmentos de un discurso amoroso, trans. Eduardo Molina, Madrid: Siglo XXI editores, 1982; 1993, PDF, 1, PDF, 2. (Spanish)
  • Fragmente einer Sprache der Liebe, trans. Hans Horst Henschen, Frankfurt am Main: Suhrkamp, 1984, ARG 2up. (German)
  • Fragmenty milostného diskurzu, trans. Čestmír Pelikán, Červený Kostelec: Pavel Mervart, 2007, 290 pp. (Czech)
  • Fragmente dintr-un discurs îndrăgostit, trans. Sorina Dănăilă, Cartier, 2007 (Romanian).
  • Discursul indragostit, trans. Magda Jeanrenaud, Iași: Polirom, 2018. (Romanian)

• Sollers, écrivain, Paris: Seuil, 1979.
  • Sollers Writer, trans. Philip Thody, London: Athlone, 1987, ARG 2up. (English)

• La chambre claire: note sur la photographie, Paris: Gallimard/Seuil, 1980, 194 pp, PDF, Log.
  • Camera Lucida: Reflections on Photography, trans. Richard Howard, Farrar, Straus and Giroux, 1982, 119 pp, Log, ARG. (English)
  • A câmara clara: Nota sobre a fotografia, trans. Júlio Castañon Guimarães, 1984, Log. (Portuguese)
  • Ο φωτεινός θάλαμος: Σημειώσεις για τη φωτογραφία, trans. Γιάννης Κρητικός, 1984, Log. (Greek)
  • Világoskamra: Jegyzetek a fotográfiáról, trans. Ferch Magda, 1985, Log. (Hungarian)
  • La cámara lúcida: Nota sobre la fotografía, trans. Joaquim Sala-Sanahuja, 1990, Log, ARG. (Spanish)
  • La camera chiara: Nota sulla fotografia, trans. Renzo Guidieri, 1992, Log. (Italian)
  • Světlá komora: Vysvětlivka k fotografii, trans. & afterw. Miroslav Petříček jr., 1994, Log; 2nd ed., rev., as Světlá komora: poznámka k fotografii, Prague: Fra, 2005, 123 pp. (Czech)
  • Camera luminoasă. Însemnări despre fotografie, trans. Virgil Mleşniţă, Cluj-Napoca: Editura Ideea Design & Print, 2005; 2nd edition, 2009, PDF, IA, ARG. Review. (Romanian)
  • Camera Lucida: Комментарий к фотографии, trans. Михаил Рыклин, Москва [Moscow]: Издательство 'Ad Marginem', 1997, Log. (Russian)
  • Światło obrazu: Uwagi o fotografii, trans. Jacek Trznadel, 2008, Log. (Polish)

Collected works[edit]

• Œuvres complètes, ed. Eric Marty, Paris: Seuil, 1993-95; 2002.
  • I, 1942-1965, 1993.
  • II, 1966-1973, 1994.
  • III, 1974-1980, 1995.

Selected works[edit]

• Essais critiques, Paris: Seuil, 1964; 1981.
  • Critical Essays, trans. Richard Howard, Northwestern University Press, 1972, 279 pp, OL. (English)

• Nouveaux essais critiques, Paris: Seuil, 1972.
  • New Critical Essays, trans. Richard Howard, University of California Press, 1992. (English)

• Image Music Text, ed. & trans. Stephen Heath, London: Fontana, 1977, ARG, PDF, Log.

