1984
If for the moment we eschew the larger questions, Jonathan Culler’s critical biography of Barthes ought to be exemplary. Culler moves through the awk¬ward restrictions on style and length imposed by the Modern Masters Series with an ease all the more remarkable given a subject as mobile, contempo¬raneous, still warm as it were, from the fires of several con-troversies as Roland Barthes. Piquant summaries of the major projects provide a clearly signposted route for a quick journey through Barthesian country.
