Postmodernism and Intertextuality

THEORIES OF THE POSTMODERN

INTERTEXTUALITY

Bakhtin and Kristeva

Working within the confines of the Soviet Union, a place where words, thoughts and deeds were monitored, the literary theorist Mikhail Mikhailovich Bakhtin (1895-1975) examined, in an intellectually safe way, how language cannot be controlled by a central authority. Because he had fought in the White Russian army against the Bolsheviks, Bakhtin was undoubtedly already a person of interest to Stalin, and his prominence at the center of the “Bakhtin” Circle in Vitebsk in the early 1920s would have raised his profile even further. Interestingly, he and the painter Marc Chagall were in that city, the town of Chagall’s birth, at the same time; and Vitebsk, now in Belarus, was a center of avant-garde excitement. Due to his adherence to Christianity, Bakhtin was arrested by the Soviets in 1929 and sent to Siberia. His sentence was shorted to six years, possibly because he had written a well-received book, Problems of Dostoevsky’s Poetics, that same year. Bakhtin, who had a degenerative bone disease and would live in bad health for the rest of his life, doggedly continued his rethinking of Russian Formalism. His best known ideas which concerned the novel, a relatively new art form, and its manifestations of dialogue, heteroglossia and the carnivalesque, filtered into European literary theory initially through Julia Kristeva (1941-) in Paris.

Bakhtin’s work on the novel began in the 1920s and continued to be developed until his death in 1975, but it is best to begin with his idea of the “chronotrope” or the combination of space and time. The literary “genre” will be a reflection of the way in which a particular culture, whether Greek or Roman or Renaissance, organizes a narrative, which is also the way in which humans conceptually navigate time and space. Each culture conceives of time as it relates to space in a different fashion and the chronotrope manifests itself in literature. Bakhtin explained the relationship between a cultures’s sense of time and understanding of space and the ways in which the collective narratives were structured in his work, “Forms of Time and the Chronotrope in the Novel: An Essay on Historical Poetics” (1937-8/1973). As Katerina Clark and Michael Holquist, in Mikhail Bakhtin pointed out, the re-presentation of a particular chronotrope is characteristic of a particular age and a single work can contain overlapping or coexisting chronotropes that were inherited or borrowed from other times. Bakhtin explained,

“Within the limits of a single work and within the total output of a single author we may notice a number of different chronotropes and complex interactions among them, specific to the given work or author; its is common, moreover, for one of these chonotropes to envelop or dominate others.”

In tracing the evolution of language or the attitude towards language, Bakhtin contrasted the Greek world view of circular time as evidenced in “adventure time,” played out in epics or in tragedy to the realization in the Roman era that language was relative, situational, time-based and not universal or timeless. In response to the modern understanding of malleable language, Bakhtin introduced the idea of “heteroglossia.” Typical of the theoretical approaches of his time which used binaries, Bakhtin set monologic against dialogic, or paired the monoglot and the heteroglot, as explained in his other essays on his theory of the novel, “Discourse in the Novel,” “From the Prehistory of Novelistic Discourse,” and “Epic and Novel: On a Methodology for the Study of the Novel.”

All of these essays explored Bakhtin’s contention that language responds to changing world views–the nature of space time, the chronotrope. Bakhtin focused on the novel, because this new type of literature was written in the immediate present tense and was therefore a barometer of social conditions and changes. Most importantly, the novel has inherited hundreds of years of Western literature, from romance to biography, and therefore combines different chronotropes, allowing the novel and its characters to speak dialogically or in many voices. Unlike the language employed for scientific works, for academic explanations, for government information and so on, which claim a universal and transparent mode of expression, the novel make no such truth claims and has the freedom to subvert the supposed neutrality of language. Bakhtin, from the very beginning, was interested in genres and the ways in which a society “tells time.” In addition Bakhtin was concerned with social class and the ways in which authors borrow quotations (a manner of speaking) from different locations, from the street or the drawing room, that allow the writers to mimic various voices; heteroglossia.

