Abstract

It is possible to study the idea of the “death of the author” as a quaint museum piece of faded 1960s structuralist memorabilia, as an idea that characterized an era that, whatever it once was, is certainly not our own. Such a presentation is the fare in countless graduate literature courses and a sin to which some, if not many, of us would plead guilty. However, the idea of the death or disappearance of the author has, since the two inaugural essays that launched its theoretical voyage,1 generated a steady stream of assessments and reassessments up to the present day.2One relatively recent five-page intervention by Jacques Rancière3 introduces but leaves undeveloped a number of reflections that, when taken..