Comment écrire une vie? Cette question apparemment simple est la question qui anime ce texte. L'écriture de la vie - qu'on appelle ici la biographie (bíος - bios, vie et γραφή - graphein, écrire) - est un thème transversal. L'écriture biographique couvre pas seulement la littérature mais aussi d'autres domaines de la santé et des sciences humaines, comme la psychologie, l'éducation, anthropologie, histoire et sciences sociales. La bio-graphie comprend un large tissu de méthodologies; elle apparaît dans les histoires de la vie, dans la formation professionnelle, dans les études cas dans, dans les projets de vie, études de cas, etc. Le binôme vie-écriture est traité avec la philosophie de Friedrich Nietzsche et Gilles Deleuze, comme la force capable de créer, et surtout, créer elle-même. La notion de biographème proposé par Roland Barthes, c'est une stratégie puissante pour une réflexion sur l'écriture de la vie ouvert à la création de la possibilité de dire et surtout de vivre cette vie. L'apparition du biographème conduit à un nouveau traitement biographique de l'histoire. C'est une autre position de lecture, de sélection et de récupération des signes de vie. Plutôt que de passer par le contour de l'historiographie, la « pratique biographematique » se tourne vers le détail, le pouvoir du minuscule, vers le insignifiant et inexact. En pensant à la biographie comme création (et pas seulement comme une représentation du réel, déjà vécu) c'est mis en avant d'une politique contre l'utilisation de la biographie qui étouffle la vie, contre toute la stratégie ou méthodologie thanatographique. Le sujet luimême se déplace aussi - il devient, en effet, aussi un créateur, une réalité incroyable, même un acteur d'écriture et de la vie. Après tout, est-ce qu'il y avait un autre sens par écrit une vie qui n'est pas de croire en la puissance de la réinvention de cette vie? / Como escrever uma vida? Essa pergunta aparentemente simples é a questão que movimenta este texto. A escrita de vida – chamada aqui de biografia (bíος - bíos, vida e γραφή – gráphein, escrever) – é um tema transversal, compreendendo não somente a literatura, como também outros domínios das Ciências Humanas e da Saúde, como a psicologia, educação, antropologia, história e ciências sociais. A bio-grafia comporta um tecido amplo de operacionalizações e metodologias; ela aparece nas histórias de vida, na formação profissional, nas anamneses, nos relatos de experiências, nos projetos de vida, nos estudos de caso, etc. O binômio vidaescritura é tratado a partir da perspectiva levantada pelos filósofos Friedrich Nietzsche e Gilles Deleuze, como a força capaz de criar, e sobretudo, criar a si mesma. A noção de biografema, proposta por Roland Barthes, é uma potente estratégia para se pensar a escritura de vida aberta à criação de novas possibidades de se dizer e, principalmente, de se viver uma vida. O surgimento do biografema acompanha uma mudança de abordagem em relação às próprias vidas biografadas, acarretando num novo tratamento biográfico por parte das disciplinas. Trata-se de outra postura de leitura, de seleção e de valorização de signos de vida. Ao invés de percorrer as grandes linhas da historiografia, a prática biografemática volta-se para o detalhe, para a potência daquilo que é ínfimo numa vida, para suas imprecisões e insignificâncias. Tomar partido da biografia enquanto criação (e não somente como representação de um real já vivido) é colocar-se diante de uma política que se mostra contrária a todo uso biográfico que sufoca a vida, a toda estratégia ou metodologia thanatográfica. O próprio sujeito se desloca – ele passa a ser, neste sentido, também um criador, um fabulador de realidade, um ator mesmo de escritura e de vida. Afinal, haveria outro sentido em se escrever uma vida que não fosse o de acreditar na potência de reinvenção desta própria vida?

