A Poetics of William Stafford's ‘With Kit, Age 7, At the Beach’

This essay is a re-application of the language codes of Roland Barthes and Jonathan Culler’s concept for Structuralist Poetics. The approach I use explores the codes demonstrated in Barthes’ well-known text, S/Z with slight modifications for their application to poetry. The concepts borrowed from Mr. Culler are from his book of the same title: Structuralist Poetics: Structuralism, Linguistics and the Study of Literature (Cornell University Press, 1975). Culler’s main argument is that there must be other, un-attempted strategies combined with conventional approaches in literature of that time period. His answer to this problem was to develop a set of linguistic-based concepts to compensate for the reader in the analysis of literary works. I have applied in this essay my approach based on Culler’s methodology and the language codes of Roland Barthes: semantic, symbolic, cultural-referential, actional and hermeneutic. I apply Culler’s concepts to a reading of poetry followed by an application of the language codes as a further development of my work in revitalizing this never-before applied method.

Structuralism and Its Critics Anita Moss (bio) Culler, Jonathan . Structuralist Poetics: Structuralism, Linguistics, and the Study of Literature. Cornell University Press, 1975. Graff, Gerald . Literature Against Itself. University of Chicago Press, 1979. Goodheart, Eugene . The Failure of Criticism. Harvard University Press, 1979. Literary criticism has traditionally [End Page 24] concerned itself with essential questions: What is literature? What is its nature and function? What is its relation to culture—a shaping force or a mirror image? What is the writer's relation to the literary text and to the audience? What is the reader's role in completing the work of art? What indeed is the relation between literature and reality? In discussions of the criticism of children's literature at meetings in recent years, we hear some of these questions raised—especially, "What is children's literature?" (The question seems so obvious, yet few of us seem to know how to answer it.) All too often, it seems to me, we hear insistent voices asserting that there must be only one function of the critic of children's literature: to determine what is valuable and lasting and what is ephemeral and trivial. Surely we never want to abdicate that critical role, but I would argue that the criticism of children's literature could be richer (if stranger) than it is, its functions and purposes manifold, not exclusive or simplistic. While we have seen fine critical articles and books on children's literature in recent years, we still see far too many descriptive bibliographies which claim to be criticism. If we believe (as I do) that children's literature occupies a significant place in the traditions of all literature, we owe it to ourselves to explore what is going on in the field of literary criticism, even if we decide to reject it. We need a variety of critical methods. The three books I am discussing here offer some provocative ideas, address some very large and ambitious issues, and make bold gestures. Jonathan Culler's Structuralist Poetics is an amazingly well-informed introduction and analysis of structuralism, a critical method which has enjoyed much vogue in recent years and which has spawned such avant-garde movements as "post-structuralism" and "deconstructionism." Culler traces the origins of structuralism in the linguistic theory of Ferdinand de Saussure and in the analysis of myth by Claude Levi-Strauss, both of whom argued for a new science of "semiology," a method of investigating not only language and literature, but all human cultural activities on the premise that they are comprised of "signifying systems," the elements of which derive meaning in relation to each other and in reference to the system itself, not in reference to reality outside the system. Culler discusses Roland Barthes' famous work, Systeme de la mode, which examines the system of writing about fashion, Levi-Strauss's Mythologiques (according to Culler and others, "the most extensive structural analysis ever undertaken"), Roman Jakobson's attempts to employ the methods of linguistics to analyze poetry, and Greimas's work on structural semantics. Culler's analyses of these works are careful (even tedious), and he clearly reveals problems with all of them, primarily because each one seems concerned only with locating the "binary oppositions" of the text. Culler writes: "One does not simply seek oppositions within a poem but seeks those oppositions upon which the poem seems to set some value" (p. 94). While he is disappointed with the most prominent attempts at the structural analysis of literature, Culler is intrigued with the possibility of designing a "structuralist poetics," an ideal method of the structural analysis of literature. Chapters 6 and 7, "Literary Competence" and "Convention and Naturalization," are especially important. Culler's proposals, I think, may offer some exciting possibilities for the critic of children's literature. Culler suggests that structuralism as a method would not necessarily "discover or assign meanings" or offer interpretations; rather it would be: a poetics which strives to define the conditions of meaning...It would specify how we go about making sense of texts...Just as the speaker of a language has assimilated a complex grammar which enables him to read a series of sounds or letters as...

