The French Revolution was considered an epoch making event of the entire world. This was because its effects, its impact, its universality. When compared to a flood, like the flood the French revolution swept away everything and left behind new ideas such as republicanism, equality, democracy, nationalism which were beneficial to the entire world.
It is as if the Photograph always carries its referent with itself I didn't yet know that this stubbornness of the Referent in always being there would produce the essence I was looking for.
And this absence is not a continuous modification of presence, it is a rupture in presence, the 'death' or the possibility of the 'death' of the receiver inscribed in the structure of the mark What holds for the receiver holds also, for the same reasons, for the sender or producer.
However, as evidenced in the above-quoted passages, Barthes's phenomenological reflections on the presence and authenticity of the Referent in photography would seem to be somehow fundamentally in conflict with the arguments advanced by Derrida regarding the structural iterability of writing and the functional necessity of absence within any presence.
The conflict appears in even greater relief if we take into account that "writing" for Derrida is an all-inclusive concept. They are valid not only for all orders of 'signs' and for all languages in general but moreover, beyond semio-linguistic communication, for the entire field of what philosophy would call experience, even the experience of being For Derrida, therefore, photography-and the "totality of experience"--would clearly be governed by the "structure of the mark," Essay about creon law from which he concludes that "there is no experience consisting of pure presence but only of chains of differential marks" SEC Barthes, while writing in virtually the same historical and intellectual context though not in any kind of direct response to Derridaseems, quite explicitly, to deny the applicability of this logic of the mark to photography: In short, the referent adheres" CL 6.
Nevertheless, I find the refusal of the logic of the mark as Derrida defines it in this passage to be unconvincing: Unlike the performative speech acts analyzed by Derrida, one could perhaps argue that there is not necessarily an intent to communicate something in the photograph, that there is not really an address to an other, at least in a strict or straightforward sense.
Or, one might simply argue that this passage is indicative of the absence of attention to the issue of intentionality in Barthes's analysis a subject which is greatly detailed in Derrida's essay.
For Barthes, we may remember, the photographer, that primary seat of intention, is literally and figuratively 'out of the picture'--his concerns are with the subjects and the readers of photographs.
In other words, what I am provisionally suggesting is that, in fact, Barthes does not deny the applicability of the logic of the mark, the law of structural iterability, to photography in this passage, nor in Camera Lucida as a whole.
While, at first glance, a comparative analysis of the arguments of Camera Lucida and "Signature, Event, Context" seems to present one with a substantial philosophical conflict, my project in this paper will be to question the validity of such a conclusion and to determine the ways in which Barthes and Derrida's arguments may be seen to intersect; furthermore, I will examine such questions which arise from consideration of these intersections as, for example: In the course of my analysis, I will also address issues concerning the specificity of Barthes's project in Camera Lucida: These questions, as I will demonstrate, may be elucidated to a certain degree when viewed from the perspective of Lacanian psychoanalytic theory.
The last section of my analysis will then be devoted to a consideration of the object of Barthes's project as, in some sense, specificity "in itself," or "pure" particularity, and I will address the implications of such specificity or "unicity" in terms of the general structure of iterability theorized by Derrida.
Before delving into my suggestion that Camera Lucida as a whole does not deny that the photograph is governed by the logic of the mark, I want first to say a bit more about what I have up until now implicitly posited: There is, I think, an obvious similarity between the objects of analysis of both of these writers--the photographic portraiture which is the privileged focus of Barthes and the signature which Derrida discusses as a kind of privileged limit-example.
While, as mentioned earlier, intentionality in this sense is not an issue that Barthes takes up, the presence of the referent is an important subject for both writers. In fact, one could easily substitute "photograph" for "signature" in the following passage from Derrida: By definition, a written signature [photograph] implies the actual or empirical non-presence of the signer.
But, it will be claimed, the signature also marks and retains his having-been present in a past now or present [maintenant] which will remain a future now or present [maintenant], thus in a general maintenant, in the transcendental form of presentness [maintenance]Essay, term paper research paper on Civil War.
The Fifty-Fourth Massachusetts was established in early under the direction of colonel Robert Gould Shaw. Essay on Antigone vs Creon In the Greek play Antigone writer Sophocles illustrates the clash between the story’s main character Antigone and her powerful uncle, Creon.
King Creon of Thebes is an ignorant and oppressive ruler. Free Essay: Creon's Role Of King and His Responsibilities The role of the king in the time of Greek tragedies was simultaneously desired and dreaded because.
Antigone (/ æ n ˈ t ɪ ɡ ə n i / ann-TIG-ə-nee; Ancient Greek: Ἀντιγόνη) is a tragedy by Sophocles written in or before BC.. Of the three Theban plays Antigone is the third in order of the events depicted in the plays, but it is the first that was written.
The play expands on the Theban legend that predates it, and it picks up where Aeschylus' Seven Against Thebes ends. The training by her father, too, had been of a superior kind.
These children, grown up, knew no other methods of training. Mark my word, Miss Harrison, she'll never finish her training; she'll marry him. Creon as Tragic Hero of Sophocles' Antigone Essay - Creon as Tragic Hero of Sophocles' Antigone There has always been a bit of confusion as to the tragic hero of the Greek Drama Antigone.