Roland Barthes nunca colocou os pés em território brasileiro. O que não quer dizer que ele nunca tenha estado no Brasil: seus escritos, carregados com suas ideias, suas noções, seus paradoxos e suas idas e vindas, trataram de assegurar sua presença na história da crítica literária brasileira do século XX. As relações entre Barthes e os intelectuais constituem o tema deste trabalho, que tem por objetivo encontrar, descrever e problematizar as imagens do escritor francês, produtos de sua recepção no Brasil, de 1953, data da publicação do primeiro livro de Barthes, Le Degré zéro de lécriture, até o momento atual. Efeitos de um processo de refração, tais imagens não se limitam a reproduzir a dinâmica do pensamento barthesiano, mas também evidenciam as particularidades do contexto e dos intelectuais que delas se apropriaram. Pois a periodização estudada compreende um momento de transição na história da crítica brasileira que a recepção à obra do escritor torna evidente: a consolidação das instituições universitárias, nos anos 50 e 60, abriu um novo espaço para os debates literários, antes limitados aos jornais. A crítica literária e as discussões teóricas, até esse momento, dominadas por críticos de formação autodidata, passaram a, paulatinamente, constituir uma preocupação dos professores universitários. A proposta deste trabalho é examinar como o pensamento de Barthes foi integrado nesse contexto, tendo como fio condutor e corpus principal o jornal O Estado de S. Paulo, complementado pela revista universitária Língua e Literatura. Tendo sido primeiro comentado pela crítica jornalística para, em seguida, tornar-se objeto de uma crítica universitária, o pensamento barthesiano transparece sob a forma de imagens parciais que, ao final do percurso investigatório, compõem um mosaico heterogêneo e complexo. Incompreendido, mestre estruturalista da nouvelle critique, semiólogo e guru nas universidades, hedonista, subversivo: em cada imagem pulsa uma faceta de Barthes, num movimento constante, engendrando novas leituras e a escrita de novos textos, e assim circulando, viva. / Roland Barthes never placed his feet on Brazilian territory. Which is not to say that he has never been in Brazil: his writings, full of his ideas, his concepts, his paradoxes and his comings and goings, treated to ensure his presence in the history of Brazilian literary criticism of the twentieth century. The relations between Barthes and intellectuals are the subject of this work, which aims to find, describe and discuss the images of the French writer, products of his reception in Brazil, from 1953, the publication date of Barthes first book, Le Degré zéro de l\'écriture, until the present time. Effects of a refraction process, such images do not merely reproduce the dynamics of Barthesian thought, but also highlight the particularities of the context and intellectuals who have appropriated of them. As the periodization studied comprises a transition moment in the history of Brazilian criticism that the reception to the work of the writer becomes evident: the consolidation of the university institutions in the 50s and 60s opened a new space for literary debates, once limited to newspapers. Literary criticism and theoretical discussions, so far dominated by self-taught critical, began, gradually, a concern of academics. The proposition of this thesis is to examine how Barthes thoughts were integrated in this context, having as a guiding thread, and the main corpus, the newspaper O Estado de São Paulo, complemented by the university journal Língua e Literatura. Having first been discussed by the journalistic critics and later becoming a subject of academic criticism, Barthesian thought emerges in the form of partial images that, at the end of the investigative path, composes a heterogeneous and complex mosaic. Misunderstood, struturalist master of nouvelle critique, semiotician and guru in universities, hedonistic, subversive: in each image pulsates a facet of Barthes in a steady movement, engendering new readings and the writing of new texts, and thus circulating, alive.

La construction des personnages et de représentations du pouvoir, ainsi que la mise en place d’une écriture métafictionnelle dans sept romans mexicains publiés dans les années 90 sont les thèmes centraux de cette étude. Pour notre analyse de El disparo de argón, Huatulqueños, La lotería de San Jorge, Una de dos, Salón de belleza, Un asesino solitario et En busca de Klingsor, nous nous sommes inspiré des théories de Roland Barthes et de Philippe Hamon concernant l’étude sémiologique des personnages, ainsi que des modes de représentation narrative décrits par Gérard Genette. Nous sommes également parti des idées ce même auteur sur l’écriture métafictionnelle, ainsi que des travaux de Linda Hutcheon et de Patricia Waugh sur la question. Notre analyse montre que narrateurs, personnages et décors sont construits à l’aide de figures telles que l’hyperbole ou la comparaison. Le paysage peut agir comme un personnage de plus, et engendrer des espaces métaphysiques reflétant l’histoire. Pour ce qui est du rapport au pouvoir, l’on distinguera deux types de personnages : des êtres vulnérables, d’une part, possédant le pouvoir de manière éphémère ; et des puissances invisibles et inhumaines, de l’autre, surveillant et régissant les destinées des personnages. Tandis que les premiers partagent des caractéristiques physiques et des comportements plus ou moins similaires, les puissances invisibles correspondent à des figures telles que le Destin, le Hasard, Dieu ou encore le Diable. Les représentations du pouvoir remplissent toutes une même série de fonctions. Chacun des sept romans envisagés par cette étude déploie des moyens visant à souligner la nature réflexive de l’écriture chez le narrateur. L’analyse des mises en abyme, des métalepses et de la transtextualité au sein du récit permet de mettre au jour et d’évaluer de manière systématique la présence effective de la métafiction. / This essay presents an analysis of the construction of characters, the representations of power and the development of metafictional writing through a discussion of seven Mexican novels published in the nineties. The essay utilizes the theoretical advances of Roland Barthes and Philippe Hamon in regards to semiological analysis of characters and Gérard Genette’s modes of narrative representation to analyze El disparo de argón, Huatulqueños, La lotería de San Jorge, Una de dos, Salón de belleza, Un asesino solitario y En busca de Klingsor. Metafictional writing was looked at using the theoretical lens of not only Genette, but also Linda Hutcheon and Patricia Waugh. In conclusion, narrators, characters and setting are constructed by means of techniques like hyperbole or comparison. In addition, landscape comes to function as another character in the story, creating a metaphysical space that reflects history. When speaking of power, there are two identifiable types of characters: vulnerable creatures with an ephemeral authority and invisible, inhumane powers that patrol and decide characters’ destinies. The first group eventually acquires the same physical characteristics and attitudes, while the invisible powers correspond to figures like Fate, Chance, God or the Devil. The representations of power fulfill a series of similar roles. Each of the seven novels studied in this essay uses techniques which emphasize the narrator’s own awareness of the act of writing. The analysis of the mise en abyme, metalepsis and transtextuality in the narrative allows for a systematic determination and evaluation of the effectiveness of metafiction.

