Podcasts about barthes

Roland Barthes' «Mythen des Alltags» beschreibt, wie alltägliche Phänomene und Medienbotschaften als Mythen wirken. Sie lassen menschengemachte, historisch gewachsene Bedeutungen als natürliche, unveränderliche Tatsachen erscheinen. So werden gesellschaftliche Ideologien verschleiert und legitimiert. Das Buch versammelt 53 Analysen von Mythen, die Barthes charakteristisch für das alltägliche Leben in Frankreich hält: Wrestling, Tour de France, Wein, Kochen, Reiseführer, Werbung, Arbeiterklasse in den Filmen Charlie Chaplins, Hochzeitsfeiern, das Design von Autos. Barthes versteht sich als Mythologe. Er liest die Mythen als Teil eines umfassenden Zeichensystems und schlägt vor, den Mythos als eine Sprache, eine Rede zu begreifen. Sie kann alles in Mythos verwandeln: die Mathematik ebenso wie das Gehirn Albert Einsteins. Die Mythen sind eine Praxis der Bourgeoisie, die gesellschaftlichen Verhältnisse zu ent-nennen und sie in vermeintliche Natur zu verkehren. Barthes will seine Analyse der «Alltagsmythen» als eine semiologische Demontage der Massenkultur verstanden wissen und als Ideologiekritik. Dabei reicht ihm ein bloßes Anprangern der Ideologie jedoch nicht, die Mythen verhüllen nicht, sie sagen alles und sie reden zu viel. Barthes will mit den Mitteln der Zeichentheorie erfassen, wie Mythen und Ideologeme konstruiert werden, wie also die Klassenkultur des Bürgertums in die universelle Kultur eines «ewigen Menschen» verwandelt wird. Barthes‘ Analysen zielen auf eine Semioklastik überzugehen, also ein Sturm auf die herrschende Produktion von Sinn und Bedeutung und deren Zerstörung. Den Mythen stellt er eine Form von Diskursen entgegen, die nah an der gesellschaftlichen Arbeit die Bedeutung des Realen erzeugen können. Zu Gast bei Alex Demirović ist in dieser Folge die Literaturwissenschaftlerin und Direktorin des Leibniz-Zentrums für Literatur- und Kulturforschung Eva Geulen.

Dans "C'est arrivé demain", l'éditeur et écrivain Jean-Paul Enthoven évoque son dernier livre et son admiration pour des figures littéraires majeures. Il partage des anecdotes savoureuses sur ses rencontres avec des auteurs comme Apollinaire, Cioran, Barthes, Perec, Sagan et Romain Gary.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Playlist de Philippe Poirier pour webSYNradio avec trois de ses compositions entremêlés des sons de David Garland, Christopher Hobbs, Carlos Gardel, Philip Glass, Elvis Presley, Isidore Isou, Eric Satie, kristin Oppenheim, Sonic Youth, David Toop, Morton Feldman, Brooks Williams, Dariush Dolat-Shahi, Marcel Broodthaers. Les morceaux choisis (pas tous) suivent un certain sentiment de la voix. Celle-ci s'exprime ici parfois de façon affirmée, parfois à peine incarnée, chantant ou parlant, d'un lieu où tous les mots ont été dits. Ces voix évoquent, à leur manière, le fameux texte où Roland Barthes rapporte les propos de Panzera, son maître de chant, faisant la distinction entre l'articulation et la prononciation. Avec l'articulation, dit Barthes, « la langue se met en avant, elle est le fâcheux, le casse-pieds de la musique ; dans l'art de la prononciation au contraire (celui de Panzera), c'est la musique qui vient dans la langue et retrouve ce qu'il y a en elle de musical, d'amoureux.

durée : 00:19:14 - Lectures du soir - "Gide lisait du Bossuet en descendant le Congo, cette posture résume assez bien l'idéal de nos écrivains en vacances photographiés par Le Figaro. Joindre aux loisirs banals, le prestige d'une vocation que rien ne peut arrêter, ni dégrader."

durée : 00:20:04 - Lectures du soir - "La justice est ce corps d'une transgression possible. C'est parce qu'il y a une loi que le spectacle des passions qui la débordent a tout son prix."

Chiara Scarlato"Il discorso filosofico intorno alla letteratura"Percorsi teoretici nel pensiero franceseRosenberg & Sellierwww.rosenbergsellier.itAlla luce di uno specifico apparato teoretico e insieme ricostruttivo, questo libro indaga la possibilità di assumere la ‘letteratura' come un sapere essenziale per l'articolarsi della stessa pratica filosofica.Punto d'avvio del percorso è l'ipotesi che la riflessione specificamente filosofica intorno alla letteratura si sia sviluppata, in modo particolarmente eminente, nell'ambito del pensiero francese del primo dopoguerra, raggiungendo poi la sua massima espressione nel corso degli anni Sessanta. Muovendosi soprattutto all'interno di tali coordinate temporali, il volume restituisce e insieme problematizza – da un punto di vista tematico e metodologico – lo specifico contesto concettuale entro cui autori come Barthes, Blanchot, Beauvoir, Deleuze, Foucault, Merleau-Ponty, Paulhan e naturalmente Sartre, hanno elaborato, insieme ad altri, una serrata riflessione intorno alla letteratura, interessandosi di aspetti cruciali per la filosofia contemporanea, tra cui lo statuto del linguaggio e dell'esperienza.Chiara Scarlato è assegnista di ricerca in Filosofia teoretica presso l'Università degli Studi “G. d'Annunzio” di Chieti-Pescara. Ha svolto periodi di ricerca presso università e archivi in Belgio, Croazia, Francia, Inghilterra e Stati Uniti. Ha studiato a lungo l'opera di David Foster Wallace, su cui ha pubblicato il saggio Attraverso il corpo. Filosofia e letteratura in David Foster Wallace (2020) ed è autrice di diversi contributi in ambito teoretico ed estetico apparsi su riviste e raccolte nazionali e internazionali. Più di recente ha co-curato la nuova edizione italiana del volume Per una teoria della produzione letteraria di Pierre Macherey (2024).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

durée : 00:17:35 - Lectures du soir - " Paris Match nous a raconté une histoire qui en dit long sur le mythe petit-bourgeois du nègre. La science va vite et droit en son chemin mais les représentations collectives ne suivent pas, maintenues stagnantes dans l'erreur par le pouvoir, la grande presse et les valeurs d'ordre. "

durée : 00:20:33 - Lectures du soir - "Le strip-tease est fondé sur une contradiction : désexualiser la femme dans le moment même où on la dénude. Comme si l'érotisme restait ici une sorte de terreur délicieuse dont il suffit d'annoncer les signes rituels pour provoquer à la fois l'idée de sexe et sa conjuration."

durée : 00:19:38 - Lectures du soir - "Le mystère des soucoupes volantes a d'abord été tout terrestre, on supposait que la soucoupe venait de l'inconnu soviétique, de ce monde aussi privé d'intentions claires qu'une autre planète… "

durée : 00:19:50 - Lectures du soir - "L'affaire Minou Drouet s'est présentée pendant longtemps comme une énigme policière. Est-ce elle ou n'est-ce pas elle ? On a appliqué à ce mystère les techniques habituelles de la police, moins la torture, et encore "

durée : 00:19:46 - Lectures du soir - "Le bifteck participe de la même mythologie sanguine que le vin, c'est le cœur de la viande, c'est la viande à l'état pur, et quiconque en prend s'assimile la force taurine. De toute évidence, le prestige du bifteck tient à sa quasi crudité."

durée : 00:16:22 - Lectures du soir - "Le photographe surconstruit presque toujours l'horreur qu'il nous propose, ajoutant aux faits, par des contrastes ou des rapprochements, le langage intentionnel de l'horreur. "

durée : 00:19:00 - Lectures du soir - "Garbo appartient encore à ce moment du cinéma où la saisie du visage humain jetait les foules dans le plus grand trouble, où l'on se perdait littéralement dans une image humaine comme dans un filtre où le visage constituait une sorte d'état absolu de la chair."

durée : 00:20:21 - Lectures du soir - " Le Tour dispose d'une véritable géographie homérique. Comme dans l'Odyssée, la course est ici à la fois périple d'épreuves et exploration totale des limites terrestres. "

Barthes shares his expert insight on the state of EVs, the secondhand car market and more. See omnystudio.com/listener for privacy information.

