Barthes in his work, Elements of Semiology (1967), advanced the concept of the " metalanguage ". A metalanguage is a systematized way of talking about concepts like meaning and grammar beyond the constraints of a traditional (first-order) language; in a metalanguage, symbols replace words and phrases. Insofar as one metalanguage is required for one explanation of first-order language, another may be required, so metalanguages may actually replace first-order languages. Barthes exposes how this structuralist system is regressive; orders of language rely upon a metalanguage by which it is explained, and therefore deconstruction itself is in danger of becoming a metalanguage, thus exposing all languages and discourse to scrutiny. Barthes' other works contributed deconstructive theories about texts.
Conclusively, the nature of literature as expounded by reader-oriented critics including Wolfgang Iser, Stanley Fish and Umberto Eco, is that all texts have an infinite number of interpretations, depending on the interpretive community that each actual reader belongs to, and the prior knowledge that each individual brings to the reading. This post-structuralist method of literary analysis has facilitated my unique interpretation of Atonement, and concretised my awareness of the social conditioning that my African background, and inter-textual links, place upon the text.
PYRRHIC : In classical Greek or Latin poetry, this foot consists of two unaccented syllables--the opposite of a spondee . At best, a pyrrhic foot is an unusual aberration in English verse, and most prosodists (including me!) do not accept it as a foot at all because it contains no accented syllable. Normally, the context or prevailing iambs, trochees, or spondees in surrounding lines overwhelms any potential pyrrhic foot, and a speaker reading the foot aloud will tend artificially to stress either the first or last syllable. See meter for more information.