Ravikant Ranjan

DIGVIJAY VERMA

RUSH CHHABRA

MANIKANDAN. S

Balajee S.R.

TARIQUE KHAN

ANITA GOYAL

RENUKAKAUL

DIPALI RUHELA

N.BHUVANESHWARI

Marco T.Pinheiro

Helen F. Ray-Jones

Fengyuan Liu

Max Hebditch

Maria E Zancanaro Krauss

NUR DAYANA NISBAR

Nidhi Gupta

Manipal

SMRITI VERMA

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Carmelita NoraMarbaniang

Gaurav Bairwa

Maruti Nandan Rai

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Manipal

Swarna Gowri Thota

Suhail Yousuf

Neelam Chaudhary

Sophie Bromilow

Xiaoxiang Yan

Michael J.D.Daniels

SHAILENDRA RAGHUWANSHI

Rikky Rai

Vivek Kumar Srivastava

Jadav Rathan Singh

Sheo Shankar Pandey

Aanisa Nazir

Heena Yadav

[An aside about exogenous social capital: you might complain that your tweets are more interesting and grammatical than those of, say, Donald Trump (you're probably right!). Or that your photos are better composed and more interesting at a deep level of photographic craft than those of Kim Kardashian. The difference is, they bring a massive supply of exogenous pre-existing social capital from another status game, the fame game, to every table, and some forms of social capital transfer quite well across platforms. Generalized fame is one of them. More specific forms of fame or talent might not retain their value as easily: you might follow Paul Krugman on Twitter, for example, but not have any interest in his Instagram account. I don't know if he has one, but I probably wouldn't follow it if he did, sorry Paul, it’s nothing personal.]

In Postmodernism, or, The Cultural Logic of Late Capitalism (1991), J

An investigative report released last month by Swedish public service television found that Swedwood cuts down about 1,400 acres of forest a year. "We have a (limited) amount of old-growth forest in the north of Russian Karelia with high conservation value. Ikea says they don't operate in old-growth forests but it is not true," Olga Ilina

It defines optimistic tireless , Francesca Lavazza . And in his case optimism is not so much "the salt of life" as it is sugar. Yes, because Francesca is part of that family that has made the Italian espresso more known to the world.

Twelve shots, collected in a new magazine format - to hang like the classic calendars or to be preserved and browsed - in which are also represented the six site-specific installations and works of art of “nature art”, created with zero-impact techniques , from the six artists from all over the world.

The ambitious challenge of the 2019 Lavazza Calendar is to talk to the younger generations with an innovative visual communication language, to move them and to overturn the principle that "good news is not news".

“We still have many untapped opportunities to keep developing our markets, bring purpose into all of our brands, and that will translate into more opportunities for growth right across our considerable geographic footprint.”​Jope stressed the need to deliver “quality”​ growth that is consistent, competitive, profitable and responsible.“To have consistent growth, we need to use the breadth of our portfolio to avoid or minimize the impact of onetime shocks. Competitive growth is simple, growing ahead of our markets. Profitable growth is going to require that we get the right balance of price and volume mix in any period as well as keep delivering strong savings and efficiency programs.​“And finally, our growth will, of course, be responsible, which means putting purposes into our brands and making continued progress on the ambitious environmental and social roles that we set out in the Unilever Sustainable Living Plan.​“It is not purpose ahead of profits. It's purpose that drives better profits.”​

Unilever cannot be faulted for its dedication and good intentions. And as long as sustainability equals efficiency, all is well. Both Unilever and the world benefit, exactly the way Paul Polman likes it. Reducing the use of pesticides is good for both the environment and the company’s shareholders. The more fruit a palm oil tree can bear, the less land will have to be cleared. But win-win scenarios are not often as clear-cut. Personal care product sales are up and while this means sustainability brownie points for Unilever, it also causes environmental problems in the emerging economies. And the Roundtable which was supposed to promote sustainability, has become a lightning conductor for an unsustainable production model. Unilever’s proud boast is that it has managed to ‘decouple’ or separate higher revenue from environmental impact. It is a first move towards the beacon of sustainable growth. A closer look at the company’s Sustainable Living Plan shows Unilever is on schedule in most areas (although deadlines are moved about), except when it comes to the environmental impact of consumer use. That is where the bullets on the sustainability dashboard turn an angry red. Greenhouse gas emissions ‘per consumer unit' went up eight per cent from 2010. That poses a problem, since two thirds of Unilever’s total CO2 emissions stem from consumer use. So the business is growing – but not in a very green way. People want to consume responsibly but not less. Authorities are willing to go green as long as the public purse does not suffer. And companies are no longer bogey men but part of the solution. Paul Polman is a welcome guest because his message is a comfortable one. As head of a transnational company he is making the world a better place. But unlike his idols Ghandi and Mother Theresa, the Unilever boss, while looking after People and Planet, must never lose sight of Profit, as the recent Kraft-Heinz takeover attempt attests.

