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“... the two genres principally concerned with presentations of self. Miller has little time for Roland Barthes, because for Barthes nouvelle critique cross-breeds with new, Post-Modernist forms of writing. Miller for ever renews his critical equipment in order to apply and reapply it to the same old revered ...”

“... still later converted to a release on grounds of illness. There was no pardon or retrial. Roland Barthes wrote one of his brilliant mythology columns about the case, suggesting that since Dominici didn’t understand either the language or the logic of the French educated classes, he was tried according to a metropolitan fantasy of ...”

“... of thought’) which we may call the ‘self-excluder’. According to this figure, Sartre or Roland Barthes will heap obloquy on the ‘bourgeoisie’ while leaving quite unanswered the question of what ‘class’ they belong to themselves. The natural inference would be that they are members of the ‘proletariat’; but if so, what becomes of the ...”

“... route for Garrick Street, or Paddington. To the novice bookman with only a Catherine Cookson and a Roland Barthes between him and the workhouse this was indeed a stirring image of literary success. Gissing would have loved it. Now and then, of course, one pondered the doubtful morality of these Friday expeditions. After all, these books were ...”

“... ancestral to the books under review (Roger Silverstone, for example, frequently acknowledges Roland Barthes on fashion). It is striking nonetheless that only one of them, Michael Arlen’s Thirty Seconds, shows an inclination to regret the fact that intellectual and artistic adventurousness is habitually thwarted in television. More precisely, his ...”

“... to the 1890s, but of wondering how posterity could have lost sight of such amazing modernist work. Roland Barthes thought Valéry’s poetry had become an anachronism, and Peeters suggests that this ‘judgment … seems to correspond to that of the majority of contemporaries’. ‘This poetry,’ Barthes said in an ...”

“... from Vivre sa vie to La Chinoise). It also provides the context for a fascinating glimpse of Roland Barthes (at the time Dorr’s co-editor on Théâtre populaire) plugging the semiotic machine into film studies in his 1963 interview, ‘Towards a Semiotics of Cinema’. Here the talk is all of langue and parole, denotation and connotation, syntagm ...”

“... paper shapes rustle. And the word – the imagined sound – sent me back to a wonderful essay by Roland Barthes called ‘The Rustle of Language’, and especially to its last two sentences: I imagine myself today something like the ancient Greek as Hegel describes him: he interrogated, Hegel says, passionately, uninterruptedly, the rustle of ...”

“... medium, the nature of the product upon which acts of interpretation descend. This may sound like Roland Barthes, but the question is admirably formulated in a New Jersey court ruling of 1905, quoted by Hamilton: ‘a photograph which is not only a light-written picture of some object, but also an expression of an idea, a thought, a conception of the one ...”

“... impelled to add: ‘None of this argues that George Bush is a bad man. He is not.’ Years ago Roland Barthes wrote about the bourgeois propensity to think in essences, and nowhere is this more evident than in the way Americans think and write about their political leaders. It was not as if Lewis needed the after-thought about Bush’s ...”

“... successors have gone to advertising agencies. The differences are apparent. However, as Roland Barthes has reminded us, epideictic rhetoric still flourishes in advertising, and Aristotle’s rules still apply. Hyperbole does not go out of date. Come to that, Versailles seems to be as appropriate a setting for the theatre of power in 1982 as it ...”

“... or difference (metaphor) and on the basis of perceived association or continuity (metonymy). Roland Barthes, in ‘Introduction to the Structural Analysis of Narratives’, thought it necessary to add a third type of discourse, which he called enthymematic, to account for intellectual discourse, but few critics have followed him in ...”

“... in an act of exchange (in this respect it resembles the structure of Sarrasine analysed by Roland Barthes). The secrets are in part trade secrets, and thus elements of an initiation story emphasising the theme of the new ‘autonomy’ of the artist (for Poussin, Frenhofer represents ‘art with its secrets, its passions, its reveries’). But the ...”

“... about fragmentation and identity and the tropes of gender, whatever the fuck they are, and Roland Barthes and Judith Butler and Mieke Bal – I could do that, they taught us how to do it, that’s what art school seemed mostly to be for, but I couldn’t do it with a straight face … and that’s why I went to get my master’s in Education and ...”

“... distancing style by which it masks itself. Language itself may be authorless; but style, as Roland Barthes claims in Writing Degree Zero, plunges straight to the visceral depths of the self. Another strain of Modernism turns back to subjectivity itself, as if by way of refuge. The self may be fitful and fragmentary, but there is something we can ...”