[pt] A tese tem como objeto os cursos ministrados por Roland Barthes no Collège de France (1977-1980) tomando como guia a enunciação barthesiana, explicitada no título desta pesquisa, de que estes cursos são por ele experimentados como um caminho associado à palavra chinesa Tao (cf. Barthes: protocolo da colheita). Esta concepção de caminho se oferece a Barthes como uma metodologia para a realização de uma nova prática de escritura que ele intitula como Romance. Na tese, a observação projetiva deste suposto método em operação é designada em termos de um mal-estar do método. Essa terminologia se justifica a partir de outra enunciação pessoal, esta proferida em Cerisy-la-Salle (1977), em que Barthes defende que a paixão do medo tenha o valor de método pois dela parte um caminho iniciático. Em outro eixo de desenvolvimento da pesquisa, há a simulação de uma poética do tempo que faz para corresponder a uma virada na naturalidade que Barthes designa como uma terceira volta do parafuso e que no curso A preparação do romance I está vinculada à prática do haicai. E, por fim, em um último eixo de abordagem, os cursos são trabalhados na perspectiva de um manual de escritura para destacar uma pedagogia suscitada pelo próprio texto barthesiano, ou ainda, pela singularidade de uma escrita que explicita seus procedimentos em um duplo registro: um dizer crítico-reflexivo associado a um mostrar poético-performativo. Nesse registro há uma reunião de considerações barthesianas relacionadas aos atos de abordar, anotar, apontar, burlar, captar, classificar, comentar, definir, descrever, escutar, fichar, flutuar, interpretar, observar etc. Barthes diz que um ponto de fuga do Curso seria a realização de um romance: passar da preparação para uma práxis de escritura. Mon Roland. Mon Roman. E, aqui, o retorno em espiral à problemática inicial do curso A preparação do romance I: como passar da anotação ao romance, do descontínuo ao fluxo, do fragmento ao não-fragmento. Ou ainda: como escrever um romance? / [en] This thesis analyzes the courses given by Roland Barthes at Collège de France (1977-1980), drawing on his utterance cited in the title of this work in which he claims to experience the courses as a way, alluding to the Chinese word Tao. Barthes draws on this conception of way as a methodology for undertaking a new practice of writing, which he calls the novel. In the thesis, the projective observation of this supposed method in operation is designated in terms of methodological malaise. This terminology is justified by another personal utterance, this one proffered in Cerisy-la-Salle (1977), in which Barthes argues that the passion of fear has methodological value, because it is from it that an initiating way begins. Elsewhere in this research there is the simulation of a poetic of time in the making to correspond to the natural turn that Barthes calls a third turn of the screw and which, in the course The preparation of the novel I, is associated with the haiku. And finally, in the last branch of the approach, the courses are observed from the perspective of a writing handbook to highlight a pedagogy brought about by Barthes text itself, or indeed by the singularity of a writing that explicates its procedures on two levels: reflexive and critical discourse alongside poetic and performative demonstration. In this register, Barthes considerations about the acts of approaching, noting, indicating, misleading, capturing, classifying, commenting, defining, describing, listening, listing, floating, interpreting, observing, etc. are combined. Barthes said that a vanishing point for the course was the writing of a novel: moving from the preparation to the praxis of writing. Mon Roland. Mon Roman. And here we spiral back to the initial inquiry of the course The Preparation of the Novel I: how to progress from notation to novel, from discontinuity to flow, from fragment to non-fragment. Or else: how to write a novel?