For Bakhtin and his Circle, the key term was “utterance,” meaning that language is a human activity and is located within a specific social chronotrope. As Bakhtin and his colleague, Valentin N. Volosinov, wrote in Marxism and the Philosophy of Language, “A word is a bridge thrown between myself and another. If one end of the bridge depends on me, then the other depends on my addressee. A word is territory shared by both addresser and addressee, by the speaker and his interlocutor.” However, for the French who took up the ideas of Bakhtin, “Intertextuality,” a term coined by the Bulgarian theorist Julia Kristeva (1941-) became the translation of his concepts. These imported ideas on language were developed in contrast the formal structures of Ferdinand de Saussure and for the Parisian intellectuals who were also looking for alternatives to formalism and structuralism, Bakhtin’s literary theories fell upon fertile soil. As an Eastern European, Kristeva had access to the writings of Bakhtin and his Circle and, when she came to Paris in 1966, she brought the linguistic critique of Bakhtin with her.

However in mingling with the Parisian intellectual milieu, Kristeva made important changes to Bakhtin’s interpretations of plural voices in literature and came to her own definition of “intertextuality.” As is obvious from the account of Bakhtin’s essays above, he and his Circle were still clinging to the notion of representation in that the heteroglossia of a novel was illustrative of the various chronotropes evidenced in the utterances of the characters. Over time, Kristeva further destabilized the notion of the “self,” psychologicalizing language under the influence of Jacques Lacan and eliminated Bakhtin’s personalization of the author due to Jacques Derrida’s Deconstruction. Thanks to the sponsorship of Roland Barthes (1916-1980) who invited her to present the writings of Bakhtin to his seminar, Kristeva became a prominent figure in French philosophical thought. Her presentation was subsequently published in Critique as “Bakhtine, le mot, le dialogue, et le roman” (“Word, Dialogue and Language”) in 1966. However, Kristeva was a student and it was Barthes who spread her ideas through his own articles which began to reexamine the relationship between author and reader and among texts themselves.

The concept of Intertextuality that Kristeva put forward was based in Bakhtin’s notion of the dialogic novel–multiple voices in narrative context, “heteroglossia,” and “dialogism,” meaning that all dialogue is inherently dialogic or intertextual. In order to “utter” the speaker must know the language and must have cultural competence in that language. While dialogism is true of “everyday” speech, literary writing had acquired a “special” status with the presumption of the author as the supreme creator. The omnipotent author, or more precisely the theoretical device that confines a book to a single voice, constitutes a monologue, stripping language of the other’s intentions. The result is a suppression of the natural and existing dialogue resulting in a binary opposition: exposition and analysis: the exposition of the author and the analysis of the theoretician. The reader is eliminated from the equation. The various chronotropes are suppressed in favor of a fiction of plentitude and precision that effectively stops any further or alternative analysis. Authority is upheld but at a cost. One can understand the theory of intertexuality is a return of the repressed, that which haunts the text: the multiple and excluded voices which were actually created by the writer but written out by a formal analysis of the work’s structure.

When she gave her paper, Kristeva incorporated Bakhtin’s Rabelais and His World, which expounded on the carnivalesque or the incorporation of the unauthorized and informal language of popular culture and the “lower” classes. The carnival was a medieval custom that allowed a periodic release of the antic and the forbidden into official culture. It was on those occasions that the real culture of real people, unfiltered by abstractions and embedded in actual experience, was released. These subterranean levels of commentary lodged within legitimated forms of discourse include parody, the grotesque, earthy and of the body. As Bakhtin wrote,

“To degrade also means to concern oneself with the lower stratum of the body, the life of the belly and the reproductive organs; it therefore relates to acts of defecation and copulation, conception, pregnancy, and birth. Degradation digs a bodily grave for a new birth; it has not only a destructive, negative aspect, but also a regenerating one…. Grotesque realism knows no other level; it is the fruitful earth and the womb. It is always conceiving”

In contrast to the bête noir of Barthes, the “realistic” novel, which Bakhtin stated was “monologic,” the dialogic novel put forward by Bakhtin emphasizes the carnival, the power of parodic language and the discovery of the plural which destroys hierarchal difference and levels the text. Kristeva, in her turn, argued that every text is under the jurisdiction or rule of other discourses in that each text is “created” by other texts. A text is differential and historical, a play of divergent times or temporalities or Bakhtin’s “chronotopes,” and contains traces and tracings of otherness and of other genres. Texts are made out of cultural or ideological norms and conventions of the genre that are recognized by the activated reader/viewer who is familiar with the styles and idioms in the language and with the clichés and formulas. As Kristeva wrote in her 1966 essay,

