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00:00:00 – 00:15:42
In this video, Tom provides a comprehensive analysis of Roland Barthes' 1967 essay, "The Death of the Author," highlighting its significant impact on literary theory. Barthes' essay argues for a shift in focus from the author's intent to the reader's interpretation of a text. This involves moving away from the traditional view of authors as sole creators of meaning towards seeing them as assemblers of existing cultural elements. By challenging the "intentional fallacy" and the biographical approach to literature, Barthes posits that texts are multifaceted and their meanings are shaped by the reader’s personal and cultural background. This redefinition not only questions the originality attributed to authors but also marks a transition from structuralism to post-structuralism, emphasizing the 'birth of the reader' and the subjective nature of literary interpretation.
00:00:00
In this part of the video, Tom introduces the episode on Roland Barthes’ 1967 essay, “The Death of the Author.” He aims to explain its implications for interpreting cultural texts. Tom highlights that Barthes’ essay, despite being only seven pages long, is influential due to its provocative title, which suggests a radical shift in literary theory. He intends to delve beyond the title to explore the nuanced arguments within the essay. Tom also discusses how “The Death of the Author” is considered a key moment in the transition from structuralism to post-structuralism, although he argues that it should be viewed more as a bridge between these two schools of thought rather than a definitive break.
00:03:00
In this segment of the video, the discussion centers around the theoretical context of structuralism in the 1960s and how it influenced the analysis of literature and culture. Structuralism examines how meanings derived from cultural texts depend on broader cultural codes and ideas. It uses the example of genre to illustrate how texts are interconnected through shared narrative elements and devices. Roland Barthes’ structuralist work, particularly his book “Mythologies,” exemplifies this approach. The video further explains Barthes’ seminal essay, “The Death of the Author,” where he questions the significance attributed to individual authors and posits that texts are multi-dimensional spaces shaped by various cultural writings, rather than solely by the author’s intent.
00:06:00
In this part of the video, the discussion centers on Roland Barthes’ concept regarding authorship and originality. Barthes argues that no cultural text can ever be truly original as it invariably draws on pre-existing ideas. Instead of viewing authors as divine creators of meaning, Barthes suggests seeing them as collage-makers who piece together existing elements uniquely. He contrasts the modern Western celebration of individual authorship, influenced by the European Protestant Reformation, with other cultures where narratives are attributed to mediators rather than individual creators. Barthes highlights that even in ancient Greek traditions, authors were seen as part of a continuum rather than originators of content. He proposes that what we consider authorship is essentially the assembly of influences. To emphasize this, Barthes suggests referring to authors as “scriptors,” who compile a “tissue of signs” rather than creating something from nothing. This viewpoint redefines the creation of cultural texts as a skillful assembly rather than an act of original genius.
00:09:00
In this segment, the video discusses Roland Barthes’ concept from “The Death of the Author,” emphasizing the idea that when analyzing cultural texts, we should not focus excessively on the author’s intentions. Barthes argues against what Wimsatt Jr. and Beardsley termed the “intentional fallacy” in 1946, critiquing the tendency of literature scholars to seek meaning by uncovering the author’s intentions behind the text. Barthes specifically criticizes the biographical approach, such as analyzing Van Gogh’s paintings primarily through the lens of his psychosis. This viewpoint assumes that an artist’s intentions can be uncovered and that those intentions represent the objectively correct meaning of the text. Barthes seeks to debunk these assumptions and illustrates his argument by referencing Balzac’s “Sarrasine” and drawing parallels to modern works like Martin McDonagh’s film “Three Billboards Outside Ebbing Missouri.”
00:12:00
In this segment of the video, the discussion revolves around Roland Barthes’ argument regarding authorial intent and its ambiguity. Barthes suggests that uncovering an author’s true intention behind a text is nearly impossible, as seen in both historical and contemporary contexts. Even asking living authors may not yield truthful insights into their intentions. Instead of being disheartening, Barthes views this ambiguity positively, proposing that a text does not possess an objective meaning. Each reader interprets a text differently based on their own experiences and cultural background, making the meaning of any text multifaceted. The significance, according to Barthes, lies in the reader’s experience and interpretation, effectively shifting the focus from the author to the reader. This notion, Barthes claims, is liberating as it emphasizes the diverse and subjective nature of literary analysis, celebrating the ‘birth of the reader’ over the ‘death of the author.’
00:15:00
In this part of the video, the speaker highlights that although many ideas within “The Death of the Author” extend from structuralism, it is through the concept of the “birth of the reader” that Barthes lays the groundwork for post-structuralism to emerge. The segment closes with the speaker thanking viewers and encouraging them to give a thumbs up and subscribe to the channel, expressing gratitude once more and wishing them a great week.