• L'obvie et l'obtus: essais critiques, III, Paris: Seuil, 1982, PDF.
  • The Responsibility of Forms: Critical Essays on Music, Art, and Representation, trans. Richard Howard, New York: Farrar, Straus and Giroux, 1985; University of California Press, 1991, ARG 2up. (English)
  • Lo obvio y lo obtuso: imágenes, gestos, voces, Barcelona: Paidos Iberica, 1986, PDF. (Spanish)

• A Barthes Reader, ed. Susan Sontag, New York: Hill and Wang, 1982; new ed. as Selected Writings of Roland Barthes, Vintage, 1993. (English)

• Le bruissment de la langue: essais critiques IV, Paris: Seuil, 1984, PDF.
  • The Rustle of Language, trans. Richard Howard, New York: Farrar, Straus and Giroux, 1986; University of California Press, 1989, PDF, ARG 2up; 1992. (English)

• L'Aventure sémiologique, Paris: Seuil, 1985, ARG/Epub.
  • The Semiotic Challenge, trans. Richard Howard, New York: Hill & Wang, 1988. (English)

• Incidents, Paris: Seuil, 1987.
  • Incidents, trans. Richard Howard, University of California Press, 1992, HTML, ARG. (English)
  • Incidente, trans. Iolanda Vasiliu, Cartier, 2007 (Romanian).

• Romanul scriiturii. Antologie, trans. Adriana Babeţi and Delia Şepeţean-Vasiliu, Bucharest: Univers, 1987, 380 pp, Scribd. (Romanian)

• Écrits sur le théâtre, Paris: Seuil, 2002.

• The Language of Fashion, trans. Andy Stafford, eds. Andy Stafford and Michael Carter, Berg, 2006; Bloomsbury, 2013, PDF, ARG. (English)

Lectures[edit]

• Leçon, Paris: Seuil, 1978. MP3. Inaugural lecture at the Collège de France, given 7 January 1977.

• Comment vivre ensemble: cours et séminaires au Collège de France 1976–1977, Paris: Seuil/Imec, 2002. MP3.

• Le Neutre: cours et séminaires au Collège de France 1977–1978, ed. & annot. Thomas Clerc, Paris: Seuil/Imec, 2002, PDF, IA, ARG. MP3.
  • The Neutral, trans. Rosalind E. Krauss and Denis Hollier, Columbia University Press, 2005, PDF. (English)

• La Préparation du roman: I et II, cours au collège de France 1978–1980, Paris: Seuil/Imec, 2003, PDF. MP3.

Editor[edit]

• with Tzvetan Todorov, et al., Communications 8: 'L’analyse structurales du récit', 1966.
  • El análisis estructural del relato, trans. Beatriz Dorriots, Buenos Aires: Tiempo Contemporáneo, 1970, PDF. (Spanish)

• with Henri Lefevbre, Lucien Goldmann, et all, Littérature et société: problèmes de méthodologie en sociologie de le littérature, [Bruxelles]: Éditions de l'Institut de sociologie, Université libre de Bruxelles, 1967.
  • Literatura y sociedad. Problemas de metodología en sociología de la literatura, trans. R. de la Iglesia, Barcelona: Martínez Roca S.A., 1969, PDF, IA, ARG. (Spanish)

• with Tzvetan Todorov, et al., Communications 11: 'Le Vraisemblable', 1968.
  • Lo verosímil, trans. Beatriz Dorriots, Buenos Aires: Tiempo Contemporáneo, 1970, PDF. (Spanish)

Selected essays[edit]

• 'Le message photographique', Communications 1:1 (1961), pp 127-138, PDF.
  • 'The Photographic Message', trans. Stephen Heath, in Barthes, Image Music Text, 1977, PDF; repr. in A Barthes Reader, ed. Sontag, 1982, pp 194-210. (English)

• 'Rhétorique de l'image', Communications 4:4 (1964), pp 40-51, PDF.
  • 'Rhetoric of the Image', in Classic Essays on Photography, ed. Alan Trachtenberg, New Haven: Leete's Island Books, 1980, pp 269-285, PDF, PDF. (English)

• 'La mort de l'auteur', Manteia 5, 1968; repr. in Le Bruissement de la langue, Paris: Seuil, 1984, pp 61-67, PDF.
  • 'The Death of the Author', trans. Richard Howard, Aspen 5-6, 1967, HTML. (English)
  • 'The Death of the Author', trans. Stephen Heath, in Barthes, Image Music Text, 1977, pp 142-148, PDF. (English)
  • 'Der Tod des Autors', in: Texte zur Theorie der Autorschaft, trans. Fotis Jannidis, Gerhard Lauer, Mathias Martinez and Simone Winko, Stuttgart: Reclams Universal-Bibliothek, 2000, pp 185-193, ARG. (German)
  • 'Smrt autora', trans. Tomáš Jirsa, Aluze 3 (2006), pp 75-77, PDF; repr. in Společenské vědy a audiovize, eds. Helena Bendová and Matěj Strnad, Prague: AMU, 2014, pp 263-269, PDF. (Czech)

• 'The Third Meaning: Research Notes on Several Eisenstein Stills', 1970, PDF; repr. in Barthes, Image-Music-Text, 1977, pp 44-68; repr. in Barthes, The Responsibility of Forms, 1985. (English)[5]

Miscellanea[edit]

• Carnets de voyage en Chine, Paris: Christian Bourgois, 2009. Diary from a 1974 trip to China.
  • Travels in China, Polity, 2012, 240 pp. (English)
• Journal de deuil (26 octobre 1977 - 15 septembre 1979), [1977-1979], text by Nathalie Léger, Paris: Seuil/Imec, 2009, PDF. Review, [6].
  • Jurnal de doliu (26 octombrie 1977 - 15 septembrie 1979), trans. Em. Galaicu-Păun, Cartier, 2009. (Romanian)

Bibliographies[edit]

• Thierry Leguay, 'Roland Barthes: bibliographie générale (textes et voix), 1942-1981', Communications 36 (1982), pp 131-173.

Interviews[edit]

• Le grain de la voix: entretiens 1962-1980, Paris: Seuil, 1981; 1999.
  • The Grain of the Voice: Interviews, 1962-1980, trans. Linda Coverdal, Hill and Wang, 1984; 1985, OL; University of California Press, 1991; Northwestern University Press, 2009. (English)

Literature[edit]

Monographs[edit]

• Louis-Jean Calvet, Roland Barthes, un regard politique sur le signe, Paris: Payot, 1973.
• Colloque de Cérisy, Prétexte: Roland Barthes, Paris: Union générale d'éditions, 1978.
• George R. Wasserman, Roland Barthes, Boston: Twayne Publishers, 1981. (English)
• Annette Lavers, Roland Barthes: Structuralism and After, London: Methuen, 1982, PDF. (English)
• Jonathan Culler, Barthes, London: Fontana, 1983; repr. as Roland Barthes, Oxford University Press, 1983; rev. ed. as Roland Barthes: A Very Short Introduction, Oxford University Press, 2001. (English)
• Réda Bensmaïa, The Barthes Effect: The Essay as Reflective Text, trans. Pat Fedkiew, University of Minnesota Press, 1987. (English)
• Louis-Jean Calvet, Roland Barthes 1915-1980, Paris: Flammarion, 1990.
  • Roland Barthes: A Biography, trans. Sarah Wykes, Indiana University Press, 1994. (English)
• François Dosse, Histoire du structuralisme 1, Paris: La Découverte, 1991.
  • Geschichte des Strukturalismus. Bd 1: Das Feld des Zeichens, 1945-1966, trans. Deborah Glassman, Hamburg: Junius, 1996, Log. (German)
  • History of Structuralism, Vol. 1: The Rising Sign, 1945-1966, trans. Deborah Glassman, University of Minnesota Press, 1997, Log. (English)
• Jean-Michel Rabaté (ed.), Writing the Image After Roland Barthes, University on Pensylvania Press, 1997. (English)
• Allen Graham, Roland Barthes, London: Routledge, 2003, PDF. (English)
• Jean-Claude Milner, El paso filosófico de Roland Barthes, Buenos Aires: Amorrortu, 2004. (Spanish)
• Eric Marty, Roland Barthes, le métier d'écrire, Paris: Seuil, 2006.
• Margaret Iversen, Beyond Pleasure. Freud, Lacan, Barthes, Pennsylvania State University Press, 2007. (English)
• Geoffrey Batchen, Photography Degree Zero: Reflections on Roland Barthes's Camera Lucida, MIT Press, 2009. (English)
• Roland Badmington (ed.), Roland Barthes: Critical Evaluations in Cultural Theory, 4 vols., Routledge, 2009, 1600 pp. [7]
• Martin McQuillan, Roland Barthes (Or the profession of cultural studies), Palgrave Macmillan, 2011, 194 pp, ARG.
• Lucy O’Meara, Roland Barthes at the Collège de France, Liverpool University Press, 2012. (English). Review.
• Peter Geimer, Bernd Stiegler (eds.), Auge in Auge. Kleine Schriften zur Photographie, Berlin: Suhrkamp, 2015. [8](German)