Bakhtin postulates the necessity for what he calls a translinguistic science, which, developed on the basis of langauge’s dialogism, would enable us to understand intertextual relationships; relationships that the nineteenth century labelled ‘social value”or literature’s moral “message..” Dialogue and ambivalence are borne out as the only approach that permits the writer to enter history be espousing a ambivalent ethics: negation as affirmation. Dialogue and ambivalence lead me to conclude that, within the interior space of the text as well as within the space of texts, poetic language is a “double.”

Given that the process of intertextual references is governed by the rules of discursive formation, the structure of the literary system need not depend upon the author’s intentions, and there are no moments of authority, no points of origin, only the purposes of reading. The auteur is a construction based upon a series of texts that retrospectively creates the author/auteur, rather than being a writer as the one who created the texts. The identification of the intertext is an act of interpretation on the part of the reader. Because the writer may or may not be aware of all the “voices” deployed, the author’s intention is not at issue. The writer is a reader of a text before s/he creates texts and the work of art is shot through with references, quotations, and influences and because what is produced is a cross-fertilization of a book, it is these networks that are of interest. The undermining of the authority of the writer undermines the enclosure of the book, problemizing both entities. Intertextuality is a subversive activity.

Kristeva links intertextuality to transgression: “We should particularly emphasize this specificity of dialogue as transgression giving itself a law so as radically and categorically to distinguish it from the pseudo-transgression evident in a certain modern “erotic ” and parodic literature..” In contrast the assumption that there is an official mode of discourse, all such “laws” constitute a kind of textual ideology, so that language is not timeless or universal but subject to cultural code and these codes are site and time specific. The conscious use or awareness of the intertext is a conscious manipulation of what Barthes called the “circular memory of reading,” which could refer to the use of italics and commas to indicate sources. However, this kind of restrictive reading is a mere catalogue of “influences” or “sources” and other assertions of the “presence” of the “author,” which restrict the reader’s free intertextual reading of the text. In contrast to the formal analysis, Kristeva called active and intertextual reading an “aggressive participation.”

In her later work, The Revolution of Poetic Language (1974/1984), Kristeva took the idea of the carnival and recast it as the semiotic in which the maternal or “feminine fluidity” or that which is yet unfixed would be a transgressive invasion or inscription (inter-writing) into intertextuality. In other words, the feminine becomes a kind of under-text, which is pre-symbolic or semiotic but also makes the symbolic possible. Therefore, a “fluid reading” would both accept and look for examples of other texts that have somehow entered into the primary text, always supposed to be “pure.” But no text is pure or whole or centered. Every text is an intertext, composed of multiple texts. It is easy to assume that all Kristeva means is that one text may quote another text, but this is not what she is saying. Kristeva was always interested in the Other, particularly the primal Other, the female which has been suppressed by the Law (of the Father) and haunts the (male) official text and subverts the singular (patriarchal) authoritarian voice. Both Bakhtin and Kristeva were very interested in subversion of the social order as manifested in literature as a form of literary social activism, not so much on the part of the writer him or herself but on the part of the reader who was re-directed, away from unity and towards polysemy.

Sometimes the importance of a concept such as intertextuality is what subsequent readers, writers, and creators make of the initial concept and how the theory becomes a trope. In a generalized way,the point of intertextuality became that in order for a writer to writer and/or for a reader to read, for an artist to make art, for a spectator to see the object, many references already ready need to be put into play. Structuralism always insisted that meaning is dependent upon a network of relations, what Ludwig Wittgenstein referred to “family resemblances,” and Kristeva was following the logical consequences of the significance of the “network.” However, it is important to understand that there is a difference between intertextuality as subversion of class and authority and intertextuality as a mode of reading. One type of analysis has political implications and the other is a mode of understanding literature without subverting authority.