Post Face, émission littéraire présentée par Caroline Gutmann. Elle reçoit Jean-Paul Enthoven pour son livre « Je me retournerai souvent » paru aux éditions Grasset. À propos du livre : « Je me retournerai souvent » paru aux éditions Grasset Cet ouvrage (qui doit son titre à un poème de Guillaume Apollinaire : « Passons, passons, puisque tout passe / Je me retournerai souvent...) emprunte à plusieurs genres littéraires : l'autofiction, l'essai critique, les mémoires, le roman... L'ensemble compose une mosaïque, une « marquèterie disjointe » - l'auteur emprunte cette expression à Montaigne, qui alterne les rythmes et les intrigues. On y retrouve des rêves, des fantômes, des êtres aimés et disparus, des paysages, des bonheurs fragiles, des mélancolies de passage, des souvenirs, des rendez-vous réussis ou manqués... On y retrouve surtout la collection d'affinités et de sensations qui résument une « vision du monde » à travers des écrivains que l'auteur a, pour certains, connus et fréquentés, et qui ont largement infléchi sa vie : Cioran, Barthes, Sollers, Pérec, Camus, Romain Gary, Paul Morand, Jacques Rigaut, André Gide, le Prince de Ligne et quelques autres… On y retrouve aussi des lieux et des êtres qui ont beaucoup compté pour lui : Key West, la Toscane, une bien-aimée, un ami très cher – ainsi qu'un ensemble de méditations et de considérations intempestives sur l'époque. En chemin, Jean-Paul Enthoven se souvient et jette un œil par-dessus son épaule. Il se retournera souvent...

durée : 00:26:47 - Les saveurs du Pays Basque - Le Carreau des Halles et l'Esplanade Roland Barthes à Bayonne accueillent la Foire au Jambon. Entre concours fermier, salaisonniers passionnés et traditions basques, ces lieux vibrent au rythme d'un patrimoine gourmand transmis avec ferveur.

Relationen mellan Marguerite Duras och den nästan fyrtio år yngre Yann Andréa var inte okomplicerad. Men stark. Elisabeth Hjorth skildrar deras möte. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Essän sändes för första gången den 4 maj 2017.En bar. Ganska elegant, trevlig. En man och en kvinna sitter vid ett av borden. Han är vacker, olycksbådande. Kvinnan har åldrats, hon måste fortfarande älskas. Någon betraktar paret, det finns alltid en betraktare. Betraktaren är jag.När Marguerite Duras och hennes följeslagare Yann Andréa möts första gången är hon en erfaren författare och han en bedrövad ung man. Det är i alla fall så mötet gestaltas i hennes sena roman ”Yann Andréa Steiner”.1980 börjar järnridån ska i sina grundvalar av de strejkande arbetarna i Gdansk. Duras placerar mötet med Yann i denna politiska kontext, i ett Europa sargat av minnen och förtryck. Hon har ännu inte skrivit ”Älskaren” som ska ge henne läsare över hela världen och som hon själv kallar en flygplatsroman hon skrev när hon var full. Hon har haft framgångar med sina filmer men skrivandet har gått i stå. Ensamheten i det stora huset vid Atlanten är stor som Europas ensamhet. Det är nu som hon möter en 38 år yngre man och de inleder ett beroende av varandra lika starkt som beroendet av alkoholen och skrivandet.Marguerite Duras film ”India Song” visas på en liten biograf i staden där Yann bor. Efteråt går de till en bar. Det är Yann, hans filosofistuderande kompisar och så Marguerite. Hon dricker två whisky och han följer henne till parkeringen där hennes Renault 16 står. Han frågar om hon har några älskare. Hon säger: ”Inte nu längre”. Han frågar hur snabbt hon kör. Hon svarar: ”I 140, liksom alla som har en R16”.Yann börjar skriva till Marguerite. Han älskar henne redan, så som man älskar en författare för böckerna hon skrivit, för att de handlar om en själv. Det är korta brev, små biljetter nästan. Marguerite svarar inte, men hon sparar Yanns rader. Sedan ska hon säga att de är det bästa han har åstadkommit i textväg. Sedan ska hon säga att hon tyckte om rösten i breven, den som skulle bli rösten i hennes liv.När breven slutar komma blir Marguerite nervös. Hon är redan beroende av dem. Varför har han tystnat? Hon kan inte tro att han förlorat intresset, kanske har han dött? Hon skriver tillbaka och kontakten återupptas. En dag ringer Yann för att tala om att han kommer på besök. ”När kommer ni?”, frågar hon. ”Imorgon klockan elva”, svarar han.Det är så det går till när Duras gör Yann till litteratur. Det är inte första gången, och han är inte den ende. I Duras böcker rör sig människorna i hennes liv ständigt. De blir mytiska och främmande, antar nya former, byter namn och historier med varandra.En ny bar, den liknar den första. Bara en annan stad, de har kört hela dagen. Mest av allt älskar mannen och kvinnan att åka i bilen tillsammans. Att stanna på en bar eller ett café och hitta på historier om människorna de ser.När Yann väl anlänt med bussen den där dagen stannade han kvar till Marguerite Duras död sexton år senare. Han blev hennes musa, hennes assistent, hennes beskyddare. Han renskrev hennes bilder av deras gemensamma tillvaro, han räddade kanske hennes liv. Hon var ensam, hon drack. Hon behövde en vän, men hävdar envist att Yann var hennes älskare.Den kärlek till Yann som går att spåra i Duras böcker, starkast i ”Emily L”, inverterad i ”Älskaren”, närvarande i bok efter bok, blir en litterär gåta. En kvinna som har levt med krig och förlorat ett barn, som är besatt av att skriva och vars författarskap dignar under nittonhundratalets blodiga historia. Hur ska hon älska en man som är så ung? En pojke vars begär driver honom till barerna på nätterna, i jakt på vackra män från Buenos Aires och Santiago. Detta är inte den tonåriga Marguerite Duras kärlek till en kinesisk miljardär, inte heller den uppoffrande smärtsamma kärleken till maken Robert L, som återvände från koncentrationsläger och tillfrisknade under hennes vård. Kärleken mellan Marguerite och Yann är märkt av litteratur, av den förödande och fruktbara sammanblandningen av liv och skrivande.Yann älskar Marguerites böcker. Hon älskar honom för hans röst, hans kropp, hans tankar. Denna åldrade kvinnas kärlek är luttrad och hjärtskärande, på en gång illusionsfri och påstridig. Det är en skyddslös kärlek, galen, den vet för mycket, den vet allt, men den förstår inte. Åldern, erfarenheten, visdomen kan inte hjälpa hjärtat.Och han? Mannen är för ung. Han är för intelligent. Han är för upptagen med att undersöka om livet är värt att leva.När Yann kommer till Marguerite är hans pengar slut. Hon betalar för vinet och maten. De talar i timmar, om att skriva, om att läsa. Marguerite säger att hon lätt skulle byta alla Roland Barthes böcker mot platserna i Indokina där hon växte upp. Barthes rådde henne en gång att återvända till stilen i hennes första ”så enkla och så förtjusande” romaner. Hon förlåter honom aldrig för hans nedlåtenhet. Hon vägrar vara nyanserad och tolerant. Så länge hon levde och efter sin död karaktäriseras detta raseri som pinsamt, ovärdigt, kvinnligt. Hon ger generationer kvinnor hopp genom att vara så genant som ingen kvinna får vara.Är det pinsamheten som får Yann att vända sig bort? Som får honom att säga: ”Ni kommer att överges av alla, för ni är galen, omöjlig att stå ut med”. Är det galenskapen som får honom att återvända, ständigt? Som får honom att gå tillbaka till henne när gryningen reser sig ur havet, lämna sina älskare och återvända till huset och kontrollera att manuskriptet hon arbetar med ligger kvar på bordet?Yann Andréa älskar Marguerite Duras böcker, men böckerna är hon. Hans liv blir hennes. Han låter sig förvandlas till en litterär karaktär, och beskriver det själv så. När hon är död fortsätter han författa brev till henne.Hon för sin del kan inte motstå någon som är så barnslig, som vill ha allt och allt på en gång. Hon vill ha denna nya kropp, lång och mager. Hon vill höra denna otroligt mjuka röst som är kunglig och återhållen. För att behålla honom måste hon hota med att kasta manuskriptet i havet.Marguerite Duras vet att kärleken till Yann Andreá blir acceptabel om hon utelämnar det pinsamma, om hon låter det vara en historia om två intellektuella som är besatta av litteratur. Hon vägrar. Yann är hennes älskare. Hon tvekar att skriva ner det, men gör det ändå: ”Efteråt sa ni att jag hade en osannolikt ung kropp” Yann kommer att förneka att han någonsin sagt något så löjligt, att det någonsin funnits en sådan historia.Den är en hård historia. Marguerite skriver: ”Ibland är jag rädd från det att ni vaknat. Liksom alla män förvandlas ni till kvinnomördare varje dag, om så bara för några sekunder”. Yann får vredesutbrott och de skrattar tillsammans när det är över. Hon skriver: ”Det händer att jag grips av ömhet för den sortens människor som vi är”.Lika centralt som raseriet är för Duras författarskap är förmågan till ömhet. I hennes sista bok ”Det är allt”, delvis en dialog med Yann, ligger denna ömhet i öppen dager tillsammans med hotet av den nära förestående separationen.Det är ingen bar längre, det är en dödsbädd. Den vackre mannen frågar: ”Hur skulle ni beskriva mig? Den döende kvinnan svarar: ”Outgrundlig. Den mest förtrollande människa jag mött. Ett gammalt svin.” Hon svarar: ”Jag älskar er. Adjö.”Elisabeth Hjorthförfattare, etiker och professor i litterär gestaltning LitteraturMarguerite Duras:Yann Andréa Steiner. Översättning Kennet Klemets, Ellerströms förlag, 2017.Horan på den normandiska kusten. Översättning Kennet Klemets, Ellerströms 2015.Det är allt. Översättning Kennet Klemets, Ellerströms, 2013.Emily L. Översättning Britt Arenander, Modernista, 2011.Dödssjukdomen. Översättning Marie Werup, Modernista, 2007Blå ögon svart hår. Översättning Kerstin Hallén, Albert Bonniers förlag, 1988. FaktaMarguerite Duras föddes 1914 och växte upp franska Indokina. Hon betraktas som en av 1900-talets framträdande och säregna författare och filmare. Bland hennes rika produktion kan nämnas ”Älskaren”, ”Smärtan”, ”En fördämning mot stilla havet”, ”Hiroshima, mon amour” och ”Att skriva”. Under 2000-talet har svenska översättningar av hennes böcker utgivits på hela sex olika förlag. Duras dog 1996.Yann Andréa (1952-2014) hette egentligen Yann Lemée

