A Very Short Introduction
11. Barthes after Barthes
25 François Wahl's preface does not appear in the English translation.
26 See La Règle du jeu 5 (1991). Statements of support are published in 6 (1992). See also L’Infini 37 (1992).
27 For brief summaries of three of these lecture series, see Œuvres
28 ‘Entretien’, Œuvres complètes , vol. 3, p. 1241. For such a book, see
Eat Fat (Pantheon, 1996).
29 ‘Démystifier’, La Chronique, Œuvres complètes , vol. 3, p. 988.
30 ‘Pause’, La Chronique, Œuvres complètes ,
1. Forgetting photography
Much of our familiarity with the world as we know it derives from photographic visualization as a replacement for first-hand experience. Photographs have made many things seem quite ordinary and have allowed us to feel close to distant places. Does this render first-hand experience less important? ‘Forgetting photography’ imagines a photographless world. So much of our knowledge comes from photographs: in a life without them, much of that knowledge would be lost. How would celebrities or the royal family cope without photography? What would advertisements be like without being able to use photography to get their
7. Translational literature
‘Literature’ is often attached to a region of the world and its culture. But what if there are other ways of configuring the global geography of imaginative writing? ‘Translational literature’ looks at multilingual writing and the forms and influences traversing languages. It shows that the inherent translationality of literary writing creates particular difficulties but also opportunities for the literary translator. Many think that no translation can ever be as good as the original text, but there is a literature of translation made up of works which grow as they are translated, developing new complexity and power.
3. The eclipse of meaning
Nietzsche, Will to Power , 327.
For a fuller discussion, see my William Shakespeare (Oxford, 1986).
Subjectivity, Realism and Postmodernism (Cambridge, 1996).
Dependent Rational Animals (London, 1998).
Stephen Eric Bronner
Introduction: what is critical theory?
5. The apparatus and its image