“Quotations” or heteroglossia need to be understood as the acknowledgement of the importance of polyvalence or the network of language that creates any cultural object. Of course, no cultural object can ever be created out of a space of purified ontology or untouched origins and to be created and, in order to be understood, all objects are dependent upon other objects. That being said, Kristeva is not making the same argument that Harold Bloom made, that art comes out of art. She is saying that art depends upon a network of semiotic relationships that allow the object to function meaningfully in the culture. “Quotations” are not direct re-statings of another author: quotations and references and borrowings are the many ways in which the culture expresses itself across time.

The quotations that comprise the inter-text are forgotten fragments, half-realized displacements that distort and redefine the “primary utterance,” presumed to be the “original” and “creative” voice of the author, and relocates that utterance within another linguistic and cultural context. The use of quotation generates tensions within the reader and analyst pulled between the belief system that valorizes the auteur as the originator and the awareness of the dissemination of meaning and how meaning is made. The quotation or heteroglossia demands a non-linear or fluid reading or an awareness of multiplicity. Holding on to the now-discredited concept of “Originality” may not be the best way to read the work, because the assumption of originality or of the artist-as-origin limits the reading and denies the richness of the text/s. For example, in film noir movies made in Hollywood in the 1940s, one reads through the films and confronts the heteroglossia of the mystery novel, the detective novel, the cultural concern about the Depression, the male fear of the female, the male-made narrative that controls the account, silencing of the subversive voices of the woman, the criminal and even the Law itself. By wrenching oneself out of this trap of the narrator’s voice, the reader can activate the multiple voices and texts, from pulp fiction to Hemmingway.

Any work of art must contain traces of imitation, appropriation, quotation and reference that can mobilize the reader’s creative performance or a performity by the reader. Following Bakhtin’s logic, the history of genres as a sequence is undone–we are familiar with the original “road movie” and know that this journey comes from an antique source, The Odyssey. Therefore, the single unified voice of the narrator unravels and meaning and significance must be constructed out of known genres and borrowed voices, and all authors rewrite the works of predecessors–old voices become new voices. When literature is analyzed from a Postmodern perspective, a text becomes allegory or an assemblage of past genres. Action on the part of the reader preempts the authoritarian idea of the expert and subversive language substitutes itself for subject or the author’s singular voice. The text or artwork is not longer a sacred object but a space of language at work. The artwork is now a fabric composed of multiple codes, suggesting a new activity for the reader/analyst who finds an intertext. The new activity of the intertext is not author-dominated and places the emphasis on the reader or viewer. The text cannot exist as a hermetic or self-sufficient whole and does not function in a closed system. The reader’s experience may lead to new interpretations, for texts enter via the author and via the reader and have the effect of undermining authoritarian reading in the singular.

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Roland Barthes: “The Death of the Author”

ROLAND BARTHES (1915-1980)

PART FOUR

“The Death of the Author” (1968)

“The Death of the Author,” written in 1967 and published in 1968, is a stance against the enclosure of Structuralism and the authority of formalism. While the essay by Roland Barthes makes sense in the context of the intellectual life of Paris, it has often been misinterpreted when it was removed from the transitional context of theory passing out of Structuralism into Post-Structuralism as a reaction to the events of May 1968. However, as was pointed out the date of writing predated the date of publication, but the “revolution” of the essay had been a long time in the making. As a product of Literature and the classical tradition in France, the “author” was part of a system of political and economic authority that Barthes began working to dismantle from the 1950s. As Barthes wrote, “The author is a modern character.” But more interestingly are the words he uses to describe the social condition of being an author: “..the author still reigns..” and “culture is tyrannically centered on the author..” In other words, by conflating the work and the author, the classical system of reading controls the interpretation to the authority of a single voice, that of the creator.

The “Death of the Author” is an extension of the end of the unified subject, and as such, Barthes was expressing the prevailing intellectual stance that was being written and would be expressed among that group of thinker who were attending the seminars of Jacques Lacan (1901-1981) in Paris. If the subject is dissolved into language, then so too is the fiction of the author or the independent creator of a work of art. Moreover, from a Marxist perspective, the “author” is a modern invention, derived from capitalist ideology that granted importance to the author’s person that was part of the wider system of ownership, property and privilege. “The Author” is part of a capitalist stress on control through authority: the authority of the writer him/herself or the authoritative interpretation of privileged interpreter. “The Author” is also part of the Enlightenment stress on individuality that inversely prioritized expertise and uniqueness. An explanation for the work of art would be sought in the person of the producer, his tastes, his history, his passions. In addition it is possible to locate an “origin” for the Romantic notion of the writer as creator, for the author is a historical entity, created by Romanticism and the stress on the significance of subjectivity.

