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dc.contributor.authorPenn, Daniella
dc.descriptionThe file is restricted for YU community access only.
dc.description.abstractCamera Lucida by Roland Barthes seems at first glance to be a book about photography. It is often classified by critics and reviewers alongside other books about photography, its subtitle is “Reflections on Photography,” and the book is filled with reproduced photographs accompanied by discussion about them. Despite all of this, labeling Camera Lucida purely as a book of photography theory is misleading. It is true that Barthes begins his venture with the declaration of purpose, “I wanted to learn at all costs what Photography was ‘in itself,’ by what essential feature it was to be distinguished from the community of images” (3). But after embarking on this initially straightforward inquiry, Barthes finds his efforts stymied. The source of his dilemma, he says, is that all methods traditionally available for the scrutiny of the arts—sociology, phenomenology, technical criticism, historical criticism—seem, somehow, to miss the point. They lead him only to “ultimate dissatisfaction” (8).en_US
dc.description.sponsorshipS. Daniel Abraham Honors Programen_US
dc.publisherStern College for Womenen_US
dc.rightsAttribution-NonCommercial-NoDerivs 3.0 United States*
dc.subjectBarthes, Roland. Chambre claire --Criticism and interpretation.en_US
dc.subjectVisual perception.en_US
dc.titleBarthes and the Brain: Reading Cognitive Science Into Roland Barthes’ Camera Lucidaen_US

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