durée : 00:02:21 - L'Humeur du matin par Guillaume Erner - par : Guillaume Erner - Absolument, il faut défendre cette sandale allemande. D'aucuns diraient est-allemande, tant elle représente le degré zéro de la chaussure, comme Barthes parlait du degré zéro de l'écriture. Car les Birkenstock ont perdu leur procès, ai-je appris dans Le Figaro. - réalisation : Félicie Faugère

durée : 00:02:21 - L'Humeur du matin par Guillaume Erner - par : Guillaume Erner - Absolument, il faut défendre cette sandale allemande. D'aucuns diraient est-allemande, tant elle représente le degré zéro de la chaussure, comme Barthes parlait du degré zéro de l'écriture. Car les Birkenstock ont perdu leur procès, ai-je appris dans Le Figaro. - réalisation : Félicie Faugère

durée : 00:02:08 - L'Humeur du matin par Guillaume Erner - par : Guillaume Erner - Pour la Saint-Valentin, Guillaume Erner vous invite à rester au lit et — inspiré par Roland Barthes — parler d'amour parce que, dans l'amour, tout est discours, tout est poésie et devrait l'être. - réalisation : Félicie Faugère

durée : 00:02:08 - L'Humeur du matin par Guillaume Erner - par : Guillaume Erner - Pour la Saint-Valentin, Guillaume Erner vous invite à rester au lit et — inspiré par Roland Barthes — parler d'amour parce que, dans l'amour, tout est discours, tout est poésie et devrait l'être. - réalisation : Félicie Faugère

durée : 00:58:10 - Avec philosophie - par : Géraldine Muhlmann, Antoine Ravon - Né en 1931, Guy Debord a quinze ans de moins que Roland Barthes. En 1967, le philosophe publie "La Société du spectacle", critique du capitalisme, tandis que Barthes s'éloigne des tonalités marxistes de ses "Mythologies". Pourtant, leurs œuvres convergent, dénonçant mythes et spectacle. - réalisation : Nicolas Berger - invités : Eric Marty Écrivain et universitaire; Vincent Kaufmann Professeur émérite de littérature et d'histoire des médias à l'université de St. Gall en Suisse

É preciso passarmos bem longe do heroísmo para irmos um pouco além das noções de superfície, desde logo a essas zonas turvas onde o nome sem glória aguarda a sua ocasião, mas para isso, para mergulharmos naquela experiência dos homens infames, não tanto por infamados, mas antes por não gozarem o prestígio e a fama que, aparentemente, todos não conseguem, hoje, deixar de ambicionar, para isso, como dizia o outro (mas qual deles?), para isso o indivíduo com um nome glorioso, o autor como proprietário da "sua" escrita, em suma o sujeito como o mais próprio da experiência, têm de ser abalados. Já seria alguma coisa se pudéssemos libertar-nos dos nomes. Todos temos um, e desfiamos de tanto andar à sua roda, a fazer esse esforço absurdo por nos mostrarmos coerentes com nós próprios. A identidade é esse prego, a mais desoladora e incapacitante das ficções. "Havia, haverá talvez que redescobrir o rasto instantâneo e fulgurante que nos deixam esses que se precipitaram para uma obscuridade, nessas zonas onde todo o 'renome' se perde"... Mas quem foi que disse isto? E se o não tiver dito exactamente assim, como fazemos? E se houver um desvio, uma deriva substancial, como se divide a coisa? Em Nietzsche já é mais difícil alterar uma vírgula que seja, e em Ecce Homo fez notar que "a minha sabedoria consiste em ter sido muitas coisas e ter estado em muitos lugares, para poder chegar a ser um, para poder tornar-me um". Mas Foucault adianta que este Um é radicalizado. Segundo Erígenes, segundo Borges, Deus não sabe quem é nem o que é porque não é um nem um quem. Isto faz dele o oposto preciso de uma imagem de marca. Mas nós colocámo-nos uns aos outros de castigo. Menos que homens, somos marcas, e devemos encontrar o nosso fundamento, hoje, nas mais fundas raízes do negotius, da privação e do desejo, aspirar a essa imanência das grandes pioneiras da indústria. Se é certo que o gosto de não citar pode conduzir-nos a insuspeitados pântanos, e que há formas de apropriação sacana, formas de trespasse, que sinalizam uma tremenda descortesia, é preciso também ter em conta o que disse Goethe numa das suas conversas com Eckerman: "Há na história de toda a arte uma filiação. Quando nos apercebemos de um grande mestre, verificamos sempre que se aproveitou do que os seus antecessores tinham de bom e que é isso precisamente que o torna grande. Homens como Rafael não nascem do solo espontaneamente. Têm as suas raízes na antiguidade, no melhor do que foi feito antes deles. Se não se tivessem aproveitado de todas as vantagens da sua época, não haveria muita coisa a dizer deles." Neste episódio, iremos fazer referência a outros casos, outros exemplos e autores que nos fazem relativizar a ideia de que o plágio é uma ofensa capital entre criadores, sendo que mesmo os grandes, aqueles que realmente admiramos, quase todos praticaram esses raptos ou roubos. Já temos tocado algumas vezes este tema, mas o horror persiste. Quase ninguém reconhece esse pudor maior daquele que preenche uns linguados de prosa, de forma ocasional e sem margem nem para grandes lucros nem grandes transtornos, e que mais do que recear ser acusado de rapinar os ovos de outras aves, receia sobretudo ser vulgar, vir por aí montado no rumor dessas banalidades de base que ninguém verifica se já outro antes disse, porque a todo o momento todos as repetem. A verdadeira sensibilidade muitas vezes está disposta a esse efeito de abertura em que uma outra escrita consegue escrever fragmentos da nossa própria quotidianidade, quando um dito transmigra para a nossa vida. Estou a copiar por cima do ombro de Barthes e ao mesmo tempo a adulterar certas frases de modo a fazer valer aqui um argumento que bem pode perder-se nos arquivos. Não seria de preferir essa selvajaria inspirada, divina, a de receber do texto, qualquer que ele seja, uma espécie de ordem fantasmática, e saborear essa distância, essa suspensão do seu ponto de vista, ou de qualquer outro, antes procurando tecer um tempo interior que represente não um indíviduo mas uma forma de co-existência? "O autor que sai do seu texto e entra na nossa vida não tem unidade", garante Barthes. E acrescenta: "é um simples plural de 'encantos'". Mas, hoje, nem mesmo na literatura se tem direito de passagem, tudo deve ser publicitado por lotes, obras enfileiradas nas estantes, ou jazigos num cemitério. Esta gente não vê a vantagem na dispersão, num canto descontínuo, de amabilidades, acenos, numa incessante troca de correspondências. Não os anima a proposta de um texto que seja destrutor de qualquer sujeito, um frémito que nos dispa dessas miseráveis fantasias neste baile cada vez mais inóspito. Seria melhor que ardesse de vez esta impostura, que o sujeito se dispersasse, que pudéssemos deambular fora de qualquer destino, um pouco como as cinzas que se lançam ao vento depois da morte, mas fazê-lo antes de morrermos, de modo a que se pudesse renascer tantas vezes quantas se desejasse, e contagiar o ambiente, "como átomos voluptuosos, contagiar algum corpo futuro, destinado à mesma dispersão". Mas preferem os títulos, reconduzir a porcaria da escrita a mais um regime de negociantes. Para confrontarmos este quadro de pressão limitadora, de vigilância e de denúncia, essa chibaria que é um dos traços que reforça o nosso irremediável provincianismo, para falarmos de plágio, mas também das tantas formas de iliteracia que, hoje, pretendem ditar como devem ser saboreadas e traficadas as ideias e o saber, contámos desta vez com Vítor Belanciano, um jornalista e escritor cheio de vícios, desde logo esse de alimentar quem o lia com a sua curiosidade excitada por uma rede de autores, projectos, vivências, num tu-cá-tu-lá, sem receio de violar as fronteiras disciplinares, saboreando música e leituras, esforçando-se por ajudar a instaurar essa ordem fantasmática, e que pagou caro quando supôs que podia escolher não integrar os elencos dos heróis. Acabou atirado para o molhe dos vilões. Assim, cá o recebemos.

durée : 00:39:59 - Les Nuits de France Culture - par : Mathilde Wagman - "Je ne sais pas qui je suis, je ne le saurai jamais". En 1976, seul dans un studio obscur, l'intellectuel Roland Barthes, 61 ans, se dévoile sans certitude. Entre enfance pauvre, absence de père, il explore les contours flous de sa propre identité. Une introspection radiophonique inédite. - réalisation : Virginie Mourthé - invités : Roland Barthes Ecrivain et critique littéraire français

En Pere Cervantes descubrimos hace unos años un narrador puro, capaz de contarnos historias que nos atrapaban desde la primera página. Lo hizo con El chico de la bovina. Y ahora nos coloca en 1923. El inspector Basilio Bosc vuelve a Barcelona después de cinco años en Madrid con el encargo de hallar a una niña desaparecida en el cine Coliseum: Cristina Nomdedeu, hija de un importante empresario textil.La novela se titula Me olvidé del cielo. Miguel Ángel Hernández lleva años aproximándose a las imágenes para establecer con ellas un diálogo profundo de arte y vida. El resultado son los textos aquí en Yo estoy en la imagen. Siguiendo la estela de Benjamin, Sontag y Barthes, el autor murciano nos entrega, de la mano de Acantilado, su sabiduría ensayística.Y regresamos a un clásico universal, con múltiples lecturas que nos llevan hasta la actualidad: 1984, de George Orwell.Y Truman Capote, en Palamós.

