Özet:

Roland Barthes influenced the literary and critical theory by performing an authentic lecture of the dominant cultural and communicational forms of his age from Writing the Zero Degree (1953) to Camera Lucida (1980). In that context, Roland Barthes is evoked as a semiologist, besides he is one of the precursors of the poststructuralist French Critical Theory as Derrida and Foucault. In 1970 he appears as a poststructuralist who tries to match the pleasure of the reader with the text and in 1960 as a structuralist who tries to develop a science of literature and in 1950 as a culture critic with his oeuvres against French society. In his early stage the influence of Saussure is obvious. He analyses cultural phenomenon as ideological elements with a structuralist approach. Barthes defines this influence as a new phase of working field. This is the influence of semiology and the structuralism. His aim at that stage is to develop a new scientific cultural dynamism. He is in the quest of a sortie from the signification mechanism in which is imprisoned the western subject in Barthian text. With this quest Barthes refers to a new form of writing in The Death of the Author written in 1968. He criticises the idea of an author identity as a person who undertakes the role of a fixed entity, reality, indisputable and unquestionable meaning in western thinking. Such a critic leads him to a kind of disengagement with structuralism. The Pleasure of the Text written in 1973 appears to be one of the texts in which he criticises his earlier writings. In this study, the aim is to reveal the way in which Barthes deals with the language and the cultural forms as a functional element of the text by tracing the themes of his thinking from the structuralist up to poststructuralist period. As a result, in Barthian conception, the question of how the text is reproduced and deconstructed as a tissue and the contributions of both the author and the reader will be discussed in details.

Anahtar Kelimeler: