Image-Music-Text

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US $7,07
CircaEUR 6,08
Condizione:
Buone condizioni
Spedizione:
Gratis USPS Media MailTM.
Oggetto che si trova a: North Smithfield, Rhode Island, Stati Uniti
Consegna:
Consegna prevista tra il ven 17 ott e il gio 23 ott a 94104
Le date di consegna stimate - viene aperta una nuova finestra o scheda includono tempi di imballaggio, CAP di origine, CAP di destinazione e periodo di accettazione e dipendono dal servizio di spedizione selezionato e dalla ricezione del pagamentoricezione del pagamento - si apre in una nuova finestra o scheda. I tempi di consegna possono variare, specialmente durante le festività.
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Numero oggetto eBay:136508655384
Ultimo aggiornamento: 12 ott 2025 22:14:10 CESTVedi tutte le revisioniVedi tutte le revisioni

Specifiche dell'oggetto

Condizione
Buone condizioni: Libro che è già stato letto ma è in buone condizioni. Mostra piccolissimi danni ...
Release Year
1978
ISBN
9780374521363

Informazioni su questo prodotto

Product Identifiers

Publisher
Farrar, Straus & Giroux
ISBN-10
0374521360
ISBN-13
9780374521363
eBay Product ID (ePID)
127943

Product Key Features

Book Title
Image-Music-Text
Number of Pages
240 Pages
Language
English
Publication Year
1978
Topic
Semiotics & Theory
Genre
Literary Criticism
Author
Roland Barthes
Format
Trade Paperback

Dimensions

Item Height
0.7 in
Item Weight
9.2 Oz
Item Length
8 in
Item Width
5.3 in

Additional Product Features

Intended Audience
Trade
Reviews
"The dominant perspective of the thirteen essays collected inImage-Music-Textis semiology. Barthes extends the 'empire of signs' over film and photography, music criticism . . . and writing and reading as historically situated activities. Several essays are frankly didactic. They review and expand the domain of a certain terminology: interpretive codes, narrational systems, functions and indices, denotation and connotation. Yet those impatient with special terms will not mind too much, for where else do they get, under the same cover, Beethoven and 'Goldfinger,' the Bible and 'Double Bang agrave; Bangkok'? . . . Barthes is technical without being heavy, and a professional without ceasing to be an amateur. His precise yet fluent prose treats personal insight and systematic concepts with equal courtesy."-Geoffrey Hartman,The New York Times Book Review, "The dominant perspective of the thirteen essays collected in Image-Music-Text is semiology. Barthes extends the 'empire of signs' over film and photography, music criticism . . . and writing and reading as historically situated activities. Several essays are frankly didactic. They review and expand the domain of a certain terminology: interpretive codes, narrational systems, functions and indices, denotation and connotation. Yet those impatient with special terms will not mind too much, for where else do they get, under the same cover, Beethoven and 'Goldfinger,' the Bible and 'Double Bang à Bangkok'? . . . Barthes is technical without being heavy, and a professional without ceasing to be an amateur. His precise yet fluent prose treats personal insight and systematic concepts with equal courtesy."-Geoffrey Hartman, The New York Times Book Review, The dominant perspective of the thirteen essays collected in Image-Music-Text is semiology. Barthes extends the 'empire of signs' over film and photography, music criticism . . . and writing and reading as historically situated activities. Several essays are frankly didactic. They review and expand the domain of a certain terminology: interpretive codes, narrational systems, functions and indices, denotation and connotation. Yet those impatient with special terms will not mind too much, for where else do they get, under the same cover, Beethoven and 'Goldfinger,' the Bible and 'Double Bang à Bangkok'? . . . Barthes is technical without being heavy, and a professional without ceasing to be an amateur. His precise yet fluent prose treats personal insight and systematic concepts with equal courtesy., "The dominant perspective of the thirteen essays collected in Image-Music-Text is semiology. Barthes extends the 'empire of signs' over film and photography, music criticism . . . and writing and reading as historically situated activities. Several essays are frankly didactic. They review and expand the domain of a certain terminology: interpretive codes, narrational systems, functions and indices, denotation and connotation. Yet those impatient with special terms will not mind too much, for where else do they get, under the same cover, Beethoven and 'Goldfinger,' the Bible and 'Double Bang à Bangkok'? . . . Barthes is technical without being heavy, and a professional without ceasing to be an amateur. His precise yet fluent prose treats personal insight and systematic concepts with equal courtesy." -- Geoffrey Hartman, The New York Times Book Review, "The dominant perspective of the thirteen essays collected in Image-Music-Text is semiology. Barthes extends the 'empire of signs' over film and photography, music criticism . . . and writing and reading as historically situated activities. Several essays are frankly didactic. They review and expand the domain of a certain terminology: interpretive codes, narrational systems, functions and indices, denotation and connotation. Yet those impatient with special terms will not mind too much, for where else do they get, under the same cover, Beethoven and 'Goldfinger,' the Bible and 'Double Bang Bangkok'? . . . Barthes is technical without being heavy, and a professional without ceasing to be an amateur. His precise yet fluent prose treats personal insight and systematic concepts with equal courtesy."-Geoffrey Hartman, The New York Times Book Review, "The dominant perspective of the thirteen essays collected in Image-Music-Text is semiology. Barthes extends the 'empire of signs' over film and photography, music criticism . . . and writing and reading as historically situated activities. Several essays are frankly didactic. They review and expand the domain of a certain terminology: interpretive codes, narrational systems, functions and indices, denotation and connotation. Yet those impatient with special terms will not mind too much, for where else do they get, under the same cover, Beethoven and 'Goldfinger,' the Bible and 'Double Bang Bangkok'? . . . Barthes is technical without being heavy, and a professional without ceasing to be an amateur. His precise yet fluent prose treats personal insight and systematic concepts with equal courtesy." -- Geoffrey Hartman, The New York Times Book Review
Synopsis
These essays, as selected and translated by Stephen Heath, are among the finest writings Barthes ever published on film and photography, and on the phenomena of sound and image. The classic pieces "Introduction to the Structural Analysis of Narrative" and "The Death of the Author" are also included.

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