So we consider a text as a structured entity, or perhaps as an entity which is structured and yet at the same time that's the case with Roland Barthes.
所以，我们把原文视为一个结构上的实体，或者是作为一个，有结构上的实体同时，这就是罗兰，巴特的例子。
In other words, the author, the traditional idea of the author -so much under suspicion in the work of Foucault and Barthes in the late sixties — can be turned on its ear.
换言之，有一种传统的看法就是对作者置之不理，六十年代晚期在福柯和巴特的，作品中有那么多疑点。
It's not just a question, as obviously Foucault and Barthes are always suggesting, of deferring to authority as though the authority were the police with a baton in its hand, right?
这不仅仅是一个，如福柯和巴特经常暗示的一样明显的，尊崇作者权威就好像这种权威，是一个手握警棍的警官的问题，对吧？
Roland Barthes, a prominent French thinker of the 20th century, became known to the Chinese intelligentsia through the introduction and translation of his writings in the early 1980s.
作为20世纪法国最著名的思想家之一，罗兰。 巴特在上世纪80年代初通过译介始为中国知识界知晓。
This is 1969, and the purpose that's alleged for appealing to the author as a paternal source, as an authority, is, according to both Barthes and Foucault, to police the way texts are read.
这是1969年，断言把作者作为一种，父性的资源，一种权威的目的，根据巴特和福柯的说法，是为了监督文本被阅读的方式。
By the way, once again there's a bit of a rift there between Barthes and Foucault. Foucault wouldn't say "quite futile."
顺便说一句，这里巴特和福柯，又有了分歧，巴特不会说“没有希望。”
Barthes constructed meaning system of sign on the foundation of partition between language and speech.
巴尔特的符号学以语言和言语的划分为基础，构成符号的意义系统。
Barthes even associates the invention of photography with the crisis of death in our society and refers to photography as la Mort plate (flat Death).
罗兰‧巴特甚至把摄影技术的发明与现代社会中的死亡危机联系起来，认为摄影就是在制造一种“苍白的死亡”。
Barthes even associates the invention of photography with the crisis of death in our society and refers to photography as la Mort plate (flat Death).
罗兰‧巴特甚至把摄影技术的发明与现代社会中的死亡危机联系起来，认为摄影就是在制造一种“苍白的死亡”。
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