Structuralist Poetics: Structuralism, Linguistics and the Study of Literature. By Jonathan Culler. Ithaca: Cornell University Press, 1975. xiv, 301 pp. $4.95, paper - Analysis of the Poetic Text. By Yury Lotman. Edited and translated by D. Barton Johnson. With a bibliography of Lotman’s works compiled by Lazar Fleishman. Ann Arbor: Ardis, 1976. xxx, 309 pp. $16.95. - Volume 36 Issue 4

Click to increase image sizeClick to decrease image size Notes My very special thanks go to Paris: to Maroun H. Salloum for allowing me to set up (twice!) my ‘camera’ in his gallery in the rue de Lille as well as to Nabil Mourani for his patience and assistance throughout. Without their support, I could not have ‘faced up’ to Lacan. I owe a great thank‐you also to Peter Mucha for his hospitality and continuous back‐up. Closer to home, my thanks go to Gail Day, Diane Morgan, Barbara Engh, David Dibosa, Alexandra Parigoris, Eric Prenowitz, Ashley Thompson and Roger Palmer. Merci à tous! 1. Roland Barthes, Empire of Signs [1970], trans. Richard Howard (New York: Hill and Wang, 1983), pp. 50–51. 2. Roland Barthes, Empire of Signs, p. 108. 3. Roland Barthes, Empire of Signs, p. 110. 4. ‘Uncentred, space is also reversible’, Roland Barthes, Empire of Signs, p. 110. 5. Roland Barthes, Empire of Signs, p. 9. 6. The word ‘trope’ derives from the Greek tropein, which signifies ‘to turn’. 7. We may add here the photographic negative as representing an inverted form that is seen to depict the world in ‘false’ colours, which presumes of course that the ‘correct’ lies with its positive counterpart. 8. On the problem of the ‘distortions of ideology’ I refer the reader to Stuart Hall's essay ‘The Problem of Ideology’, in Marx: A Hundred Years On, ed. Betty Matthews (London: Lawrence and Wishart, 1983), pp. 57–85 (p. 66). 9. And for academic accuracy, I repeat the famous sentence of The German Ideology: ‘If in all ideology men and their circumstances appear as upside‐down as in a camera obscura, this phenomenon arises just as much from their historical life‐process as the inversion of objects on the retina does from their physical life‐process.’ Karl Marx and Frederick Engels, The German Ideology [1845–46], ed. Christopher J. Arthur (London: Lawrence and Wishart, 1970), p. 47. It should be noted that the projected image is not only inverted but is also horizontally reversed in relation to the exterior world. 10. Kofman's deconstruction of this passage unveils the disjointed use of ‘inversion’ in the analogy. ‘[…] [W]hile on the retina there occurs a spatial inversion, from bottom to top or from top to bottom, in the case of the camera obscura of ideology this inversion takes place in only one direction […].’ This incoherence does not hinder the development of the argument as long as we treat it, again, metaphorically. To do justice to the complexities of the workings of the camera obscura as well as Kofman's and Marx/Engels's argumentations would require taking this line of enquiry further from which I have to refrain here. Sarah Kofman, Camera Obscura. Of Ideology [1973], trans. Will Straw (Ithaca: Cornell University Press, 1999), p. 1. 11. See also Jonathan Culler's ‘The Turns of Metaphor’, in The Pursuit of Signs: Semiotics, Literature, Deconstruction (Ithaca: Cornell University Press, 1981), pp. 188–209. 12. Sarah Kofman, Camera Obscura. Of Ideology, p. 18. 13. Sarah Kofman, Camera Obscura. Of Ideology, p. 18. A critique of Kofman's take on Marx/Engels's camera can be found in Wolfgang Fritz Haug, ‘Die Camera obscura des Bewußtseins’, in Die Camera obscura der Ideologie (Berlin: Argument‐Verlag, 1984), pp. 9–95 (pp. 91–92). 14. Carl Westphal is credited with coining the phrase ‘contrary sexual feelings’. In what follows I deliberately use the term ‘invert’ to designate the subject. My intention is not so much to trace how the various (outdated) concepts of (sexual) inversion have historically developed into an understanding of homosexuality as, for instance, we can see in Freud's work but rather to look at the formulations that underpin the term ‘inversion’ and its relation to form and the spatial. My thanks go to Lynn Turner to make me stress this more explicitly. 15. Michel Foucault, The History of Sexuality. The Will to Knowledge [1976], trans. Robert Hurley (London: Penguin, 1990), p. 43. Foucault formulates further: ‘the nineteenth‐century homosexual became a personage, a past, a case history, and a childhood, in addition to being a type of life, a life form, and a morphology, with an indiscreet anatomy and possibly a mysterious physiology.’ [My emphasis]. 16. ‘What is peculiar to modern societies, in fact, is not that they consigned sex to a shadow existence, but that they dedicated themselves to speaking of it ad infinitum, while exploiting it as the secret.’ Michel Foucault, The History of Sexuality, p. 35. 17. Havelock Ellis and John Addington Symonds, Sexual Inversion [1897] (New York: Ayer Company Publishers, 1994), pp. 134–35. 18. Foucault points out that, rather than excluding aberrant forms, medical/scientific discourse in the nineteenth century established principles that would allow the inclusion of these aberrant forms as a kind of ‘natural order of disorder’ so that they could be scrutinized and studied. See Michel Foucault, The History of Sexuality, p. 44. 19. The critical intersections that arise from questioning what it means to be oriented or disoriented as an embodied subject are brilliantly explored in Sarah Ahmed's book Queer Phenomenolgy. Orientations, Objects, Others (Durham, NC and London: Duke University Press, 2006). 20. Sigmund Freud, ‘The Sexual Aberrations’ [1905], in On Sexuality. Three Essays on Sexuality and Other Works, trans. James Strachey, ed. Angela Richards (London: Penguin Books, 1991), pp. 47–49 [My emphasis]. 21. ‘Proper’ refers to something that is of ‘one's own’, and by way of extension, something that is neat, tidy. It is worth keeping in mind that the French ‘propre’, sharing the same etymological root, also signifies ‘clean’. 22. I would like to thank the whole parallax team with whom I have shared the excitement and difficulties of editorial work throughout. 23. In the French L'empire des signes (Geneva: Albert Skira, 1970) the caption does end with a full stop: ‘Renversez l'image: rien de plus, rien d'autre, rien.’ (p. 70) Thus, I would like to acknowledge the work of whoever (the author? the editor? the translator?) made this change happen during the text's transposition from French into English that led to the dropout of the full stop and which in turn lured me into looking so closely at this (missing) point in the first place.

