Post by Admin on Jan 27, 2015 1:20:47 GMT
the fundamental unit of the author and the work…when the author became individualised
what kind of system of valorisation the author is involved?
the fundamental category of “the-man-and-his-work criticism” (patriarchy??)
Backett: “what does it matter who is speaking,” someone said, “what does it matter who is speaking.” - fundamental ethical principle! - an indifference to a kind of immanent rule, taken up over and over again,
creating a space into which the writing subject constantly disappears.
the writer is reduced to nothing more than the singularity of his absence; he must assume the role of the dead man in the game of writing. - death of the author! (it has not been sufficiently examined and accurately measured)
analyse a work through its structure, its architecture, its intrinsic form, and the play of its internal relationships: “What is a work? What is this curious unity which we designate as a work? Of what elements is it composed? Is it not what an author has written?”—-If an individual were not an author, could it be called a work?
the authors disappearance since Mallarmé.
What is the space left empty by the author´s disappearance? follow the distribution of gaps and breaches, and watch for the opening that this disappearance uncovers.
- turning the proper name into a pure and simple reference.
What happens if we prove that shakespeare did not write this sonnets which pass for his?
The author´s name is a paradoxical singularity (not like a proper name) - it is not simply an element in a discourse (capable of being either subject or object), it performs a certain role with regard to narrative discourse, assuring a classificatory function. (like a brand?)
- discourses are objects of appropriation.
author function: it does not refer purely and simply to a real individual, since it can give rise simultaneously to several selves, to several subjects - positions that can be occupied by different classes of individuals.
The author is a certain fungal / functional principle by which one impedes the free circulation, the free manipulation, the free composition, decomposition, and recomposition of fiction.
what kind of system of valorisation the author is involved?
the fundamental category of “the-man-and-his-work criticism” (patriarchy??)
Backett: “what does it matter who is speaking,” someone said, “what does it matter who is speaking.” - fundamental ethical principle! - an indifference to a kind of immanent rule, taken up over and over again,
creating a space into which the writing subject constantly disappears.
the writer is reduced to nothing more than the singularity of his absence; he must assume the role of the dead man in the game of writing. - death of the author! (it has not been sufficiently examined and accurately measured)
analyse a work through its structure, its architecture, its intrinsic form, and the play of its internal relationships: “What is a work? What is this curious unity which we designate as a work? Of what elements is it composed? Is it not what an author has written?”—-If an individual were not an author, could it be called a work?
the authors disappearance since Mallarmé.
What is the space left empty by the author´s disappearance? follow the distribution of gaps and breaches, and watch for the opening that this disappearance uncovers.
- turning the proper name into a pure and simple reference.
What happens if we prove that shakespeare did not write this sonnets which pass for his?
The author´s name is a paradoxical singularity (not like a proper name) - it is not simply an element in a discourse (capable of being either subject or object), it performs a certain role with regard to narrative discourse, assuring a classificatory function. (like a brand?)
- discourses are objects of appropriation.
author function: it does not refer purely and simply to a real individual, since it can give rise simultaneously to several selves, to several subjects - positions that can be occupied by different classes of individuals.
The author is a certain fungal / functional principle by which one impedes the free circulation, the free manipulation, the free composition, decomposition, and recomposition of fiction.