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In this speculative essay, the art critic Michael Fried¿s critical rereading of Roland Barthes¿ seminal Camera Lucida uncovers different affinities between the latter and some core motifs of his own thought. Questioning the most widely accepted reading of Barthes¿ text, which has focused primarily on the punctum as a catalyst for a subjective response in the viewer, Fried reframes this concept in an anti-theatrical tradition that can be traced back to Diderot and of which he himself is the maximum contemporary exponent.