This work cites J.-P. Venant's research to assert that Greek tragedies are composed of words with double meanings "that each character understands unilaterally." It attacks the "castrating objectivity of the realist novelist," and argues that writers produce texts from inner dictionaries. This work cites Mallarme, Valery, Proust, and the Surrealists as writers who tried to overcome the "cult" of the central figure, described as a product of French rationalism, the Reform
This work cites J.-P. Venant's research to assert that Greek tragedies are composed of words with double meanings "that each character understands unilaterally." It attacks the "castrating objectivity of the realist novelist," and argues that writers produce texts from inner dictionaries. This work cites Mallarme, Valery, Proust, and the Surrealists as writers who tried to overcome the "cult" of the central figure, described as a product of French rationalism, the Reformation, and the culmination of capitalist ideology. First published in Image, Music, Text, this essay states that "writing is the destruction of every voice, of every point of origin," and claims that the title figure should be replaced with "the scriptor." Beginning by analyzing a passage from Balzac's "Sarrasine," FTP, name this essay which argues that the "birth of the reader" needs to be at the cost of the title event, written by Roland Barthes.
This work cites J.-P. Venant's research to assert that Greek tragedies are composed of words with double meanings "that each character understands unilaterally.
“The {Death} of the {Author}”