This study aims to describe the symbols of democratic leadership based on Roland Barthes' semiotic theory contained in the film Tepatilah Janji directed by Garin Nugroho. This film contains symbols of leadership during the period of political democracy or the regional head election period. The method used in this study is qualitative research. Research that is able to describe the meaning of denotation, connotation, and myth based on Roland Barthes' semiotic theory. The data source for this study is through direct observation by watching the film Tepatilah Janji on the Youtube application on the KPU RI account. While the data for this study is through image clips in the dialogue and scenes of the film. The data collection technique is with the stages of observation, documentation, and literature study. While the data analysis technique is by carrying out three stages of meaning, namely denotation, connotation, and myth. The analysis of this study is able to analyze the meaning, signs and symbols contained in the scenes and dialogues of the film. Researchers have found 3 symbols of democratic leadership, including symbols of abuse of office or authority, symbols of agreements with parties, and symbols of open debate. These symbols show scenes in the events of prospective leaders who are trying to maintain power and compete in the period of promised leadership or the campaign period. In addition, there are candidates for leaders who are ambitious in campaigning. He takes political actions that are not appropriate according to political regulations. These actions indicate the existence of symbols of political democratic leadership. Therefore, researchers will reveal the symbols of democratic leadership using Roland Barthes' semiotic theory.

<i>Cultural Capital</i>: Reflections from a Latin Americanist

Fashion as a form of political communication during the 2024 Presidential Election in Indonesia, this study aims to explore how fashion was utilized as a medium of political communication by the presidential and vice-presidential candidates Prabowo Subianto and Gibran Rakabuming Raka, with a focus on the visual representations displayed through the social media platform Instagram. In this context, fashion is not merely seen as a matter of clothing style, but as a set of signs that carry political, symbolic, and ideological meanings. This research employs a qualitative method through a literature study by analyzing various scholarly sources and visual documentation obtained from the official Instagram account @prabowo.gibran2. The theoretical framework is based on Roland Barthes’ semiotic theory, which outlines the process of meaning-making through three key stages: denotation (literal meaning), connotation (cultural meaning), and myth (the underlying ideological narrative within signs). The findings reveal that the fashion choices worn by Prabowo-Gibran during the campaign conveyed strong nonverbal political messages. For instance, Prabowo’s signature militaristic style constructed an image of firmness and nationalism. Meanwhile, Gibran’s light blue varsity jacket adorned with anime motifs highlighted youth identity and a non-conventional approach to politics. Most iconically, the frequent use of light blue shirts and casual clothing represented simplicity, a sense of closeness to the people, and youthful energy. These meanings were visually constructed and consistently repeated across various posts, forming a political myth that portrayed Prabowo-Gibran as an ideal duo combining seasoned leadership with youthful vigor.