This essay is very short, and indeed many of the texts of Barthes are quite brief, with “Myth Today” being uncharacteristically long. Part of the impact of Barthes is not just that he gave voice to ideas in circulation but also that he did so in a timely manner–short essays are easier to publish than long books which take years to write–and in a public language that was easily accessible. American writers would later find his writings difficult but that was only because they were reading them twenty years late and were not part of the conversation that generated them in the first place. When it was published in 1968, the anti-establishment tone of the essay hit the right note and fell into keeping with its own time. That said, because the essay predated much of contemporary Postmodern theory, subsequent Postmodern thinking has assumed that the point Barthes was making is that the author does not exist, or that the artist has been eradicated. However, the author was resurrected in The Pleasure of the Text in 1971, indicating that ending the role of the author was not the intent of Barthes.

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Roland Barthes (1915-1980)

Barthes wanted only to extend the meaning and interpretation of the work of art to include the interaction of other texts and the responses of the reader. The German School of Constance will take up this notion of the active reader and develop the role of the reader into “reader-response” criticism and the impact of plural readings upon the act(s) of interpretation. The theoreticians of Constance developed Reception Theory to explain the interaction between the work and the audience as the “horizon of expectations,” but it is important to make a distinction: the scholars of Constance were motivated by the student movements of the late sixties. The ongoing battle fought by Roland Barthes was with the fortress of French Literature which was part of a network of ownership and control. Classical Marxism would necessitate the concept of property, but Structuralism, on the other hand, would understand writing, not as property, but as part of a linguistic system. From either or both perspectives, the aesthetic or the form of the text becomes irrelevant. “The Death of the Author” puts forward a series of ideas far more important than whether or not the Author is “dead.” It is here that Barthes would write of the concept of “intertextuality.”

In Writing Degree Zero (1953), the goal was a neutral and blank language that used words in a material and concrete manner that freed them from social codes. For Barthes, as he had mentioned several times before, it was the nineteenth century poet Stéphane Mallarmé (1842-1898) who understood that language speaks, not the author. In his famous poem Un coup de dés, Mallarmé explained the importance of the gaps between the words that rattled across the white pages like a die rolling across a casino table: “..the ensuing words, laid out as they are, lead on to the last, with no novelty except the spacing of the text. The ‘blanks’ indeed take on importance, at first glance; the versification demands them, as a surrounding silence, to the extent that a fragment, lyrical or of a few beats, occupies, in its midst, a third of the space of paper: I do not transgress the measure, only disperse it..” In other words, Mallarmé equated words with silence or gaps, emphasizing the materiality of language and the performative nature of reading.

And then, several decades later, came Surrealism. Due to the use of psychological games, such as automatic writing, it was Surrealism, Barthes said, that “helped desacralize the image of the Author.” After a process of questioning and slow unraveling, from a Structuralist perspective, the author’s only tool is language itself and therefore trapped in language, authorship is never personal and the author is secondary to language. Compared to the strong pseudo “presence” of the Author, writing is neuter or “zero degree” or “white” and composite or plural, a site of the loss of the subject and of identity. Because, post-Enlightenment philosophy challenged the notion of the Cartesian subject, writing is the destruction of every voice and every origin. When one recounts/writes/represents, Barthes noted, a gap appears and the voice looses its “origin.”

The withdrawal of the author, Barthes wrote, “utterly transforms the modern text” and time is also transformed. When the Author is “present,” there is the before and after writing time, when writing begins, the author enters into his/her own death. In order to write, one must utilize language, and language, as Lacan asserted, “speaks the subject.” The reader or “the scriptor is born at the same time as his text..and every text is written essentially here and now.” Therefore “writing” changed from an act of recording or representation to a performance or a speech-act, which Barthes christened as “performative.” The term “scriptor” is then linked to“a pure gesture of inscription” which “traces a field without origin..” Barthes elaborated when he stated that the text was “a multidimensional space in which are married and contested several writings, none of which is original: the text is a fabric of quotations, resulting from a thousand sources of culture.”Therefore, certain consequences occur: first, the “book itself is but a tissue of signs, endless imitation, infinitely postponed” and it is “futile” to attempt to “decipher” a text.

