Qualcuno per favore potrebbe tradurmelo ? Tranne i numeretti

a mother pushing an empty pushchair while
dragging her child along

In Barthes’s writings on theatre in the 1950s, the idea of a counter time
was already present. It was said to flourish during the Time
of Celebration, providing the suspension of the Time of Labour,
like the theatre festivals in classical Athens (see OC I, 282). One
could call this idea ‘the utopia of the aristocratic (reader or writer)’
in Barthes’s work.38 The term ‘aristocratic’ is coined to indicate his
untimely, distinctive, pre-bourgeois character as well as to refer to
the aristocratic Greek culture.

In Roland Barthes by Roland Barthes
(1975), the protagonist declares his love for what he calls the Greek
rhythm.39 In ancient Greece, one supposedly did not live according
to the modern structure of work/freedom. This modern couple is
in a certain sense a representation of the master/slave dialectic in the neo-Hegelian discourse of Alexandre Kojčve which has determined
the understanding of history and, more particularly, of the end of
history in French theory. The rhythm ‘work/free time’ stands for the
equilibrium that is reached in the capitalist end state in which man is
both a worker and a master. Barthes wants to set up a counter-space for
this master/slave paradigm and sketches the utopia of a noble, creative
human being who affirms his or her affects and explores them in the
time of celebration, the time of play, love and art which
are ironically the elements Kojčve would ascribe to the posthistorical
condition of the human being. Barthes seems to state that history has
not ended, but that the ideal of the posthistorical, or rather temporarily
extrahistorical being should be found in a dimension that could escape
the dialectic between master and slave.40 This dimension is the Time
of Celebration which is also the Time of Writing.41 It is a space and
a time in which the subject is free to experience joy and pain, to
feel his savoirs (knowings) and saveurs (tastes) at work and working.
Paideia, in the end, can stand for the literary refuge where the subject
forms and transforms itself, since literature is the locus where the
historical constraints of society (the power and servility that are implied
by language in the Saussurian sense of la langue and discourse) are
loosened.And ‘literary’ is the semiology Barthes would like to apply
in his lecure course.