The art of living has no history: it does not evolve: the pleasure which vanishes vanishes for good, there is no substitute for it. Other pleasures come, which replace nothing. No progress in pleasures, nothing but mutations.
ROLAND BARTHESThe best principals are not heroes; they are hero makers.
More Roland Barthes Quotes
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In an initial period, Photography, in order to surprise, photographs the notable; but soon, by a familiar reversal, it decrees notable whatever it photographs. The ‘anything whatever’ then becomes the sophisticated acme of value.
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A photograph is always invisible, it is not it that we see.
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Thus every writer’s motto reads: mad I cannot be, sane I do not deign to be, neurotic I am.
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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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Who speaks is not who writes, and who writes is not who is.
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How does meaning get into the image? Where does it end? And if it ends, what is there beyond?
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I passed beyond the unreality of the thing represented, I entered crazily into the spectacle, into the image, taking into my arms what is dead, what is going to die.
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Language is never innocent.
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Don’t say mourning. It’s too psychoanalytic. I’m not mourning. I’m suffering.
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There are people who think that wrestling is an ignoble sport. Wrestling is not sport, it is a spectacle, and it is no more ignoble to attend a wrestled performance of suffering than a performance of the sorrows of Arnolphe or Andromaque.
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It must always be considered as though spoken by a character in a novel
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The new is not a fashion, it is a value.
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What love lays bare in me is energy.
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To know that one does not write for the other, to know that these things I am going to write will never cause me to be loved by the one I love (the other), to know that writing compensates for nothing, sublimates nothing, that it is precisely there where you are not–this is the beginning of writing.
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I make the other’s absence responsible for my worldliness.
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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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The birth of the reader must be at the cost of the death of the Author.
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There is only one way left to escape the alienation of present day society: to retreat ahead of it.
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Isn’t desire always the same, whether the object is present or absent? Isn’t the object always absent? -This isn’t the same languor: there are two words: Pothos, desire for the absent being, and Himéros, the more burning desire for the present being.
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Myth is neither a lie nor a confession: it is an inflexion.
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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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Where you are tender, you speak your plural.
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Is not the most erotic part of the body wherever the clothing affords a glimpse?
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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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Isn’t the most sensitive point of this mourning the fact that I must lose a language – the amorous language? No more ‘I love you’s.
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The text is a tissue of quotations drawn from the innumerable centres of culture.
ROLAND BARTHES