By the beginning of the 20th century, the idea of the unified subject came under question through Lacan’s re-reading of Freud through the filter of semiotics in the fifties, and in the sixties semiotics gave way to Structuralism with Roland Barthes as its major spokesperson. If language speaks the subject, then there can be no pure gesture of inscription. The character Barthes referred to as the “Modern Scriptor” buried the Romantic notion of the Author. The hand/writing has become detached from the voice and writes traces without origin. The result is a “Text” which is a multi-dimensional space, a fabric of quotations, activated from thousands of sources from modern culture. According to Barthes, “..the writer can only imitate an ever anterior, never original gesture; his sole power is to mingle writings..” A book is a woven cloth of signs, endless imitation, with meaning infinitely postponed.

To impose an Author upon a text is to impose a brake on interpretation, to give the work a final signified. Writing becomes closed. The “author” becomes a component of reading, a theoretical designation, a fiction employed for the sake of discursive convenience. In other words “Vincent van Gogh” is a capitalist invention suitable for selling art and Ernest Hemingway is a signifier of a particular genre of American writing. Over the years, Barthes built a case that work could be only of its own time but that in order to exist art was a composite. As he wrote,

..a text consists of multiple writings, proceeding from several cultures and entering into dialogue, into parody, into contestation: but there is a site where this multiplicity is collected, and this sie is not the author, as has hitherto been claimed but the reader; the reader is the very space in which are inscribed, without any of them being lost, all the citations out of which a writing is made; the unity of a text is not in its origin but in its destination, but this destination can no longer be personal: the reader is a man without history; without biography, without psychology, is is only that someone who holds collected into one and the same field all traces from which writing is constituted..

But as the end of the essay indicated, the death of the author does not mean the demise of the writer and points instead to the agency of the reader in bringing meanings to a text. The reader and the writer co-create a text that in itself cannot be singular or bounded as a “work,” but is inherently intertextual, (a term he borrowed from Julia Kristeva) that is, a “text” rather than a “work.” The total being of writing is multiple writings that are engaged in a dialogue. Writing is where multiplicity is collected, not by the author, but by the reader. The unity of the text is not its origin but its destination. According to Barthes, “The birth of the reader must be required by the death of the author”.

So the author must die in order to allow a space for the reader. It is the reader, after all, who makes meaning. The reader/critic can never get outside of the language any more than the writer/author be an original author and go beyond known language. Barthes took up the question of the breakdown of the boundaries of the “work” into the “text” which has no bounds in his 1971 essay, “From Work to Text.” At the time he was writing, the old disciplines were breaking down in favor of the trend towards the interdisciplinary, a mixing of fields and professions quite comfortable for Parisian intellectuals. Barthes refers to the breakdown of old disciplines as a “mutation” that is part of an “epistemological shift.” A new objectless object and a new language was formed, as “work” evolved into text, which is located at the intersection of author and reader. Barthes borrowed a distinction from Lacan: “reality” is shown, but the “real” is proved. Therefore the text must not be understood as “a computable object” but as “a methodological field.”

The Work is seen, “held in the hand,” while the text is demonstrated, “held in language” and exists only when caught up in language. Text is experienced only as an activity in production. The text is “constitutive movement” or a moment of construction or assemblage and cannot stop at “literature” which is formally interpreted. The text is plural and fulfills the plurality of meaning and depends upon dissemination which Barthes described as “traversal.” “Text is experienced only in an activity, in a production,” he emphasized. The author cannot be returned except as a guest because the text is a network, a combinative operation. The text is play, task, production and practices, meaning that reading and writing are linked together in the same signifying practice. The pleasure of the text is that the text is a social space where languages circulate, because “..the theory of the Text can coincide only with a practice of reading..”

