Analyzing the role of literary authors in comparison to the aura of artists and their processes throughout history
In the 1977 essay titled, “The Death of the Author,” by author Roland Barthes, the definition and role of the author is questioned as it pertains to social ideology, psychology, and “literary performance.” As a contrast to the author, the connotations of an artist can include impacts on society, the actual artmaking process, and their visual performances.
Barthes opens his essay by analyzing Sarrasine Balzac who describes the characteristics and possible psychology of the woman, which allude to her boldness and femininity at the same time. Barthes writes that women tend to incorporate a mixture of “irrational whims, impetuous boldness, and delicious sensibility,” and these concepts are investigated further as real facts or as conclusions from society. By analyzing these points from Balzac, the reader understands that the purpose of the author is to remove “every voice, of every point of origin.” In doing so, the writing or visual performance becomes neutral and easily applicable to more individuals within each cultural community.
Furthermore, Barthes explains that through this removing of identity, the author inscribes himself more freely while creating an aura of disconnection with the reader. By eliminating his or her own voice, the author’s death becomes reality and the true writing occurs. Barthes refers to this moment as a “phenomenon” that spans numerous ethnological communities and historical events because the role of the author becomes more of a storyteller or raconteur.
In addition, Barthes discusses the “narrative code,” which evokes the nurturing aspect of the artmaking process for any artist working with different media such as paint, sculpture, design, performance or even creative writing. By explaining their process more in-depth, the reader acknowledges the mysticism or anticipation that occurs with storytelling and creative processes. With a mastery of this code, Barthes states that authors span numerous literary writings to cater to their audience while revealing themselves in autobiographies, memoirs, and diaries.
Barthes continues by discussing the author’s gesture to create his own narrative vocabulary and translate it well to his audience, however, this is accomplished by collecting words from other dictionaries, which existed previously throughout history. In comparison, perhaps the work of an artist becomes more derivative of the past than realized?
Another essay titled, “The Ecstasy of Influence: A Plagiarism,” by author Jonathan Lethem, discusses the appropriation of literary processes and the cyclical nature of writing, which translates differently over time.
Lethem’s essay opens with a story of a cultivated older man who becomes enamored by a younger female after traveling abroad and staying in a nearby town before continuing his journey. In this example, Lethem speaks on the context of the story and how history potentially plays an important role on a “hidden, unacknowledged memory.”
Lethem continues with an example on musician Bob Dylan who used appropriation as a tool to incorporate past writings of author F. Scott Fitzgerald and poet William Shakespeare into his love songs. By compiling these verses in his songs, Lethem states that Dylan poses a “paradox through resuscitation,” which urges the listener not to reflect on history, despite the insertion of these moments into modern culture and song lyrics. In doing so, does this gesture of translation authenticate contemporary music despite its historical connotations?
Perhaps the same concept may be applied to artists today, specifically those who are currently in an academic environment. As a constant learning exercise, artists of various media often select previous artworks from other artists throughout history in order to translate them into a new perspective. Is this a form of plagiarism, which exploits previous intellectual properties for personal gain?
Lethem also discusses the theory of “fugitive traditions,” which encompassed visual and auditory media that transformed society by activating a series of historical movements. Furthermore, Lethem explains the understanding of surrealists and how a “crisis of enframing” occurs with an object and its function in society. By analyzing these objects, Lethem notes that surrealists placed these items in opposite media to make them defunct of their original purpose and reveals its identity as a formal item. This concept of “thingness” occurs when the formal characteristics intrigue the viewer to take a refreshed glance at an artwork rather than associate it with other preconceived notions.