https://www.euppublishing.com/toc/count/9/1
I feel like my translator’s witness involves having a voice and having it veiled all at once. Or my translator’s pleasure. If not pleasure, then aspiration: to have and have not, to have a voice and not have one, like having a place while not being placed. Perhaps I’m re-living – no, not re-living at all: living differently a central point in the drama of Roland Barthes.
I wanted a translation that shows how Fragments welcomes its readers, and welcomes commonality as much as loss. I was looking for an English text that both captures and lets go: an English immersed in Barthes’ idiom so as to find new air for it, and for its readers.
Timothy Mathews,
from his Translator’s Note
from his Translator’s Note
Recent years have seen something of a renaissance in the study and appreciation of the œuvre of Roland Barthes in both French and English. The image of Barthes has been made mobile and fluid, it spreads out and folds back on itself, in all its nuance and singularity. The reservoir of references from which Barthes draws together his propositions has appeared to extend, across theology, history, philosophy, and psychoanalysis.
Patrick ffrench and Timothy Mathews,
from their Guest Editors’ Introduction
from their Guest Editors’ Introduction
In addition to the ones by Patrick and Tim, the volume includes pieces by Agnès Thurnauer, Sophie Eager, Sharon Kivland, Jane Rendell, Brian Blanchfield, and Nathalie Léger. The pieces by Agnès and Nathalie are translated by Tim.