Abstrak: Peneltian ini bertujuan untuk: 1) menemukan penanda (signifier) dan petanda (signified) yang terdapat pada iklan rokok A Mild. 2) Memahami makna simbol iklan rokok A Mild menurut kajian semiologi Roland Barthes. Data dalam penelitian ini adalah teks iklan rokok A Mild. Metode pengumpulan data yang digunakakan adalah studi pustaka kemudian dianalisis secara deskriptif. Adapun hasil penelitian menunjukan bahwa terdapat penanda (signifier), petanda (signified) dan Mitos dalam Iklan Rokok A Mild yang digambarkan melalui konsep-konsep tentang gaya, kesenangan, dan percaya diri. Di dalam tataran mitos, yakni sistem semiologis lapis kedua, penanda berupa “gaya” ini merujuk pada petanda berupa aktualisasi diri: kesenangan, kenikmatan, percaya diri, dan keberanian. Dalam tataran inilah kemudian peneliti melihat bahwa konsep aktualisasi diri berupa: kesenangan, kenikmatan, percaya diri, dan keberanian menjadi mitos dari kenyataan hidup. Analogi inilah yang ditemukan peneliti hadir dalam iklan rokok A Mild berdasarkan kajian semiologi Roland BarthesAbstract: This research aims to: 1) find signifiers and signifiers contained in A Mild cigarette advertisements. 2) Understand the meaning of the A Mild cigarette advertising symbol according to Roland Barthes' semiological studies. The data in this study is the text of A Mild cigarette advertisements. The data collection method used is a literature study and then analyzed descriptively. The results showed that there are signifiers, signifieds and myths in A Mild cigarette advertisements that are described through concepts about style, fun, and confidence. In the mythical level, the second-layer semiological system, these markers of "style" refer to signs of self-actualization: pleasure, enjoyment, confidence, and courage. It is at this level that researchers then see that the concept of self-actualization in the form of: pleasure, enjoyment, confidence, and courage becomes a myth of the reality of life. This analogy is what researchers found present in the A Mild cigarette advertisement based on Roland Barthes' semiological studies

Reviewed by: The Pleasure of the Play Deborah Knight The Pleasure of the Play, by Bert O. States; 226 pp. Ithaca: Cornell University Press, 1994, $34.50, cloth, $12.95, paper. I am an Aristotelian about narrative structure. This is not always a fashionable position, and in some company I know just what to expect: a pop deconstructivist dressing down by those who assume that I must have simply missed the point of poststructuralism and postmodernism. Surely, the nay-sayers claim, no one believes in beginnings, middles, and ends anymore—certainly not since Godard taught us that we don’t need to put them in that order. Isn’t it just obvious (they continue) that we must reject the ideology of wholeness and unity, and opt instead for fragmentation, or self-reflexivity, or other violations of Aristotelian form? And there is no mistaking that, in some quarters, notions like mimesis and catharsis haven’t received much good press lately. But there are still kindred Aristotelians, and Bert O. States is one. His The Pleasure of the Play takes the Poetics as its pivotal text and sets in motion around it a lively discussion of plays from, yes, Oedipus Rex to The Real Inspector Hound, stopping along the way to consider Shakespeare, Chekhov, Brecht, Handke (among others), before concluding with an essay on Samuel Beckett’s Catastrophe, a play dedicated to Václav Havel. States adopts an open rather than a closed view of what the Poetics has to say about tragedy, expanding the discussion well beyond tragedy itself, out toward drama and, indeed, comedy. But he is clearly unwilling to go as far as another group of Aristotelians, notably Paul Ricoeur, Alasdair MacIntyre, and Jerome Bruner, who treat narrative as a mode of actual lived existence. States’s objective is to show the continued vitality of the Poetics, especially in terms of what it can tell us about drama in cultural contexts much removed from the one which offered Aristotle his range of primary textual material. [End Page 272] To be clear, then, States doesn’t claim to be doing either Poetics “scholarship” or exegesis. Indeed, this book is not what one might typically think of as a philosophical examination of the Poetics. Anyone looking for such a thing would do well to consult the excellent but unmistakably philosophical Essays on Aristotle’s Poetics, edited by Amélie Oksenberg Rorty. States is doing something else here. Like Aristotle, he is showing how dramatic structures work. The book is engaging. It features wonderfully turned phrases, examples that immediately illuminate a point, and nicely interwoven references to a range of theorists and philosophers who only rarely are found in each other’s company, for example: Richard Boyd, Martin Heidegger, Douglas Hofstadter, Wolfgang Iser, Maurice Merleau-Ponty, Francis Sparshott, Tzvetan Todorov. Some of States’s more delightful examples might offend Aristotle purists. Hard cheese to them. Consider how States uses Roland Barthes’s analysis of the newspaper feature story, or fait divers, to illuminate the structure of the great dramatic plots. In States’s examples—GENERAL SACRIFICES DAUGHTER IN WEDDING CEREMONY (Iphigenia at Aulis) or WIFE FORCED INTO ADULTERY BY HUSBAND, MOTHER, PRIEST (Mandragola) or, to use Aristotle’s own example, MAN’S STATUE AVENGES HIS MURDER (pp. 67-68)—what each mock headline captures is the peculiar, often ironic, internal logic of drama. For States, this peculiar logic is characterized by events which are simultaneously improbable, unthinkable, unanticipatable, yet—given the unfolding course of actions—uncannily probable after all. Central to understanding this internal logic is the Aristotelian notion of peripety, the critical “divulging event” (p. 49) which turns out to be just the reverse of what one intended (as for example Oedipus killing his father and marrying his mother). Where Aristotle seems to treat peripety as a mere plot device, States considers it “a principle of plot development.” Thus, the status of peripety as a crucial dramatic plot device is “really a symptom” of its more basic function (p. 86). Peripety as a principle of plot development helps to show why it makes little sense to claim that what narratives imitate is “reality”—peripety is just what “open life” lacks (p...