Experts estimate that in Africa alone, conservation efforts have created 14 million "conservation refugees" since the colonial era. In this model, some of the indigenous people, if they were lucky enough, could work as park wardens, preventing their relatives from entering the protected zones.

You might expect global food conglomerates to resist such a diversity push. But Dorothy Shaver, who is head of sustainability for Knorr, says the company wants to be part of this movement. She says the shift in the amount and types of food people eat is inevitable and will also open new markets. "This actually gives us a major opportunity to identify some of the flavors that people are missing out on," she says. "And then we can get them on people's plates. We can get people to switch out one of their white potatoes that they eat potentially four or five times a week with a purple yam. Or in Indonesia make it an Indonesian sweet potato instead of white rice." Shaver says doing this all over the planet would have an enormous impact on the environment. She says Knorr will try to mainstream 10 or 15 of these so-called future foods in its dishes. She says its popular cheddar and broccoli rice dish will soon have versions featuring black beans and quinoa instead of rice.

WWF wishes to convene stakeholders from across the food system and integrate decisions that will ensure human and planetary health. Together, we have the power to bring food to the top of the conservation agenda and help deliver tangible results which protect our future. Our goal is to create sustainable food systems that safeguard the variety of life on Earth while ensuring food security, now and in the future. To achieve this, WWF works to improve how our food is produced, to change the way we eat, and to ensure food goes in our bodies not in the bin. Together with others, we are focusing on three key outcomes by 2030: - Half of the area used for agriculture and aquaculture is sustainably managed, with no new areas being converted - Global food waste is halved and post-harvest loss is reduced - Half of food consumption is in line with World Health Organisation dietary guidelines in target countries:

The unwashed masses will not be moved by this stunt which validates the idea that it’s okay to peddle fake news for a just cause. Sitting on the opposite end of the spectrum, Joseph Barratt, CEO of Mutant Communications lauded the campaign for the impact it had. “It provoked emotions and discussions in households and workplaces around Singapore in an area where it is typically difficult to break through the noise. The outrage at the faux business drove awareness with limited resources,” he said, adding: Any allegations that the campaign spread fake news is misrepresenting a real issue in the media today.

A yearlong BuzzFeed News investigation across six countries — based on more than 100 interviews and thousands of pages of documents, including confidential memos, internal budgets, and emails discussing weapons purchases — can reveal:Villagers have been whipped with belts, attacked with machetes, beaten unconscious with bamboo sticks, sexually assaulted, shot, and murdered by WWF-supported anti-poaching units, according to reports and documents obtained by BuzzFeed News.The charity’s field staff in Asia and Africa have organized anti-poaching missions with notoriously vicious shock troops, and signed off on a proposal to kill trespassers penned by a park director who presided over the killings of dozens of people.WWF has provided paramilitary forces with salaries, training, and supplies — including knives, night vision binoculars, riot gear, and batons — and funded raids on villages. In one African country, it embroiled itself in a botched arms deal to buy assault rifles from a brutal army that has paraded the streets with the severed heads of alleged “criminals.”The charity has operated like a global spymaster, organizing, financing, and running dangerous and secretive networks of informants motivated by “fear” and “revenge,” including within indigenous communities, to provide park officials with intelligence — all while publicly denying working with informants. { "id": 122412833 } Jorge Silva / Reuters World Wildlife Fund activists demonstrate on the sidelines of the UN Climate Change conference. { "id": 122247237 } WWF has launched an “independent review” led by human rights specialists into the evidence uncovered by BuzzFeed News. “We see it as our urgent responsibility to get to the bottom of the allegations BuzzFeed has made, and we recognize the importance of such scrutiny,” the charity said in a statement. “With this in mind, and while many of BuzzFeed’s assertions do not match our understanding of events, we have commissioned an independent review into the matters raised.” The charity declined to answer detailed questions sent by BuzzFeed News.

Shikharam’s alleged murder in 2006 was no isolated incident: It was part of a pattern that persists to this day. In national parks across Asia and Africa, the beloved nonprofit with the cuddly panda logo funds, equips, and works directly with paramilitary forces that have been accused of beating, torturing, sexually assaulting, and murdering scores of people. As recently as 2017, forest rangers at a WWF-funded park in Cameroon tortured an 11-year-old boy in front of his parents, the family told BuzzFeed News. Their village submitted a complaint to WWF, but months later, the family said they still hadn’t heard back. { "id": 122251936 } Tsering Dolker Gurung for BuzzFeed News People living near Nepal's Chitwan National Park. { "id": 122247237 } WWF said that it does not tolerate any brutality by its partners. “Human rights abuses are totally unacceptable and can never be justified in the name of conservation,” the charity said in a statement.But WWF has provided high-tech enforcement equipment, cash, and weapons to forces implicated in atrocities against indigenous communities. In the coming days, BuzzFeed News will reveal how the charity has continued funding and equipping rangers, even after higher-ups became aware of evidence of serious human rights abuses.

WWF Funds Guards Who Have Tortured And Killed People

The focus areas that were addressed in the methodology for this report were nutritional value, relative environmental impact, flavour, accessibility, acceptability and affordability

REFERENCES

n writing this report, Knorr, WWF and Adam Drewnowski are grateful for input and review from experts at Bioversity International, Crops For the Future, EAT Foundation, Edelman, Food and Land Use Coalition (FOLU), Food Reform for Sustainability and Health (FReSH), GAIN, Global Crop Diversity Trust, Gro Intelligence, Oxfam GB, SDG2 Advocacy Hub, Wageningen University and Yolélé Foods. This report ultimately reflects the views of Knorr, WWF and Adam Drewnowski.

In January 2017, corporate behemoth Unilever unveiled a new commitment to ensuring that all of its plastic packaging is fully reusable, recyclable or compostable by 2025. The commitment was built on a recognition that the global plastics market was broken; nine months later, Blue Planet 2 aired, alerting the public to the environmental hazards of plastics.

The city of New York’s Building Healthy Communities initiative, Unilever and Green City Force came together to find a solution.Instead of trying to get fresh food in, they decided to grow it right where it was needed. By creating six urban farms, access to fresh produce in underserved neighbourhoods has increased, as has the knowledge of local residents about how food is grown, and healthy eating. This is community impact in action!Unilever have taken a step further, creating Growing Roots - an organic, plant-based food snack that donates half of its profits to urban farming programmes, whilst allowing others to join and dig in to help grow a better future for communities across the US.

r. Adam Drewnowski is a world-renowned leader in the study of obesity and social disparities in diets and health. He is Professor of Epidemiology and the Director of the Center for Public Health Nutrition at the School of Public Health. He is also the Director of the University of Washington Center for Obesity Research, which addresses the environmental, social and economic aspects of the obesity epidemic. Dr. Drewnowski is a Joint Member of the Fred Hutchinson Cancer Research Center in Seattle.

what really struck me is that, in the end, the outcomes of any story are conditioned by nature. And losing a piece of nature has an effect on each of us. As a photographer, the more I tell people and their problems, the more I realize I'm photographing nature "

The goal is the realization of a collective photographic reportage that tells about positive human actions that express respect for nature and for the Earth.

But you know, good projects are a bit like cherries, one leads to another. Thus the Lavazza Calendar 2019 (available online at lavazza.it) launches a photographic call to action to personally participate in the "Good to Earth" mission.

The artistic interventions, seen through the lens of the famous American photojournalist Ami Vitale , support important messages to defend the planet, celebrating the places in the world where human intervention is bringing good news for the Earth. The care for our future, the fight against climate change and the protection of biodiversity thus become poetic images and at the same time a call to action for all of us.

And it is also the reason why a "photo call to action" was launched, which invites people to take photos that document good practices with respect to environmental protection, which will then be posted on social networks with the hashtag #GoodtoEarth .

In his long career, Vitale has told the most pristine corners of the world, with the aim, above all, of communicating how much the safeguard of the planet is fundamental for human life itself.

The goal is the realization of a collective photographic reportage that tells about positive human actions that express respect for nature and for the Earth  

The ambitious challenge of the 2019 Lavazza Calendar is to talk to the younger generations with an innovative visual communication language , to move them and to overturn the principle that "good news is not news".

The care for our future, the fight against climate change and the protection of biodiversity thus become poetic images and at the same time a call to action for all of us.

The artistic interventions, seen through the lens of the famous American photojournalist Ami Vitale, support important messages to defend the planet, celebrating the places in the world where human intervention is bringing good news for the Earth.

in which are also represented the six site-specific installations and works of art of 'nature art', created with zero-impact techniques, from the six artists from all over the world.

Nature, art and 'good news' for the Earth are the protagonists of the new Lavazza 2019 'Good to Earth' calendar: reforestation, protection of biodiversity, conversion of industrial areas into green areas, virtuous projects for sustainability and safeguarding of the territory seen

and thus tell the good news for the Earth: that is those virtuous projects of reforestation, protection of biodiversity,

the good news for the Earth: virtuous projects reforestation, biodiversity protection, conversion of industrial areas into green areas.

instead, appears the portrait of a woman, perhaps a warrior, perhaps the last exponent of a primitive tribe threatened by deforestation , portrayed on plexiglass plates, a peculiar technique that allows her body to appear and disappear among the vegetation , as if it were actually there. Hidden and waiting to find out what will be of his future.

a symbol not only of Lavazza , but also of the fact that our future belongs to us and it is up to us to defend the earth, even with small daily gestures.

Suddenly, for a faceless energy supplier, E.ON began to stand out. Suddenly, E.ON actually seemed pretty cool.

The launch marks the introduction of E.ON’s new global brand position which reflects its desire to deliver innovative customer solutions that help create a better tomorrow. E.ON has worked closely with global marketing services network, Engine, on digital content for the campaign which will transform E.ON’s social platform and website with dedicated content seeded across channels

The film paves the way for unveiling of the ‘E.ON Kong Solar Studio’, a concept based on the band’s original Kong Studios, which offers a solar and battery storage powered creative space for music projects. Using the power generated by E.ON solar PV panels, Gorillaz’ Kong Studios 2.0 will come to life at night and provide aspiring music artists the opportunity to create new tracks which will appear on eon.com/gorillaz.

Good news today - he continues - there is a great need: positive examples of virtuous behavior, stories of personal redemption and environmental redevelopment that we hope will infect people, especially the youngest, and inspire a direct commitment to safeguard our planet ».

the Lavazza 2019 Calendar continues to focus on sustainability and power of the binomial art and social commitment

12 shots of virtuous projects that reach deep into the heart

symbolising the future generations who face challenges such as climate change and melting glaciers

Perhaps most importantly, the campaign shifted people’s perceptions of E.ON from being a “boring utility company” to an “enabler of amazing energy solutions” by 94%.

The campaign led to E.ON standing out from the crowd.

In a notoriously low-interest sector, the aim of the event was to raise awareness of the new E.ON brand since its decision to sell off its power generation business and focus instead on sustainable energy options.

To achieve this, E.ON and its agency WCRS partnered with the band Gorillaz, which was picked because of its technical innovation, creativity and collaborative style. To allow people to get close to the technology and physically experience it, the brand created Kong Solar Studios, a replica of Gorillaz’s original Kong Studios that was by day a fan experience and at night a solar-powered studio where up and coming talent could create music.

Similarly, since the company has consolidated its UK marketing communications in 2015, their campaigns have been developing from fairly traditional formats of TV and radio (an example is for the Smart Pay As You Go meter product), to fully integrated influencer marketing campaigns, as Gorillaz themselves are very involved and conscious of green energy.

The studio will further travel with Gorillaz on their world tour from this month until November, acting as the driving force behind the campaign aiming to show E.ON as a purpose-led brand

This will be backed up by a future unveiling of the E.On Kong Solar Studio, which will be a solar-plus-storage-powered creative space for music projects.

project represents not only quality coffee but peace and redemption for the local community.

LAVAZZA IS MORE THAN JUST COFFEE.

The Lavazza Calendar “Good to Earth” tells the story of the good example set by people who are committed to protecting the planet, in the form of photographs by Ami Vitale and six works of art set in the natural environment. Because, despite everything, there is goodness on Earth.

That is why the positive art of Good to Earth works against the one-way narrative of the Earth as a sick patient and chooses instead to tell stories of virtuous behaviour and environmental requalification, which, it is hoped, will have an influence on people, and young people in particular, inspiring them to make their own commitment to protect the planet.

In Good to Earth, nature becomes art to inspire behaviour that respects the environment It does so through a contemporary art form that is totally immersed in nature.

Brittaney Kiefer thinks E.ON's Gorillaz music video is an inspired way to promote solar storage.

The commercial tells the story of the journey that Lavazza’s new bio-organic coffee takes from its place of origin to us, through a series of videos that alternate between man and his environment in a natural and surprising way. The screens where different images chase each other and merge are the very hands themselves: different every time, belonging to men, women and children, they talk about life lived, dedication and experience.

The Lavazza ¡Tierra! Bio campaign launch features hands as the main character of the communication: they are the ideal symbol for the ¡Tierra! Brand and sum up work and sustainability.

William S. Burroughs

Casey Rae

Junpeng Zhan

The Cotton Apoplastic Protein CRR1 Stabilizes Chitinase 28 to Facilitate Defense Against the Fungal Pathogen Verticillium dahliae

Amy Van Deusen

Liyun Jiang

Umarah Mubeen

New rules always create confusion but that is not a strong argument against them. The legal complexities of CC reflect the complexity of copyright. That the CC licenses are being used suggests that they are useful. The question is how? Claiming they are not useful is unlikely to be correct. Perhaps the usefulness is social not individual, so people are using them to do good. I take no position on this.

Sean Patrick Murphy

Marck Vaisman

Harlan D. Harris

In fact, members of the Long Now would have me say that it was founded in the year 01996, a way of writing dates that presently accommodates a further 97,985 years. To put this into perspective—50,000 years before the Long Now runs out of digits, Niagara Falls will have eroded its remaining 32 kilometers to Lake Erie. That communion will occur a full 30,000 years after, according to one lexico-statistical model, the point at which human languages will have retained only one percent of their present-day words. By the time the Long Now has a Y100k problem, the constellations you recognize will be gone from the sky. I lay this out to make the point that Long Now folks embed a puckishly provocative optimism in everything they do.

it does not finally matter who wrote what, but rather how a work is written and how it is read.

Have you just arrived at our blog and you’re not sure where to start?

Kenneth Haltman

I ~hould have preferred to be enveloped by speech, and carried away well beyond all possible beginnings, rather than have to begin it myself. I should have preferred to be-come aware that a nameless voice was already speaking long before me, so that I should only have needed to join in

Published in the days leading up to the 45th president’s inauguration, two new books purport to show a path forward for liberals in Trump’s America.

In his introduction to “What We Do Now,” co-editor Dennis Johnson writes of the widespread “despair,” “grief” and “disillusionment” that followed the election.

Belinda Cleary For Daily Mail Australia

Leadership consultant Simon Sinek

Thomas Sheridan

Fernanda Diamantino

Cristina Rocha

A national system of electricity transmission could cut power-plant emissions by 80 percent.

Reviewers who receive a paper from which the identifying marks have been removed will immediately put in place an (imagined) set of circumstances of exactly the kind they are supposedly ignoring. I

can easily imagine a culture wherediscourse would circulate without any need for an author. Dis-courses, whatever their status, form, or value, and regardless of ourmanner of handling them, would unfold in a pervasive anonymity.No longer the tiresome repetitions: 'Who is the real author?' 'H

author-function' is tiedto the legal and institutional systems that circumscribe, determine,and articulate the realm of discourses; it does not operate in auniform manner in all discourses, at all times, and in any givenculture; it is not defined by the spontaneous attribution of a textto its creator, but through a series of precise and complex pro-cedures; it does not refer, purely and simply, to an actual individualinsofar as it simultaneously gives rise to a variety of egos and to aseries of subjective positions that individuals of any class may

athe-matical treatise, the ego who indicates the circumstances of com-position in the preface is not identical, either in terms of his posi-tion or his function, to the T who concludes a demonstrationwithin the body of the text. The former implies a unique individualwho, at a given time and place, succeeded in completing a project,whereas the latter indicates an instance and plan of demonstrationthat anyone could perform provided the same set of axioms, pre-liminary operations, and an identical set of symbols were used. It isalso possible to locate a third ego: one who speaks of the goals of' his investigation, the obstacles encountered, its results, and theproblems yet to be solved and this T would function in a field ofexisting or future mathematical discourses. We are not dealing witha system of dependencies where a first and essential use of the Tis reduplicated, as a kind of fiction, by the other two. On thecontrary, the 'author-function' in such discourses operates so as toeffect the simultaneous dispersion of the three egos

ight object that thisphenomenon only applies to novels or poetry, to a context of 'quasi-discourse', but, in fact, all discourse that supports this 'author-function' is characterized by the plurality of egos. In a

ave a different bearing on texts with an author and 23on those without one. In the latter, these 'shifters' refer to a realspeaker and to an actual deictic situation, with certain exceptionssuch as the case of indirect speech in the first person. When dis-course is linked to an author, however, the role of 'shifters' is morecomplex and variable. It is well known that in a novel narrated inthe first person, neither the first person pronoun, the presentindicative tense, nor, for that matter, its signs of localization referdirectly to the %vriter, either to the time when he wrote, or to thespecific act of writing; rather, they stand for a 'second self whosesimilarity to the author is never fixed and undergoes considerablealteration within the course of a single book. It

ccording to Saint Jerome, there are four criteria:the texts that must be eliminated from the list of works attributedto a single author are those inferior to the others (thus, the authoris defined as a standard level of quality); those whose ideas conflictwith the doctrine expressed in the others( here the author is definedas a certain field of conceptual or theoretical coherence); thosewritten in a different style and containing words and phrases notordinarily found in the other works (the author is seen as a stylisticuniformity); and those referring to events of historical figures sub-sequent to the death of the author (the author is thus a definitehistorical figure in which a series of events converge). Alth

There are, nevertheless, transhistorical constants in therules that govern the construction of an author.

In addition, all these operations vary according to the periodand the form of discourse concerned. A 'philosopher' and a 'poet'are not constructed in the same manner; and the author of aneighteenth-century novel was formed differently from the modernnovelist.

The third point concerning this 'author-function' is that it is notformed spontaneously through the simple attribution of a discourseto an individual. It results from a complex operation whose pur-pose is to construct the rational entity we call an author. Un-doubtedly, this construction is assigned a 'realistic' dimension aswe speak of an individual's 'profundity' or 'creative' power, hisintentions or the original inspiration manifested in writing. Never-theless, these aspects of an individual, which we designate as anauthor (or which comprise an individual as an author), are pro-jections, in terms always more or less psychological, of our way ofhandling texts: in the comparisons we make, the traits we extractas pertinent, the continuities we assign, or the exclusions we prac-tise.

First, they are objects of appropriation; the form of propertythey have become is of a particular type whose legal codificationwas accomplished some years ago. It is important to notice, aswell, that its status as property is historically secondary to thepenal code controlling its appropriation. Speeches and books wereassigned real authors, other than mythical or important religiousfigures, only when the author became subject to punishment andto the extent that his discourse was considered transgressive. Inour culture - undoubtedly in others as well - discourse was notoriginally a thing, a product, or a possession, but an action situatedin a bipolar field of sacred and profane, lawful and unlawful, reli-gious and blasphemous. It was a gesture charged with risks longbefore it became a possession caught in a circuit of property values.But it was at the moment when a system of ownership and strictcopyright rules were established (toward the end of the eighteenthand beginning of the nineteenth century) that the transgressiveproperties always intrinsic to the act of writing became the force-ful imperative of literature. It is as if the author, at the momenthe was accepted into the social order of property which governsour culture, was compensating for this new status by revivingthe older bipolar field of discourse in a systematic practice of trans-gression and by restoring the danger of writing which, on anotherside, had been conferred the benefits of property

nsequently, we cansay that in our culture, the name of an author is a variable thataccompanies only certain texts to the exclusion of others: a privateletter may have a signatory, but it does not have an author; acontract can have an underwriter, but not an author; and, similarlyan anonymous poster attached to a wall may have a writer, buthe cannot be an author. In this sense, the function of an author isto characterize the existence, circulation, and operation of certaindiscourses within a society

We can conclude that, unlike a proper name, which moves fromthe interior of a discourse to the real person outside who producedit, the name of the author remains at the contours of texts -separating one from the other, defining their form, and character-izing their mode of existence. It points to the existence of certaingroups of discourse and refers to the status of this discourse withina society and culture. The author's name is not a function of aman's civil status, nor is it fictional; it is situated in the breach,among the discontinuities, which gives rise to new groups of dis-course and their singular mode of existence. C

The name of an author poses all the problems related to thecategory of the proper name. (Here, I am referring to the work ofJohn Searle,3 among others.) Obviously not a pure and simplereference, the proper name (and the author's name as well) hasother than indicative functions. It is more than a gesture, a fingerpointed at someone; it is, to a certain extent, the equivalent of adescription. When we say 'Aristotle', we are using a word thatmeans one or a series of definite descriptions of the type: 'theauthor of the Analytics', or 'the founder of ontology', and so forth.Furthermore, a proper name has other functions than that of sig-nification: when we discover that Rimbaud has not written LaChasse spirituelle, we cannot maintain that the meaning of theproper name or this author's name has been altered. The propername and the name of an author oscillate between the poles ofdescription and designation, and, granting that they are linked towhat they name, they are not totally determined either by theirdescriptive or designative functions. Yet - and it is here that thespecific difficulties attending an author's name appear - the linkbetween a proper name and the individual being named and the linkbetween an author's name and that which it names are not iso-morphous and do not function in the same way; and these dif-ferences require clarification.

It is obviously insufficient to repeat empty slogans: the authorhas disappeared; God and man died a common death. Rather, weshould re-examine the empty space left by the author's disappear-ance, we should attentively observe, along its gaps and fault lines,its new demarcations, and the reapportionment of this void; weshould await the fluid functions released by this disappearance.In this context we can briefly consider the problems that ari

Another thesis has detained us from taking full measure of the 17author's disappearance. It avoids confronting the specific event thatmakes it possible and, in subtle ways, continues to preserve theexistence of the author. This is the notion of icriture. Strictlyspeaking,.it should allow us not only to circumvent references toan author, but to situate his recent absence. The conception oficriture, as currently employed, is concerned with neither the actof writing nor the indications, as symptoms or signs within a text,of an author's meaning; rather, it stands for a remarkably profoundattempt to elaborate the conditions of any text, both the conditionsof its spatial dispersion and its temporal deployment

en now, when we studythe history of a concept, a literary genre, or a branch of philo-sophy, these concerns assume a relatively weak and secondaryposition in relation to the solid and fundamental role of an authorand his works

"It was Woman, with her sudden fears, her irrational whims, her instinctive fears, her unprovoked bravado, her daring and her delicious delicacy of feeling" Who is speaking in this way? Is it the story's hero, concerned to ignore the castrato concealed beneath the woman? Is it the man Balzac, endowed by his personal experience with a philosophy of Woman?

THE DEATH OF THE AUTHOR / ROLAND BARTHES

The standard model of scholarly publishing assumes awork written by an author. There is typically a single authorwho receives full credit for theopusin question. By thesame token, the named author is held accountable for allclaims made in the text, excluding those attributed to othersvia citations. The appropriation of credit and allocation ofresponsibility thus go hand-in-hand, which makes for fairlystraightforward social accounting. The ethically informed,lone scholar has long been a popular figure, in both fact andscholarly mythology. Historically, authorship has beenviewed as a solitary profession, such that “when we picturewriting we see a solitary writer” (Brodkey, 1987, p. 55). Butthat model, as Price (1963) recognized almost three decadesago, is anachronistic as far as the great majority of contem-porary scientific, and much social scientific and humanistic,publishing is concerned.

50–70 years for a journal article

me