31/10/2021
A few months ago, I began rereading Roland Barthes. Probably the greatest French critic of the last century, Barthes is associated, in the heads of most under-graduates and dilettantes, with two things. The first is semiotics, or the study of signs; at the end of his life, he even held the impressive-sounding Chair in Literary Semiology (a title of his own choosing, apparently) at the Collège de France. The second is his essay, “The Death of the Author”, in which he described the author’s passing, adding, provocatively, “The birth of the reader must be at the cost of the death of the author.”
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