... Lister等人表示,互动式数字媒体的一个关键作用就在于它能让“富有创意的信息管理”和《作者之死》(the death of the author)一书所阐述的内容都变成现实。换言之,它在众多关系松散的社区之间打开了创想与洞见的闸门,让人们得以更好地获取并管理知识。
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虽然罗兰巴特在其《写作的零度》一书中提出了「作者已死(the death of the author)的观念来强调读者解读文本时不需受到作者的影响所宰制,且长久以来也广泛受到批评者的爱用。
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嗯,这应当就像罗兰巴特宣示的「作者之逝世(the death of the author)的意念吧:作品一旦实现而脱离息者后,读者将会以其文明脉络及思考,发明属于读者本人的意思……
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代表性作品是Barthe(1968)的「 作者的死亡 ( The Death of the Author )一文与(1975/1973)「文本的快乐(The Pleasure of Text)一书。
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Firstly, it explains the concept of "ecrivant" and "ecrivain"("writer" and "scriptor"), then the theory of "The death of the author".
首先,阐释“作者”与“作家”(“作者”与“写手”)概念,进而论述“作者之死”理论,指出巴特在此完成对作者身份的彻底颠覆与解构。
参考来源 - 罗兰·巴特解构主义文学批评思想研究·2,447,543篇论文数据,部分数据来源于NoteExpress
Copyright expires seventy years after the death of the author.
版权在作者去世七十年后期满无效。
Yes, Barthes talks about the death of the author, but even Barthes doesn't mean that the author is dead like Nietzsche's God. The author is there, sure.
是的,巴尔特谈到了作者已死的问题,但和尼采所说的上帝已死这个层面上的内容还是有所不同,作者肯定就在那里。
I want to quote from the beginning of Roland Barthes' essay, which I know I only suggested, but I'm simply going to quote the passage so you don't have to have read it, the Death of the Author.
我想引用罗兰,巴特文章开头的几句话,我只是推荐这篇文章,从中引用几句,所以你们不用事先读,这篇文章就是《作者之死》。
Yes, Barthes talks about the death of the author, but even Barthes doesn't mean that the author is dead like Nietzsche's God. The author is there, sure.
是的,巴尔特谈到了作者已死的问题,但和尼采所说的上帝已死这个层面上的内容还是有所不同,作者肯定就在那里。
I want to quote from the beginning of Roland Barthes' essay, which I know I only suggested, but I'm simply going to quote the passage so you don't have to have read it, The Death of the Author.
我想引用罗兰,巴特文章开头的几句话,我只是推荐这篇文章,从中引用几句,所以你们不用事先读,这篇文章就是《作者之死》
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