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By Roland Barthes

With this publication, Barthes deals a broad-ranging meditation at the tradition, society, artwork, literature, language, and iconography--in brief, either the sign-oriented realities and fantasies--of Japan itself.

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Now it occurs [hat during this state (Japan) the empire of signifiers is so big, so in far more than speech, that the trade of symptoms continues to be of a desirable richness, mobility, and subrlety, regardless of the (! pacity of the language, occasionally nine evcn as a consequencc of that opacity. The reaSUII for this is often that during Japan rhe physique exists, acts, exhibits itself, givc~ itsclf, with out hystena, with out narcissism, yet accorJing to a natural -though sllbtly discontinuolls-erotic venture. it's not the voice (with which we determine the "right~" of the individual) which wmmunicates (commllnieates what' our-necessarily bealltiflll-souP our sincerity? our status' ), however the complete physique (eyes, smile, hair, gestures, c1othing) which sustains with you a smooth of babble that the perfeet domination of the codes strips of all regressive, childish personality. To make a date (by gestutes, drawings on paper, right names) might take an hour, yet duting that hGlIr, fur a message which might be abolished right away if it have been to be spoken (simultaneously really crucial and particularly insignificant), it's the other's complete physique which has been knuwn, savored, re­ ceived, and whjeh has displayed (tu no actual objective ) its personal narrative, its personal textual content. 10 tlfttfr alld Flake Thc dinncr tray sccms a pierure of the main delieate ordeL: jt is a body containing, opposed to a dismal again­ floor, numerous objecrs (bow ls, containers, saucers, chopsticks, tiny piles of fond, a Iitde grey gingcr, a number of shreds oE orange vcgetable, a historical past of bruwn sauce), and sinee those packing containers and those bits of Enod are moderate in Cjuantiry yet a variety of, it would be acknowledged that those trays satisfy the defini­ tion of portray whieh, aecording to Piero della Francesca, "is basically an illustration oE surfaecs and our bodies bceoming ever smaller or greater aecording to their tcrm. " although, such an order, delieinus while it seems that, is destined to be undone, recomposed aceording to the very rhythm of consuming; what used to be a immobile tableau initially beeomes a piece­ beneh or ehessboard, thc spaee no longer oE seeing bur of doing­ of praxis or play; the portray used to be aerually just a palette (a paintings surEace ), with which YOll are going to play within the path oE your meal, taking on the following a pineh of vegerables, there of riee, and over there of eondiment, right here a sip of soup, aecording to a unfastened alternation, within the demeanour of a (speeif­ ieally ]apanese) graphie artist set down in entrance of aseries of pots who, at onc and an analogous time, understands and hesitates; in order that, with out bcing denied or reduced (no Cjuestion of an indifference with reference to food-an perspective that's consistently i'I morrtl) , consuming is still stampcd wirh a type uf paintings or play 'Nhich bears much less on thc transformation of the first sub­ stallcc (an objecr right to the kitchen and co food; yet ] apanese nutrition is never cooked, the foodstuffs arrive of their usual kingdom at the tray; the one operation they've got acrually gone through is to be chop up) than at the transferring and by some means encouraged assemblage of parts whose order of sclection is mounted by means of no prorocol (you can exchange a sip of soup, a mouthEul oE rice, a pinch of vegetables): the whole praxis oE alimentation being within the composition.

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