Roland Barthes

A graceful, contemplative volume, Camera Lucida was first published in 1979. Commenting on artists such as Avedon, Clifford, Mapplethorpe, and Nadar, Roland Barthes presents photography as being outside the codes of language or culture, acting on the body as much as on the mind, and rendering death and loss more acutely than any other medium. This groundbreaking approach established Camera Lucida as one of the most important books of theory on this subject, along with Susan Sontag's On Photography.

A Lover's Discourse, at its 1978 publication, was revolutionary: Roland Barthes made unprecedented use of the tools of structuralism to explore the whimsical phenomenon of love. Rich with references ranging from Goethe's Werther to Winnicott, from Plato to Proust, from Baudelaire to Schubert, A Lover's Discourse artfully draws a portrait in which every reader will find echoes of themselves.

A major discovery: The lost diary of a great mind—and an intimate, deeply moving study of grief The day after his mother's death in October 1977, the influential philosopher Roland Barthes began a diary of mourning. Taking notes on index cards as was his habit, he reflected on a new solitude, on the ebb and flow of sadness, and on modern society's dismissal of grief. These 330 cards, published here for the first time, prove a skeleton key to the themes he tackled throughout his work. Behind the unflagging mind, "the most consistently intelligent, important, and useful literary critic to have emerged anywhere" (Susan Sontag), lay a deeply sensitive man who cherished his mother with a devotion unknown even to his closest friends.

"No denunciation without its proper instrument of close analysis," Roland Barthes wrote in his preface to Mythologies. There is no more proper instrument of analysis of our contemporary myths than this book—one of the most significant works in French theory, and one that has transformed the way readers and philosophers view the world around them. Our age is a triumph of codification. We own devices that bring the world to the command of our fingertips. We have access to boundless information and prodigious quantities of stuff. We decide to like or not, to believe or not, to buy or not. We pick and choose. We think we are free. Yet all around us, in pop culture, politics, mainstream media, and advertising, there are codes and symbols that govern our choices. They are the fabrications of consumer society. They express myths of success, well-being, and happiness. As Barthes sees it, these myths must be carefully deciphered, and debunked. What Barthes discerned in mass media, the fashion of plastic, and the politics of postcolonial France applies with equal force to today's social networks, the iPhone, and the images of 9/11. This new edition of Mythologies, complete and beautifully rendered by the Pulitzer Prize–winning poet, critic, and translator Richard Howard, is a consecration of Barthes's classic—a lesson in clairvoyance that is more relevant now than ever.

"we know that to restore to writing its future, we must reverse its myth: the birth of the reader must be ransomed by the death of the Author." 'The Death of the Author' is a 1967 essay by the French literary critic and theorist Roland Barthes. Barthes's essay argues against traditional literary criticism's practice of incorporating the intentions and biographical context of an author in an interpretation of a text, and instead argues that writing and creator are unrelated. Roland Barthes (1915-1980) was a French literary theorist, philosopher, linguist, critic, and semiotician. Barthes' ideas explored a diverse range of fields and he influenced the development of schools of theory including structuralism, semiotics, social theory, design theory, anthropology, and post-structuralism.

With this book, Barthes offers a broad-ranging meditation on the culture, society, art, literature, language, and iconography--in short, both the sign-oriented realities and fantasies--of Japan itself.