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page142from Building Ideas
sign must be part of a system, he
considered all objects equally worthy of this kind of meticulous textual
analysis. Barthes’ idea that we are always somehow locked within various
networks of representation anticipated Derrida’s famous notion that there is “nothing
outside the text”. Barthes provided a demonstration of the importance of these
cultural “texts” – including works of architecture – and he tried to describe
in his later writings the tools by which these texts could be “read”. As he
described in his essay on cities, given as a lecture in 1967:
Here
we rediscover Victor Hugo’s old intuition: the city is a writing. He who moves
about the city, e.g. the user of the city (what we all are), is a kind of
reader who, following his obligations and his movements, appropriates fragments
of the utterance in order to actualize them in secret.10
This
dynamic engagement with the city, which he compared with the reading of
modernist literature, provided a mechanism by which Barthes claimed it was
possible to counteract society’s myths. One of those he set out to attack was
the literary opposition between reader and author, where the writer is the “creator”
of meanings that the passive reader merely receives and deciphers. As the city
is a collage of fragments, so too was writing in the modernist sense, and
Barthes saw the enlightened reader as a dynamic agent in the interpretation
process. In his famous essay “The Death of the Author”, written in 1968, he
describes the “instability” of meaning that results:
We
know now that a text is not a line of words releasing a single ‘theological’
meaning (the message of the Author-God) but a multidimensional space in which a
variety of writings, none of them original, blend and clash. The text is a
tissue of quotations drawn from the innumerable centres of culture.11
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