Every exploration is an appropriation.
ROLAND BARTHESThe author enters into his own death, writing begins.
More Roland Barthes Quotes
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I try to busy myself elsewhere, to arrive late; but I always lose at this game. Whatever I do, I find myself there, with nothing to do, punctual, even ahead of time.
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Each of us has his own rhythm of suffering.
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Myth is neither a lie nor a confession: it is an inflexion.
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Painting can feign reality without having seen it.
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A picture is never anything but its own plural description.
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Television doomed us to the Family, whose household instrument it has become-what the hearth used to be, flanked by the communal kettle.
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If I acknowledge my dependency, I do so because for me it is a means of signifying my demand: in the realm of love, futility is not a “weakness” or an “absurdity”: it is a strong sign: the more futile, the more it signifies and the more it asserts itself as strength.)
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The author enters into his own death, writing begins.
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Pleasure is continually disappointed, reduced, deflated, in favor of strong, noble values: Truth, Death, Progress, Struggle, Joy, etc. Its victorious rival is Desire: we are always being told about Desire, never about Pleasure.
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The Ventoux is a god of Evil, to which sacrifices must be made. It never forgives weakness and extracts an unfair tribute of suffering.
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I encounter millions of bodies in my life; of these millions, I may desire some hundreds; but of these hundreds, I love only one.
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The haiku reproduces the designating gesture of the child pointing at whatever it is (the haiku shows no partiality for the subject), merely saying: that!
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Someone tells me: this kind of love is not viable. But how can you evaluate viability? Why is the viable a Good Thing? Why is it better to last than to burn?
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To eat, to speak, to sing (need we add: to kiss?) are operations which have the same site of the body for origin.
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The book creates meaning, the meaning creates life.
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The realists do not take the photograph for a ‘copy’ of reality, but for an emanation of past reality, a magic, not an art.
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I am interested in language because it wounds or seduces me.
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The politician being interviewed clearly takes a great deal of trouble to imagine an ending to his sentence: and if he stopped short? His entire policy would be jeopardized!
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What the Photograph reproduces to infinity has occurred only once: the Photograph mechanically repeats what could never be repeated existentially.
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Is not the most erotic part of the body wherever the clothing affords a glimpse?
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Language is never innocent.
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It is no longer the sexual which is indecent, it is the sentimental.
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The text you write must prove to me that it desires me. This proof exists: it is writing. Writing is: the science of the various blisses of language, its Kama Sutra (this science has but one treatise: writing itself).
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This endured absence is nothing more or less than forgetfulness. I am, intermittently, unfaithful. This is the condition of my survival.
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Physically, the Ventoux is dreadful. Bald, it’s the spirit of Dry: Its climate (it is much more an essence of climate than a geographic place) makes it a damned terrain, a testing place for heroes, something like a higher hell.
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Frontiers are physical as well as symbolic constructions.
ROLAND BARTHES