Valeria Pompejano"Vivrò l'amore degli altri"Lasciatelo parlareVolume 1Jean CayrolCon un saggio di Roland BarthesMarietti Editorewww.mariettieditore.itTraduzione a cura di Valeria PompejanoLasciatelo parlare è il primo capitolo della trilogia Vivrò l'amore degli altri che Cayrol compose tra il 1946 e il 1950 dopo la sua esperienza di deportato nel campo di concentramento di Mauthausen. Si tratta, per dirla con Barthes, della storia «non di un uomo o di un avvenimento, ma di una durata». Quella che segna il ritorno alla vita, la rinascita di chi, come Lazzaro, non è sopravvissuto alla morte, ma dalla morte è dovuto risorgere. Un capolavoro della letteratura concentrazionaria, esistenzialista e d'avanguardia francese, una trilogia che in Italia attende di essere conosciuta, esplorata, amata.leJean Cayrol (1911-2005) è stato un poeta, romanziere, cineasta, editore, ritenuto precursore del Nouveau Roman. A soli sedici anni fondò la rivista «Abeilles et Pensées» e nel 1934, con Jacques Dalléas, «Les Cahiers du fleuve». Dopo la laurea in giurisprudenza, nel 1939 fu reclutato come ufficiale di marina. Per aver partecipato alla Resistenza, nel marzo del 1943 venne imprigionato e deportato nel campo di Mauthausen. Dopo la liberazione e il ritorno a Parigi, scrivere divenne per lui l'unica modalità di stare al mondo, di intervenire nel mondo, di vivere. La direzione editoriale in Seuil, assunta nel 1949, gli consentirà di proseguire una intensa attività di letterato, romanziere e saggista. Fra le sue opere più importanti: Poèmes de la nuit et du brouillard (1946); Je vivrai l'amour des autres (3 voll., 1947-1950); L'espace d'une nuit (1954); Midi minuit (1966); Je l'entends encore (1968); Lazare parmi nous (1950); Les mille et une nuits du chrétien (1952); Les pleins et les déliés (1960); De l'espace humain (1968).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Tantos os quereres que permanecem guardados dentro da gente. Fato é que cada um de nós contém suas próprias multidões, e elas travam uma batalha interna, nos dilacerando em várias direções. Para encontrar sentido nesse carnaval, parece que precisamos lapidar o desejo. É por isso que oferecemos alguma resistência e dizemos “não” para muitas das nossas vontades. No podcast desta sexta conversamos sobre a bela e cruel necessidade de “lapidar a bruta flor”.ParticipantesRafael LauroRafael TrindadeLinksTexto lidoLive no YouTubeOutros LinksFicha TécnicaCapa: Felipe FrancoEdição: Pedro JanczurMailing: Adriana VasconcellosAss. Produção: Bru AlmeidaTexto: Rafael LauroGosta do nosso programa?Contribua para que ele continue existindo, seja um assinante!Support the Show.

durée : 00:35:59 - Les Nuits de France Culture - par : Philippe Garbit - L'émission "Arcanes 70" recevait Roland Barthes en 1970, il venait de publier son essai "S/Z", une émission diffusée la première fois le 16 avril 1970 sur France Culture. - invités : Roland Barthes Ecrivain et critique littéraire français

durée : 00:36:59 - Les Nuits de France Culture - par : Philippe Garbit - Marguerite Duras, Roland Barthes, Henri Lefebvre et Vladimir Jankélévitch analysaient la question des loisirs en France en 1962. Une série de la collection "Recherche de la France" en huit volets, le huitième traitait du monde touristique et de ses coutumes, comme la photographie de vacances. - invités : Roland Barthes Ecrivain et critique littéraire français; Marguerite Duras Écrivaine, dramaturge et cinéaste (1914-1996); Vladimir Jankélévitch Philosophe (1903-1985)

We did this on tour as some of our prep for the TU series Critical Media Theory (CMT) which is one of the research threads Dave and Ann teach in their ongoing Snelgrove-McKerracher synthesis seminars. The best way to get access to those seminars and all that research, the forums, etc., is to become a monthly subscriber https://theoryunderground.com/product/tu-subscription-tiers/   ABOUT / CREDITS / LINKS Become a monthly TU Tier Subscriber to access to the TU HUB, which includes past, ongoing, and upcoming courses, special events, office hours, clubs, and critical feedback that will help you evolve your comprehension capacities and critical faculties, via the website here: https://theoryunderground.com/product/tu-subscription-tiers/    Don't have time for that but want to help anyway? Consider supporting the patreon here: Welcome to Theory Underground. https://www.patreon.com/TheoryUnderground   Get TU books at a discount: https://theoryunderground.com/publications   Theory Underground is a lecture, research, and publishing platform by and for working class intellectuals, autodidacts, and academics who want to do more than they are able to within the confines of academia.   Think of Theory Underground like a Jiu Jitsu gym for your brain. Or like a post-political theory church. It doesn't matter. None of the analogies will do it justice. We're post-identity anyway. Just see if the vibe is right for you. We hope you get something out of it!   If you want to help me get setup sooner/faster in a totally gratuitous way, or support me but you don't care about the subscription or want to bother with the monthly stuff, here is a way to buy me something concrete and immediately useful, then you can buy me important equipment for my office on this list (these items will be automatically shipped to my address if you use the list here) https://www.amazon.com/hz/wishlist/ls/2MAWFYUJQIM58?   Buy me some coffee: https://www.venmo.com/u/Theorypleeb https://paypal.me/theorypleeb   If Theory Underground has helped you see that text-to-speech technologies are a useful way of supplementing one's reading while living a busy life, if you want to be able to listen to PDFs for yourself, then Speechify is recommended. Use the link below and Theory Underground gets credit! https://share.speechify.com/mzwBHEB Follow Theory Underground on Duolingo: https://invite.duolingo.com/BDHTZTB5CWWKTP747NSNMAOYEI See Theory Underground memes here: https://www.instagram.com/theory_underground/ https://tiktok.com/@theory_underground   Missed a course at Theory Underground? Wrong! Courses at Theory Underground are available after the fact on demand. https://theoryunderground.com/courses   MUSIC CREDITS Logo sequence music by https://olliebeanz.com/music https://creativecommons.org/licenses/by-nc-sa/4.0/legalcode Mike Chino, Demigods https://youtu.be/M6wruxDngOk            

Ken Pilot interviews Danielle Bernstein on this episode of The Retail Pilot podcast.Danielle is a native New Yorker and fashion influencer turned business mogul. She has a dedicated fan base of over 3.3 million followers and counting across her social media platforms. Danielle started her internationally recognized blog in 2010 as a daily dose of outfit inspiration for women everywhere, before growing the platform into an aspirational yet relatable home for all things coveted. Danielle has since launched her brand, Shop WeWoreWhat, a direct to consumer and wholesale business with millions of customers worldwide.Key takeaways from this podcast interview include:· Value of Early Work Experience: Danielle emphasized the importance of early career "bitch work" in building character, work ethic, and appreciation for later success. Her experiences folding clothes, steaming garments, and doing menial tasks gave her valuable perspective and helped shape her career.· Adaptability and Innovation in Career Development: Danielle's journey into fashion was unplanned. Initially interested in event planning and nightlife, she pivoted to fashion during college. Her ability to adapt and innovate, particularly with the launch of her street style blog "We Wore What," showcases the importance of seizing new opportunities and being an early adopter of social media.· Authenticity and Risk-Taking: Danielle discussed the importance of authenticity in her personal and professional life. She highlighted her willingness to take risks and pursue what she wants, whether in her love life or business ventures. This proactive and fearless approach has been crucial to her success.· Building a Diverse and Inclusive Brand: The "We Wore What" brand caters to a broad demographic, with price points under $200, ensuring accessibility. Danielle's commitment to maintaining a high-low mix in her wardrobe reflects her belief that style isn't about expensive labels but about creativity and personal expression.· Long-Term Brand Partnerships and Influencer Integrity: Danielle values long-term partnerships over one-off deals, which she believes build trust with her audience. She advises other influencers to adopt a similar approach, focusing on authentic, enduring collaborations rather than short-term financial gains. This strategy has helped her maintain credibility and longevity in her career.· Creative Process and Inspiration: Danielle Bernstein elaborates on her creative process, highlighting the importance of data-driven design based on past best-sellers, customer feedback, and personal inspiration from everyday items and runways. She emphasizes "smart designing" by reinventing successful styles to create new products.· Controversy and Resilience: Addressing past controversies regarding accusations of copying designs, Danielle firmly denies these claims and underscores the rigorous, multi-layered process her design team follows to ensure originality. She reflects on how facing cancel culture has made her stronger as a leader and business owner.· Campaigns and Storytelling: Bernstein discusses the significance of themed collections and destination-based photo shoots in creating a compelling narrative for her brand. Locations like St. Barthes and Italy are chosen to enhance the storytelling aspect of her collections, making the process engaging for followers and customers.· Influencer Marketing and Brand Strategy: Danielle notes the shift in influencer marketing towards a more results-oriented approach, where brands focus on monetary ROI. She points out that longevity in the industry requires filling a unique market niche and having the ability to sell products effectively.· Jewish Identity and Advocacy: In light of recent events, Danielle has become more vocal about her Jewish identity, using her platform to educate and spread awareness about anti-Semitism and the situation in Israel. She emphasizes the importance of standing up for her beliefs and educating others in a way that fosters understanding and support.

