Death of author

RJOE JOURNAL 2018, 2018

The impact of Reader Response Theory or Criticism on literary criticism over the past thirty-five years has been profound and wide-ranging. It emerged in the 1970s as an influential critical theory of the Post-Structuralist tradition firmly establishing the readers' role in interpreting/analysing literary texts. In essence, Reader-response theories reject New Criticism, the dominant literary theory and criticism from the late 1930s through the 1950s. The Reader Response critics claimed that the text comes alive only with the readers' active participation and interaction with the text. Here in the paper, I have tried to point what are the views of Roland Barthes about the author and the reader, what role does he assign to the reader and what place the reader has taken in the history of Literary Criticism. Keywords: modern scripture, literary theory and criticism, author, the role of reader, position and difference of reader, expectations and violations, deferment and satisfaction, formulation and un-formulation and restructuring of expectation, gap-filling etc

Problemos, 2019

We will hereinafter discuss the author's philosophy on gnoseological and historical premises. More precisely, by exploring the genealogy of the idea of the "Death of the Author" from modernism to postmodernism, we will analyse the concepts and ideologies that have become the stratagem of the denial of western literary canon, as well as the denial of equilibrium between philosophical and literary identity and universality. By treating the works of philosophers, authors, and fundamental semiologists who perpetuated the idea of the Death of the Author, we will observe how the latter gradually fled from the philosophy of doubt and as mea culpa admitted that without the author's authority the philosophical and literary legacy is no longer the theatre of memory, but the abyss of oblivion. Moreover, with fundamental examples, we will observe the influence of this philosophy in the process of studying of the literature.

2022

This article is proposed as a study on the issue of the relationship between the datum of death and the aesthetic context of the creation of a literary work, and therefore of authorial poetics. Starting with an in-depth study of the concept of literature and poetics 'of death', it will be intended to proceed with research on the related philosophical and critical issues, to provide an overview of the most important insights on the subject. Thanks to a comparative and transmedia approach, the discourse will be addressed to the theory of death in literature, considering in a broad sense the most significant contemporary critical proposals. Thus, literary and cinematographic case studies will be proposed, as part of a reflection on the issue from a theoretical point of view. The ontological implications relating to the creation of the work of art will also be considered, in order to deepen, with full awareness, the relationship between the poetics of death and works of a not only artistic and literary nature, but also the testimonial.

Söylem, 2018

John Crowe Ransom, Mikhail Bakhtin and Roland Barthes are all idiosyncratic and revolutionary scholars in terms of their ideas about the place of author and text. Thus, understanding their viewpoints and ideas concerning the importance of the author in the creation of textual meaning is highly significant to understand their influence over the literary world. Owing to the fact that all these scholars rejected some traditional views and introduced some new ideas to the thinking world, this study aims at reviewing key points of their ideas. In this respect, Ransom's New Criticism as a reaction to biographical and traditional historicism, Bakhtin's novel theory and Barthes' famous work 'The Death Of The Author' constitute the core discussion of this study.

This paper examines the ideas put forward by Roland Barthes in his essay The Death of the Author, as they relate to the literary domain, and applies them to the musical domain,drawing parallels between the author and the composer, the literary work and the musical work, and the reader and listener. The chapters in this paper are structured as follows; I. Introduces the premise of the paper. II. Briefly outlines key related works. III. Outlines the primary arguments in The Death of The Author as applied to music. IV, V, VI. Explore how The Death of the Author relates to the composer, the musical work, and the listener respectively. VII. Concludes and summarises the main arguments.

Margit Sutrop, The Death of the Literary Work, Philosophy and Literature, Volume 18, Number 1, April 1994, pp. 38-49, 1994

Curiously, there has been a lot of discussion about the death of the author but the death of the literary work has hardly been resisted. It has been taken for granted that literary work closes itself on a signifed, that the work is closed, finished object which hides its meaning. In this article I show that there are good reasons to doubt this claim. In the first part of the article I argue that the literary work has lost its content because the notion of the text has has such an important extension. Many reader-oriented critics are convinced that every text has its meaning only in reading. As the meaning is produced, assembled and constituted in the reading process, it is always subjective, individual, plural. The literary work becomes the victim of the text and will be sidelined. In the second part of the article I will compare the phenomenological literary theory of the Polish aesthetician Roman Ingarden and the reader-response theory (reception aesthetics) of the German literary theorist Wolfgang Iser. I will focus on how Iser will make an important extension of the notion of the text - in the spirit of Barthes- at the same time giving the notion of the literary work a totally new content.

British Journal of Aesthetics, 1990