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Painting as drift: Roland Barthes’ paintings and the pleasure of the margin

Research output: Contribution to conference - Without ISBN/ISSN Conference paper

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Painting as drift : Roland Barthes’ paintings and the pleasure of the margin. / Harland, Elizabeth Jane.

2015. Paper presented at Roland Barthes at 100, Cardiff, United Kingdom.

Research output: Contribution to conference - Without ISBN/ISSN Conference paper

Harvard

Harland, EJ 2015, 'Painting as drift: Roland Barthes’ paintings and the pleasure of the margin', Paper presented at Roland Barthes at 100, Cardiff, United Kingdom, 30/03/15 - 31/03/15.

APA

Harland, E. J. (2015). Painting as drift: Roland Barthes’ paintings and the pleasure of the margin. Paper presented at Roland Barthes at 100, Cardiff, United Kingdom.

Vancouver

Harland EJ. Painting as drift: Roland Barthes’ paintings and the pleasure of the margin. 2015. Paper presented at Roland Barthes at 100, Cardiff, United Kingdom.

Author

Harland, Elizabeth Jane. / Painting as drift : Roland Barthes’ paintings and the pleasure of the margin. Paper presented at Roland Barthes at 100, Cardiff, United Kingdom.

Bibtex

@conference{556b98ac74334f09abd12a31d17b0961,
title = "Painting as drift: Roland Barthes{\textquoteright} paintings and the pleasure of the margin",
abstract = "The pleasure of a work (and its process of production), that operates aslant, in the margins, or {\textquoteleft}offstage{\textquoteright} is entirely evident in Roland Barthes{\textquoteright} many drawings and paintings, made in the 1970s alongside his writing practice. This paper responds to these visual works in relation to Barthes{\textquoteright} writings and explores what they suggest about the role of writer/reader, or painter/spectator as part of his challenging position to the view that the writer is active behind the text while the reader remains passive before it.The pleasure of the text, for Barthes, takes the form of drift and this surfaces in a number of his writings, as a means of remaining mobile, detached, capable of {\textquoteleft}contemplative duration{\textquoteright}. The paper considers Barthes{\textquoteright} paintings and drawings in these terms, and explores their qualities of graphism, colour and spatial construction with reference to works by other thinkers on these subject, in particular Hubert Damisch{\textquoteright}s Theory of /Cloud/.",
keywords = "Barthes, painting, graphism",
author = "Harland, {Elizabeth Jane}",
year = "2015",
month = mar,
day = "30",
language = "English",
note = "Roland Barthes at 100 ; Conference date: 30-03-2015 Through 31-03-2015",

}

RIS

TY - CONF

T1 - Painting as drift

T2 - Roland Barthes at 100

AU - Harland, Elizabeth Jane

PY - 2015/3/30

Y1 - 2015/3/30

N2 - The pleasure of a work (and its process of production), that operates aslant, in the margins, or ‘offstage’ is entirely evident in Roland Barthes’ many drawings and paintings, made in the 1970s alongside his writing practice. This paper responds to these visual works in relation to Barthes’ writings and explores what they suggest about the role of writer/reader, or painter/spectator as part of his challenging position to the view that the writer is active behind the text while the reader remains passive before it.The pleasure of the text, for Barthes, takes the form of drift and this surfaces in a number of his writings, as a means of remaining mobile, detached, capable of ‘contemplative duration’. The paper considers Barthes’ paintings and drawings in these terms, and explores their qualities of graphism, colour and spatial construction with reference to works by other thinkers on these subject, in particular Hubert Damisch’s Theory of /Cloud/.

AB - The pleasure of a work (and its process of production), that operates aslant, in the margins, or ‘offstage’ is entirely evident in Roland Barthes’ many drawings and paintings, made in the 1970s alongside his writing practice. This paper responds to these visual works in relation to Barthes’ writings and explores what they suggest about the role of writer/reader, or painter/spectator as part of his challenging position to the view that the writer is active behind the text while the reader remains passive before it.The pleasure of the text, for Barthes, takes the form of drift and this surfaces in a number of his writings, as a means of remaining mobile, detached, capable of ‘contemplative duration’. The paper considers Barthes’ paintings and drawings in these terms, and explores their qualities of graphism, colour and spatial construction with reference to works by other thinkers on these subject, in particular Hubert Damisch’s Theory of /Cloud/.

KW - Barthes, painting, graphism

M3 - Conference paper

Y2 - 30 March 2015 through 31 March 2015

ER -