Unger, Kolja www.deutschlandfunk.de, Corso

Du lundi au vendredi, Julien Pichené fait le point sur l'actualité des médias. Aujourd'hui, France Télévisions a été condamné aux prudhommes à verser plus de 80.000 euros à un ancien présentateur de Franceinfo Gael Giordana, les suites du feuilleton "Danse avec les stars", la commission d'enquête d'attribution des fréquences de la TNT auditionnait hier l'animateur de l'émission "Quotidien", Yann Barthes.

This week we're excited to present a conversation with The Animal Kingdom director Thomas Cailley and The Pod Generation director Sophie Barthes as they discuss their playful, up-to-the-minute experiments with genre and the use of speculative fiction to examine political realities and probe timeless emotional truths. This conversation was moderated by FLC Assistant Programmer Madeline Whittle with interpretation by Nicholas Elliott. Thomas Cailley, whose 2014 breakout feature Love at First Fight charmed audiences with its invigorating fusion of the rom-com and coming-of-age genres, returned to Rendez-Vous with French Cinema with this year's Opening Night selection, The Animal Kingdom, in which a darkly imaginative sci-fi premise gives way to a thoughtful study of fatherhood. When mankind is plagued with a mysterious infection that selectively mutates the bodies of ordinary people into animal hybrids, a widower and his teenage son must fight to survive in Cailley's darkly imaginative exploration of a human ecosystem undergoing inexplicable—but potentially liberating—transformation. The Animal Kingdsom is in select theaters now, courtesy of Magnolia Pictures.

Barthes bizi kahraman olmaktan uzak durmaya çağırır. Ne aşkınızın ne de büyük davaların kahramanı olun, cansızlaşmış ve biçimsellikten ibaret kurgulardan uzak durun, amatör olun.

Unger, Koljawww.deutschlandfunk.de, Corso

Suspicious of what he called the spectator's "sticky" adherence to the screen, Roland Barthes had a cautious attitude towards cinema. Falling into a hypnotic trance, the philosopher warned, an audience can become susceptible to ideology and "myth". In Roland Barthes and Film: Myth, Eroticism and Poetics (Bloomsbury), Patrick Ffrench explains that although Barthes was wary of film, he engaged deeply with it. Barthes' thought was, Ffrench argues, punctuated by the experience of watching films - and likewise his philosophy of photography, culture, semiotics, ethics and theatricality have been immensely important in film theory. Focusing particularly on the essays 'The Third Meaning' and 'On Leaving the Cinema' and the acclaimed book Camera Lucida, Ffrench examines Barthes' writing and traces a persistent interest in films and directors, from Fellini and Antonioni, to Eisenstein, the Marx Brothers and Hitchcock. Ffrench explains that although Barthes found pleasure in "leaving the cinema" - disconnecting from its dangerous allure by a literal exit or by forcefully breaking the trance - he found value in returning to the screen anew. Barthes delved beneath the pull of progressing narrative and the moving image by becoming attentive to space and material aesthetics. This book presents an invaluable reassessment of one of the most original and subtle thinkers of the twentieth-century: a figure indebted to the movies. Bill Schaffer is a semi-retired lecturer in Film Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Suspicious of what he called the spectator's "sticky" adherence to the screen, Roland Barthes had a cautious attitude towards cinema. Falling into a hypnotic trance, the philosopher warned, an audience can become susceptible to ideology and "myth". In Roland Barthes and Film: Myth, Eroticism and Poetics (Bloomsbury), Patrick Ffrench explains that although Barthes was wary of film, he engaged deeply with it. Barthes' thought was, Ffrench argues, punctuated by the experience of watching films - and likewise his philosophy of photography, culture, semiotics, ethics and theatricality have been immensely important in film theory. Focusing particularly on the essays 'The Third Meaning' and 'On Leaving the Cinema' and the acclaimed book Camera Lucida, Ffrench examines Barthes' writing and traces a persistent interest in films and directors, from Fellini and Antonioni, to Eisenstein, the Marx Brothers and Hitchcock. Ffrench explains that although Barthes found pleasure in "leaving the cinema" - disconnecting from its dangerous allure by a literal exit or by forcefully breaking the trance - he found value in returning to the screen anew. Barthes delved beneath the pull of progressing narrative and the moving image by becoming attentive to space and material aesthetics. This book presents an invaluable reassessment of one of the most original and subtle thinkers of the twentieth-century: a figure indebted to the movies. Bill Schaffer is a semi-retired lecturer in Film Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Suspicious of what he called the spectator's "sticky" adherence to the screen, Roland Barthes had a cautious attitude towards cinema. Falling into a hypnotic trance, the philosopher warned, an audience can become susceptible to ideology and "myth". In Roland Barthes and Film: Myth, Eroticism and Poetics (Bloomsbury), Patrick Ffrench explains that although Barthes was wary of film, he engaged deeply with it. Barthes' thought was, Ffrench argues, punctuated by the experience of watching films - and likewise his philosophy of photography, culture, semiotics, ethics and theatricality have been immensely important in film theory. Focusing particularly on the essays 'The Third Meaning' and 'On Leaving the Cinema' and the acclaimed book Camera Lucida, Ffrench examines Barthes' writing and traces a persistent interest in films and directors, from Fellini and Antonioni, to Eisenstein, the Marx Brothers and Hitchcock. Ffrench explains that although Barthes found pleasure in "leaving the cinema" - disconnecting from its dangerous allure by a literal exit or by forcefully breaking the trance - he found value in returning to the screen anew. Barthes delved beneath the pull of progressing narrative and the moving image by becoming attentive to space and material aesthetics. This book presents an invaluable reassessment of one of the most original and subtle thinkers of the twentieth-century: a figure indebted to the movies. Bill Schaffer is a semi-retired lecturer in Film Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