Stephen P. Schwartz. Preface. Naming, necessity, and natural kinds, edited by Stephen P. Schwartz, Cornell University Press, Ithaca and London1977, pp. 9–10. - Stephen P. Schwartz. Introduction. Naming, necessity, and natural kinds, edited by Stephen P. Schwartz, Cornell University Press, Ithaca and London1977, pp. 13–41. - Keith S. Donnellan. Reference and definite descriptions. A reprint of XL 276 (12). Naming, necessity, and natural kinds, edited by Stephen P. Schwartz, Cornell University Press, Ithaca and London1977, pp. 42–65. - Saul Kripke. Identity and necessity. Naming, necessity, and natural kinds, edited by Stephen P. Schwartz, Cornell University Press, Ithaca and London1977, pp. 66–101. (Reprinted from Identity and individuation, edited by Milton K. Munitz, New York University Press, New York 1971, pp. 135–164.) - Hilary Putnam. IS semantics possible?Naming, necessity, and natural kinds, edited by Stephen P. Schwartz, Cornell University Press, Ithaca and London1977, pp. 102–118. (Reprinted from Language, belief, and metaphysics, edited by Howard E. Kiefer and Milton K. Munitz, Contemporary philosophic thought, vol. 11, State University of New York Press, Albany 1970, pp. 50–63.) - Hilary Putnam. Meaning and reference. Naming, necessity, and natural kinds, edited by Stephen P. Schwartz, Cornell University Press, Ithaca and London1977, pp. 119–132. (Reprinted from The journal of philosophy, vol. 70 (1973), pp. 699–711.) - William K. Goosens. Underlying trait terms. Naming, necessity, and natural kinds, edited by Stephen P. Schwartz, Cornell University Press, Ithaca and London1977, pp. 133–154. - W. V. Quine. Natural kinds. Naming, necessity, and natural kinds, edited by Stephen P. Schwartz, Cornell University Press, Ithaca and London1977, pp. 155–175. (Reprinted from Essays in honor of Carl D. Hempel, A tribute on the occasion of his sixty-fifth birthday, edited by Nicholas Rescher et al., D. Reidel Publishing Company, Dordrecht 1969, pp. 5–23.) - Irving M. Com. Essence and accident. Naming, necessity, and natural kinds, edited by Stephen P. Schwartz, Cornell University Press, Ithaca and London1977, pp. 176–191. (Reprinted from The journal of philosophy, vol. 51 (1954), pp. 706–719.) - Gareth Evans. The causal theory of names. Naming, necessity, and natural kinds, edited by Stephen P. Schwartz, Cornell University Press, Ithaca and London1977, pp. 192–215. (Reprinted from Aristotelian Society supplementary volume XLVII, London 1973, pp. 187–208.) - Volume 47 Issue 4