Journal issues[edit]

• Visible Language 11(4): 'Barthes: Beyond the Empire of Signs', ed. Steven Ungar, Jul 1977, [66] pp, PDFs.

Book chapters, papers, articles and dissertations[edit]

• Susan Sontag, 'Remembering Barthes', in Sontag, Under the Sign of Saturn, New York: Farrar, Straus and Giroux, 1980. (English)
• Susan Sontag, 'Writing Itself: On Roland Barthes', in A Barthes Reader, ed. Sontag, New York: Hill and Wang, 1982. (English)
• Alec McHoul, David Wills, 'Bar S B R H S Barthes the Late(r) Barthes Constituting Fragmenting Subjects', Boundary 2 14:1/2 (Fall 1985/Winter 1986), pp 261-278. (English)
• Margaret Iversen, 'What Is A Photograph', Art History 17:3 (September 1994), pp 450-463. (English)
• Kenneth S. Calhoon, 'Personal Effects: Rilke, Barthes, and the Matter of Photography', MLN 113:3, Johns Hopkins University Press, 1998, pp 612-634. (English)
• Meir Wigoder, 'History Begins at Home. Photography and Memory in the Writings of Siegfried Kracauer and Roland Barthes', History and Memory 13:1 (2001). (English)
• Jacques Derrida, 'Roland Barthes. November 12, 1915 - March 26, 1980', in Derrida, The Work of Mourning, eds. Pascale-Anne Brault and Michael Naas, University of Chicago Press, 2001, pp 31-67. (English)
• Tim Dant, Graeme Gilloch, 'Pictures of the Past: Benjamin and Barthes on photography and history', in European Journal of Cultural Studies 5:1 (2002), pp 5-25. (English)
• Margaret Olin, 'Touching Photographs: Roland Barthes's 'Mistaken' Identification', Representations 80 (Autumn 2002), pp 99-118. (English)
• Adam Lowenstein, 'The Surrealism of the Photographic Image: Bazin, Barthes, and the Digital Sweet Hereafter', Cinema Journal 46:3, Spring 2007, pp. 54-82. (English)
• Elizabeth Howie, Photography's Courtly Desires: Jacques Lacan, Roland Barthes, and the Photographic Beloved, Chapel Hill, 2007. Ph.D. Dissertation. (English)
• Ricardo García Murillo, 'Entre el estructuralismo y su post: modelos de significación en Roland Barthes', Tales 2 (2009), pp 119-128. (Spanish)
• Sebastian Boţic, 'Semnalul fotografic. O analiză în marginea teoriei semiotice în fotografie', Idei in Dialog 12:63 (Dec 2009). (Romanian)
• Articles and reviews on Barthes in French Studies journal, 1978-2015.

Journals[edit]

• Barthes Studies, ed. Neil Badmington, since 2015. (English)

Roland Barthes Plastic Pdf Full

Links[edit]