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This thesis reviews the background, influences, and evolution of three works that form Posthumous, an exhibit by the thesis candidate. The thesis begins with a series of vignettes that relate a number of personal experiences involving death, and photography, which have influenced the conceptual development of the work. Chapters devoted to each piece follow the vignettes. These chapters refer to the various influences that have led to the development of the following works: Obit to Self: April 10, 2005, Posthumous, and Jay. These influences range from the movie Hotel Rwanda, to handbills for punk-rock shows. The thesis ends with a description of the exhibition at the Anderson Gallery.

This thesis is designed as a comprehensive analysis of the advertising discourse within some pre-set constrains. Specifically, the main area of interest is the realm of American print advertising after 1945. Within these limits, advertising is understood as a mode of language, the chief semantic unit of which is a form of Barthesian myth, a superstructure divorced from reality that supersedes de Saussure's semiotics of the sign. The bulk of this thesis is then a diachronic analysis of the development of these myths and their role as both mirrors and catalysts of a whole range of stereotypes, value hierarchies or fixed ideas firmly embedded within American collective consciousness. The primary materials for this analysis are then various specimen of the advertisements themselves, carefully selected because of their representativeness, influence or significance within the advertising realm. The main theoretical framework rests on Marx's understanding of the commodity as a certain type of fetish, Barthes's description of the structure and social function of the myth, Baudrillard's and Debord's theories on such notions as the society of spectacle, the reign of simulacra and hyperreality, Benjamin's understanding of the uniqueness of representation and its aura and finally McLuhan's detailed accounts of...

The diploma thesis focuses on the analysis of the selected protectorate and socialist propaganda posters from the forties and early fifties of the 20th century. The analyzed period ends with year 1953. This particular piece of work strives to set the whole subject in a larger theoretical framework. Furthermore the characteristic features of the given ideologies, the theory of semiotics and a brief description of the given historical period is also encompassed. Within the theory of semiotics the main inspiration is drawn from the works of Ferdinand de Saussure, Charles Sanders Peirce and Charles Morris. The most crucial source for the semiotic analysis is the book Mythology from Roland Barthes, especially its second theoretical part of Myth today, from which the methodological approach was gathered. The semiotic analysis allows one to uncover and expose the hidden meanings of texts. Ten posters were chosen in total for the analysis, five from the protectorate era and five from the late forties and early fifties. This was carried out in order to juxtapose pairs of images which portray the same motif or theme. The aim of this thesis is to analyze the applied semiotic components of the individual posters and then to compare the respective motifs and elements within the two ideologies and the extent to...

There has been a considerable amount of research done on questions of authorship over the past century or so, and the interest in the subject is still going strong today. This essay takes as its point of departure two seminal poststructuralist essays on authorship—Roland Barthes’s “The Death of the Author,” and Michel Foucault’s “What is an Author?”—as these texts have had a significant impact on the discourse. It examines how scholars like Seán Burke and Jane Gallop have explained this anti-authorial tendency and extended the connection between authors and death, and how their findings relate to a performative conception of authorship. The study will take as its central critical approach the study of authorship as cultural performance as formulated by Ingo Berensmeyer, Gert Buelens, and Marysa Demoor, and Sonja Longolius. It will utilize this approach to analyze four contemporary American novels—James Frey’s A Million Little Pieces (2003), Paul Auster’s Travels in the Scriptorium (2006), Ron Currie Jr.’s Flimsy Little Plastic Miracles (2013), and J.J. Abrams and Doug Dorst’s S. (2013)—and the different ways in which these novels problematize notions of authorial self-invention. The focus of the analysis will be on the author-reader relationship, moments of recognition, and developments in writing technology. These issues have been selected for their connection to current conceptions of the creation of author personae, which can in turn be viewed as reflecting performance as it takes place in daily life and therefore give indications as to the cultural climate in which the novels were produced. Ultimately, the aim is to have illustrated how these novels present the reader with textually traced author personae that are highly aware of their own performances. In addition, it is suggested that authors are dependent on their readers to recognize these personae for them to become felicitously legitimized.