On Roland Barthes's Shift From Structuralism Aesthetic To Body Aesthesis

This paper tries to show Roland Barthes'shift from a structuralist to a hedonist in the context of post-modern turn..Turn clues are as follows:Since Le plaisir du texte Barthes openly declared hedonism. On the surface, this is the beginning of his turning to the body. However, throughout Barthes's writing career, the body was always his concern. In Barthes's semiology (ie structural aesthetic), body aesthetics are often found; After he found the drawbacks of structuralism he proposed the theory of Le plaisir du texte, turning away from structuralism to deconstructionism; It is Nietzsche that declared the post-modern Body Aesthetics.He declared that all aesthetics is to stimulate the reproductive. On the other end is the western traditional aesthetics. Nietzsche believes that the dualistic view of subject and object is a fiction. Barthes promotes drunk aesthetic. Le plaisir du texte derives from the interaction between text and body. From Le plaisir du texte, the body becomes the metaphor of the text and text a metaphor of everyday life. The Daily Life Aesthetics is considered "aesthetic hedonism":to eliminate the ethical choice of the main purposes is a practice from the practice of aesthetic nihilism, a kind of ethical performance of escapism.This article attempts to prove that the "aesthetic is a unique way of ideology criticism." Barthes recognizes that ideology is repeated and solid and it is opposite to the game of signans. Regardless of ideology or non-ideological criticism, once it becomes repetitive and solid, it falls into the category of ideology, much like structuralism creating a "text science". I n order to not criticize ideologically and directly, one could only put anti-ideology into a kind of "accurate fiction".In order not to fight with it, Barthes resorts to the aesthetic. "Body Aesthetics" is not utopia, and the meaning of exposing the buttocks by Le plaisir de texte to the father of politics arises from it.