in which Pushcart-nominated Baltiomore cryptid Dave K and i talk literary gatekeeping, the motives behind writing, and art's tethering to capitalism (at least in the US)... where to find Dave: website - https://okaydavek.com/ insta - @davekisdavek other things referenced: Don't Waste Flares by Dave K - https://www.bruisermag.com/davek_flares Batman: The Golden Streets of Gotham - https://readcomiconline.li/Comic/Batman-The-Golden-Streets-of-Gotham Anti-Story: An Anthology of Experimental Fiction by Philip Stevick - https://www.simonandschuster.com/books/Anti-Story/Philip-Stevick/9780029315002 Marat/Sade by Peter Weiss - https://en.wikipedia.org/wiki/Marat/Sade The Death of the Author by Roland Barthes - https://writing.upenn.edu/~taransky/Barthes.pdf Last Days by Brian Evenson - https://coffeehousepress.org/products/last-days The Three Sunrises by Edward Mullaney - https://www.publishinggenius.com/catalog/the-three-sunrises-by-edward-mullany/ Raymond Carver - https://en.wikipedia.org/wiki/Raymond_Carver Paul Auster - https://en.wikipedia.org/wiki/Paul_Auster Haruki Murakami - https://www.harukimurakami.com/ Hush up and listen stinky poo butt by Sparling, Ken - https://archive.org/details/hushuplistenstin0000spar/mode/2up

Suspicious of what he called the spectator's "sticky" adherence to the screen, Roland Barthes had a cautious attitude towards cinema. Falling into a hypnotic trance, the philosopher warned, an audience can become susceptible to ideology and "myth". In Roland Barthes and Film: Myth, Eroticism and Poetics (Bloomsbury), Patrick Ffrench explains that although Barthes was wary of film, he engaged deeply with it. Barthes' thought was, Ffrench argues, punctuated by the experience of watching films - and likewise his philosophy of photography, culture, semiotics, ethics and theatricality have been immensely important in film theory. Focusing particularly on the essays 'The Third Meaning' and 'On Leaving the Cinema' and the acclaimed book Camera Lucida, Ffrench examines Barthes' writing and traces a persistent interest in films and directors, from Fellini and Antonioni, to Eisenstein, the Marx Brothers and Hitchcock. Ffrench explains that although Barthes found pleasure in "leaving the cinema" - disconnecting from its dangerous allure by a literal exit or by forcefully breaking the trance - he found value in returning to the screen anew. Barthes delved beneath the pull of progressing narrative and the moving image by becoming attentive to space and material aesthetics. This book presents an invaluable reassessment of one of the most original and subtle thinkers of the twentieth-century: a figure indebted to the movies. Bill Schaffer is a semi-retired lecturer in Film Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Suspicious of what he called the spectator's "sticky" adherence to the screen, Roland Barthes had a cautious attitude towards cinema. Falling into a hypnotic trance, the philosopher warned, an audience can become susceptible to ideology and "myth". In Roland Barthes and Film: Myth, Eroticism and Poetics (Bloomsbury), Patrick Ffrench explains that although Barthes was wary of film, he engaged deeply with it. Barthes' thought was, Ffrench argues, punctuated by the experience of watching films - and likewise his philosophy of photography, culture, semiotics, ethics and theatricality have been immensely important in film theory. Focusing particularly on the essays 'The Third Meaning' and 'On Leaving the Cinema' and the acclaimed book Camera Lucida, Ffrench examines Barthes' writing and traces a persistent interest in films and directors, from Fellini and Antonioni, to Eisenstein, the Marx Brothers and Hitchcock. Ffrench explains that although Barthes found pleasure in "leaving the cinema" - disconnecting from its dangerous allure by a literal exit or by forcefully breaking the trance - he found value in returning to the screen anew. Barthes delved beneath the pull of progressing narrative and the moving image by becoming attentive to space and material aesthetics. This book presents an invaluable reassessment of one of the most original and subtle thinkers of the twentieth-century: a figure indebted to the movies. Bill Schaffer is a semi-retired lecturer in Film Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

durée : 00:49:27 - Grand Canal - par : Eva Bester - Nancy Huston a composé ces poèmes pour un amant dans les années 1990 sans jamais les publier jusqu'à aujourd'hui dans un recueil intitulé « Choses dites » aux Éditions L'Iconoclaste. Le secret de l'amour, une émancipation de Barthes et les lettres adressées à sa mère, au cœur de tout. - invités : Nancy Huston - Nancy Huston : Écrivain, essayiste, traductrice - réalisé par : Lola COSTANTINI

durée : 00:52:43 - Grand Canal - par : Eva Bester - Nancy Huston a composé ces poèmes pour un amant dans les années 1990 sans jamais les publier jusqu'aujourd'hui dans un recueil intitulé « Choses dites » aux Éditions L'Iconoclaste. Le secret de l'amour, une émancipation de Barthes et les lettres adressées à sa mère, au cœur de tout.

“I think I could turn into you if I really tried.”Talking About Persona with our guest, writer/director Sophie BarthesOn this episode of Movies We Like, we speak with writer/director Sophie Barthes about one of her favorite films, Ingmar Bergman's 1966 psychological drama Persona. We also discussed Barthes' own directing career and thoughts on filmmaking.We have an in-depth discussion about Bergman's avant-garde masterpiece Persona, analyzing its dreamlike atmosphere, innovative editing and cinematography, complex characters and themes of identity and psychology. We talk about how the film's shocking opening montage and sparse narrative puts the viewer in an unsettled state of mind. Overall, we find Persona to be an endlessly discussable classic that still feels fresh and boundary-pushing today.We also speak with Barthes about her three feature films - Cold Souls, Madame Bovary, and The Pod Generation. Barthes explains how she often explores themes of consumerism, psychology and identity through different genres and time periods. She shared insights into her creative process, from conceptualizing stories based on her dreams to her highly-stylized production design. Barthes also discussed the challenges of portraying human truths and darkness as a director today versus Bergman's time.Barthes gives thoughtful perspective as both a director and film lover. Her pick certainly leads to a rich discussion about cinematic art today as Persona proves to be a multilayered classic ripe for analysis.Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Film SundriesLearn more about supporting The Next Reel's Movies We Like through your own membership with The Next Reel. Check out Sophie's films Cold Souls Madame Bovary The Pod Generation on Amazon or Apple Watch Persona on Apple or Amazon, or find other places at JustWatch Script Options Theatrical trailer Poster artwork Flickchart Letterboxd Read more about the results of the WGA strike here.Learn more about the SAG-AFTRA strike here.Visit our WATCH PAGE to rent or purchase movies we've talked about on the show. By doing so, you get to watch the movie and help us out in the process as a portion comes back our way. All of the movies from our current season are in there, and we're continuing to add more from our back catalog. Enjoy!Want to upgrade your Letterboxd account? Use our PROMO CODE to get a DISCOUNT and help us out in the process!Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Here's where you can find us around the internet: The Web Letterboxd Facebook Instagram X YouTube Flickchart Check out poster artwork for movies we've discussed on our Pinterest page Pete  Andy We spend hours every week putting this show together for you, our dear listener, and it would sure mean a lot to us if you considered becoming a member. When you do, you get early access to shows, ad-free episodes, and a TON of bonus content. To those who already support the show, thank you. To those who don't yet: what are you waiting for?Become a Member here: $5 monthly or $55 annuallyWhat are some other ways you can support us and show your love? Glad you asked! You can buy TNR apparel, stickers, mugs and more from our MERCH PAGE. Or buy or rent movies we've discussed on the show from our WATCH PAGE. Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.

