Which of the following observations are true about Roland Barthes’ contributions to literary theory?
[A] He rejected the model for structural analysis of narratives
[B] He perceived “meaning” as an effect of various interconnections among linguistic codes
[C] He identified the various codes found in the process of structuration
[D] He played a significant role in the development of ‘semiology’
[E] He questioned the concept of literary criticism as an act of uncovering some hidden truth intended by the “author”
Choose the correct answer from the options given below:

The correct answer is B, C, D and E only.

Here is the step-by-step breakdown of Roland Barthes' contributions to literary theory and why these statements are correct:

Statement [A] is incorrect:
Roland Barthes did not reject the model for the structural analysis of narratives; rather, he was a key figure in structuralism who actively applied and developed structuralist models to analyze narratives (for example, in his structural analysis of narrative introduction in 1966) before transitioning later in his career toward post-structuralism.

Statement [B] is correct:
In his seminal work S/Z (1970), Barthes argued that meaning is not a single, fixed entity but rather an effect or product of the intersections and interconnections among various linguistic codes working within a text.

Statement [C] is correct:
In the same text S/Z, Barthes identified five distinct codes (Proairetic, Hermeneutic, Semic, Symbolic, and Reference/Cultural) that operate during the process of "structuration"—the active process through which a text generates meaning.

Statement [D] is correct:
Barthes played a monumental role in the development of "semiology" (the study of signs and sign systems), notably applying semiotic analysis to popular culture and advertisements in his influential book Mythologies (1957) and laying out formal principles in Elements of Semiology (1964).

Statement [E] is correct:
In his famous 1967 essay "The Death of the Author", Barthes directly questioned and challenged the traditional concept of literary criticism as an exercise in discovering or uncovering a single, definitive "hidden truth" or ultimate meaning intended by the author. Instead, he argued that the meaning of a text lies in the destination (the reader) rather than its origin (the author).