This research contains the title "Code Switching in Sigapokna language changed by Minangkabau people in Sigapokna" viewed from a structuralism perspective, this research discusses language contact occurring in bilingual or multilingual communities, because in this society it uses more than one language. The occurrence of language code switching in Sigapokna is due to the mixing of two languages ​​between the Sigapokna language and the Minangkabau language, native speakers of the Minangkabau people who settled in Sigapokna. Limited to some basic ideas related to observation into three questions as follows: (1) What is the form of code switching in the Sigapokna language, (2) What is the Sigapokna matrix in Minangkabau speakers, (3) What are the causes of code switching in the Sigapokna language. used is from Nababan about sociolinguistics used to answer the purpose of this research. For data analysis methods, the research used is a qualitative and quantitative approach. This approach emphasizes the meaning and understanding of the mind, reasoning, definitions of certain situations (in some contexts), more to examine matters relating to daily life such as the culture of an area. The purpose of research is usually related to practical matters. &#x0D; Data analysis is also a process of simplifying data into forms that are easier to read and interpret to look for broader meanings and implications from the results of research over language codes in Sigapokna. Data collection techniques in this research, to get the data and information needed, researchers used literature research techniques. In literature studies, researchers use techniques that are played with interviews and record data, materials, or references related to the problem and purpose of the research. Using library research techniques in finding data relevant to the subject of analysis. From the data collected amounted to 563. Data in the Minangkabau language form was mixed with 280 and the language while in the Sigapokna language form was 283. From the collection, the matrix language was 280/283×100% of the Minangkabau language. Sigapokna language is mixed with Minangkabau 283 so, it can be concluded that the mixed Sigapokna language is 283/280 × 100%. The occurrence of language contacts or code switching depends on the location or where someone lives. If someone is in an area with different languages ​​and cultures, there will automatically be a code transfer between the speaker, the speech partner and the speech partner in order to avoid a misunderstanding. From the conclusion of the code switching data above, native Minangkabau speakers are more dominant using the Sigapokna language.

A recent denigrating essay on Jane Austen1 rehearses charges more or less forgotten in her recent recrudescence as an ironic icon of ‘popular culture’. The tally of points against suggests that if ...

The purpose of this study was to analyze the structure of the traditional wedding ceremony and the White Crocodile performance in Curug Dahu Village. Signifying the concept of denotation and connotation of the White Crocodile in the traditional wedding ceremony in Curug Dahu Village, and analyzing the relationship between the White Crocodile communication elements to the phenomenon of polygamy in the Curug Dahu village. The research method used is a qualitative research method. The data collection technique was carried out starting with literature study, observation and interviews accompanied by documentation. The object of this research is the White Crocodile in a Sundanese traditional ceremony in Curug Dahu Village. This research uses Roland Barthes' Semiotics theory. Decoding the codes and identifying the denotations that have been formed are obtained at the primary level (denotation), White Crocodile is an image of fertility and fidelity in marriage, while at the secondary level of meaning (connotation) White Crocodile is an effort to carry out religious orders, in this case Islam is the majority of the people of Kampung Curug Dahu. Keywords: Polygamy, Roland Barthes, Social Criticism. White Crocodile.

Partindo das reflexões de Jacques Rancière a respeito da obra literária do século XIX, esta apresentação pretende discorrer sobre a relação entre os conceitos de ficção e de “efeito de real” investigada pelo filósofo. Ao tomar o romance dito “realista” como paradigma de suas análises, Rancière questionará a noção de “efeito de realidade” postulada por Roland Barthes, aproximando a interpretação do semiólogo àquela dos críticos literários comprometidos com a posição que fundamentou a lógica da representação, cujo alicerce encontra-se na Poética e na Retórica aristotélicas. A poética da representação compreende a ficção como constituída de um enredo baseado na verossimilhança, pautado pelo encadeamento lógico das ações, passando a definir, assim, a obra artística como um tipo de estrutura hierárquica onde as partes devem se subordinar ao todo. Para Rancière, o romance realista foge aos critérios impostos pelo regime representativo. Mais do que um mero excesso descritivo, o romance inverte a sua cosmologia, inaugurando um novo regime poético marcado pela não hierarquia e pela igualdade de gêneros e temas, no qual o “efeito de realidade” aparece, na verdade, como um “efeito de igualdade”, revelando, assim, uma nova “partilha do sensível”.

A Tale of Two Theories