“I think I could turn into you if I really tried.”Talking About Persona with our guest, writer/director Sophie BarthesOn this episode of Movies We Like, we speak with writer/director Sophie Barthes about one of her favorite films, Ingmar Bergman's 1966 psychological drama Persona. We also discussed Barthes' own directing career and thoughts on filmmaking.We have an in-depth discussion about Bergman's avant-garde masterpiece Persona, analyzing its dreamlike atmosphere, innovative editing and cinematography, complex characters and themes of identity and psychology. We talk about how the film's shocking opening montage and sparse narrative puts the viewer in an unsettled state of mind. Overall, we find Persona to be an endlessly discussable classic that still feels fresh and boundary-pushing today.We also speak with Barthes about her three feature films - Cold Souls, Madame Bovary, and The Pod Generation. Barthes explains how she often explores themes of consumerism, psychology and identity through different genres and time periods. She shared insights into her creative process, from conceptualizing stories based on her dreams to her highly-stylized production design. Barthes also discussed the challenges of portraying human truths and darkness as a director today versus Bergman's time.Barthes gives thoughtful perspective as both a director and film lover. Her pick certainly leads to a rich discussion about cinematic art today as Persona proves to be a multilayered classic ripe for analysis.Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Film SundriesLearn more about supporting The Next Reel's Movies We Like through your own membership with The Next Reel. Check out Sophie's films Cold Souls Madame Bovary The Pod Generation on Amazon or Apple Watch Persona on Apple or Amazon, or find other places at JustWatch Script Options Theatrical trailer Poster artwork Flickchart Letterboxd Read more about the results of the WGA strike here.Learn more about the SAG-AFTRA strike here.Visit our WATCH PAGE to rent or purchase movies we've talked about on the show. By doing so, you get to watch the movie and help us out in the process as a portion comes back our way. All of the movies from our current season are in there, and we're continuing to add more from our back catalog. Enjoy!Want to upgrade your Letterboxd account? Use our PROMO CODE to get a DISCOUNT and help us out in the process!Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Here's where you can find us around the internet: The Web Letterboxd Check out poster artwork for movies we've discussed on our Pinterest page Pete Andy We spend hours every week putting this show together for you, our dear listener, and it would sure mean a lot to us if you considered becoming a member. When you do, you get early access to shows, ad-free episodes, and a TON of bonus content. To those who already support the show, thank you. To those who don't yet: what are you waiting for?Become a Member here: $5 monthly or $55 annuallyWhat are some other ways you can support us and show your love? Glad you asked! You can buy TNR apparel, stickers, mugs and more from our MERCH PAGE. Or buy or rent movies we've discussed on the show from our WATCH PAGE. Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.

“I think I could turn into you if I really tried.”Talking About Persona with our guest, writer/director Sophie BarthesOn this episode of Movies We Like, we speak with writer/director Sophie Barthes about one of her favorite films, Ingmar Bergman's 1966 psychological drama Persona. We also discussed Barthes' own directing career and thoughts on filmmaking.We have an in-depth discussion about Bergman's avant-garde masterpiece Persona, analyzing its dreamlike atmosphere, innovative editing and cinematography, complex characters and themes of identity and psychology. We talk about how the film's shocking opening montage and sparse narrative puts the viewer in an unsettled state of mind. Overall, we find Persona to be an endlessly discussable classic that still feels fresh and boundary-pushing today.We also speak with Barthes about her three feature films - Cold Souls, Madame Bovary, and The Pod Generation. Barthes explains how she often explores themes of consumerism, psychology and identity through different genres and time periods. She shared insights into her creative process, from conceptualizing stories based on her dreams to her highly-stylized production design. Barthes also discussed the challenges of portraying human truths and darkness as a director today versus Bergman's time.Barthes gives thoughtful perspective as both a director and film lover. Her pick certainly leads to a rich discussion about cinematic art today as Persona proves to be a multilayered classic ripe for analysis.Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Film SundriesLearn more about supporting The Next Reel's Movies We Like through your own membership with The Next Reel. Check out Sophie's films Cold Souls Madame Bovary The Pod Generation on Amazon or Apple Watch Persona on Apple or Amazon, or find other places at JustWatch Script Options Theatrical trailer Poster artwork Flickchart Letterboxd Read more about the results of the WGA strike here.Learn more about the SAG-AFTRA strike here.Visit our WATCH PAGE to rent or purchase movies we've talked about on the show. By doing so, you get to watch the movie and help us out in the process as a portion comes back our way. All of the movies from our current season are in there, and we're continuing to add more from our back catalog. Enjoy!Want to upgrade your Letterboxd account? Use our PROMO CODE to get a DISCOUNT and help us out in the process!Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Here's where you can find us around the internet: The Web Letterboxd Facebook Instagram X YouTube Flickchart Check out poster artwork for movies we've discussed on our Pinterest page Pete  Andy We spend hours every week putting this show together for you, our dear listener, and it would sure mean a lot to us if you considered becoming a member. When you do, you get early access to shows, ad-free episodes, and a TON of bonus content. To those who already support the show, thank you. To those who don't yet: what are you waiting for?Become a Member here: $5 monthly or $55 annuallyWhat are some other ways you can support us and show your love? Glad you asked! You can buy TNR apparel, stickers, mugs and more from our MERCH PAGE. Or buy or rent movies we've discussed on the show from our WATCH PAGE. Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.

durée : 00:58:07 - Avec philosophie - par : Géraldine Muhlmann - Réédité aux Éditions du Seuil, le cours du Collège de France sur la question du Neutre donné en 1978 par Roland Barthes constitue une expérience de pensée sans conclusion. Impraticable, le Neutre n'est pas pour autant un non-agir, mais l'affirmation d'un être qui ne s'empresse pas de trancher. - invités : Eric Marty écrivain et universitaire; Benoît Peeters Écrivain, scénariste de bandes dessinées et éditeur

We said we would and so we did! Here is our episode on l'auteur! In this episode, Marcelle leads us through a brief Revisions segment because there is just too much to get into! We talk ideology, discourse, structuralism, celebrity and capitalism before heading into a chat about two dead French guys (Barthes and Foucault) and 'the death of the author." Then in Owls we put our theory to work as we think through J.K. Rowling's presence in the circulation of the Harry Potter series and the way new technologies of publishing have changed the scope of her "author function."If thinking about "the author" makes you crave a great way to say fuck transphobia and transphobes, please donate to our fundraiser for Edinburgh Rape Crisis Centre — an organization that's been directly affected by JKR's transphobia. You can find the link here and on our website ohwitchplease.ca. We're halfway to our goal of $5000 by April 30th. We can do it with your help!Also, did you know that we're launching a new show? WELL WE ARE. We've been talking about it a bit over on Patreon and that's where you should go if you want to be totally clued in to the happenings at Witch, Please. But, to give you a taste, here's what you need to know: We're launching two pilots in the next month on our Patreon to get the input of all our Patrons regarding which show we should keep making! Have strong opinions? Know what you like in a podcast? Want to help us co-create the next iteration of our show? JOIN TODAY and you can be part of that conversation AND you can get access to a ton of audio perks like unedited audio, bloopers, comics, Q&As, and so much more! Become a supporter at patreon.com/ohwitchplease. If becoming a paying subscriber isn't in the cards right now, no stress! Please leave us a review instead — it truly helps sustain the show. Of course, you can always follow us on Instagram or Twitter @ohwitchplease to stay connected. Hosted on Acast. See acast.com/privacy for more information.