Barthes criticized Structuralism for setting up a meta-language to critique language, claiming that a metalanguage is a linguistic impossibility, for one can never escape the effects of language. Post-Structuralism or a reconsideration of Structuralism admits that it can never be a theory, only an activity, because the post-Structuralist can never escape language. If reading was a performative activity, then the “Text..practices the infinite postponement of the signified..the Test is thus restored to language; like language, it is structured but decentered, without closure..Text is plural..it fulfills the very plurality of meaning..” Text depends upon “dissemination.”Although less well known that the predecessor essay, “The Death of the Author,” “From Work to Text” was quite well developed and Barthes developed a complex discussion of Text,which he capitalized. He wrote, ” ..the Text tries to place itself very exactly behind the limit of the doxa (is not general opinion — constitutive of our democratic societies and powerfully aided by mass communications — defined by its limits, the energy with which it excludes, itscensorship?). Taking the word literally, it may be said that the Text is always paradoxical..”

In explaining that the Text is “plural,” Barthes presented an early explanation of “intertextuality.” Intertexuality will be discussed in greater detail in another post, but the idea was introduced to the Parisian university community by Julia Kristeva (1941-) in 1966, but was disseminated and popularized by Barthes who defined intertextuality he wrote in his characteristic run-on fashion: The intertextual in which every text is held, it itself being the text-between of another text, is not to be confused with some origin of the text: to try to find the ‘sources’, the ‘influences’ of a work, is to fall in with the myth of filiation; the citations which go to make up a text are anonymous, untraceable, and yet already read: they are quotations without inverted commas. However due to ” a process of filiation, there is “an appropriation of the work to its author.” But, Barthes insisted, As for the Text, it reads without the inscription of the Father. Here again, the metaphor of the Text separates from that of the work: the latter refers to the image of anorganism which grows by vital expansion, by ‘development’ (a word which is significantly ambiguous, at once biological and rhetorical); the metaphor of the Text is that of the network; if the Text extends itself, it is as a result of a combinatory systematic (an image, moreover, close to current biological conceptions of the living being).”

For Barthes, as he frequently wrote, the consumable work or classical “book” produced more than mere boredom, it produced nausea. The solution is that the text be considered as pleasure: “..it is bound to jouissance, that is to a pleasure without separation..” Barthes took the position of a politically engaged writer who combines Marxism with Structuralism to critique the bourgeois mythologies embedded in popular narratives. He was haunted, as were all Postmodern writers with the difficulty of using language to criticize language. Barthes and his fellow critics understood the critic as being trapped into the use of a meta-language that is as implicated in language as the language that is being examined. For the transitional writers, there is no way out of this dilemma but later writers will find a solution to the problem of language. Barthes was an important link between structuralism and post-structuralism because he understands that the use of language is tantamount to the use of power. The world is composed of language is is a logosphere composed of discourses that create their own truth by their internal force and their inner connections. The writer spent his career examining how the use of language and its structures construct “truths” that are accepted as “reality” instead of what these arguments actually are–writing or literature.

If you have found this material useful, please give credit to

Dr. Jeanne S. M. Willette and Art History Unstuffed. Thank you.

[email protected]

Podcast 47: Postmodern Painting—The Return of the Repressed

POSTMODERN PAINTING AS BRICOLAGE

Postmodern painting can be characterized as a reaction against the “rule” of Modernist painting. Using the art of David Salle, Julian Schanbel, Carol Maria Mariani, MarkTansey and Eric Fischl, this podcast discusses the deliberate lack of originality in Postmodern art. Whether the artists were addressing the “language of painting,” (Salle) or nostalgically revisiting Expressionism (Schanbel) or refitting the past through “dead languages,” (Mariani and Tansey) or indulging in the “forbiddens” of personal biography and buried secrets, (Fischl) the resurgence of Postmodern painting was indeed the Return of the Repressed.

 

If you have found this material useful, please give credit to

Dr. Jeanne S. M. Willette and Art History Unstuffed. Thank you.

[email protected]

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by Dr. Jeanne S. M. Willette

are now available and can be viewed on You Tube

This twenty-seven episode series of five minute videos span Western art history, from the Caves to Romanticism. The videos can be used by students and teachers as introductory, supplementary or review material. Each video is written,narrated and produced by the author of this website, and is reinforced by written text and is richly illustrated by many images. The entire Timeline can be accessed through

this link: Art History Timeline