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.)
ROLAND BARTHESArchitecture is always dream and function, expression of a utopia and instrument of a convenience.
More Roland Barthes Quotes
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In front of the photograph of my mother as a child, I tell myself: she is going to die: I shudder, like winnicott’s psychotic patient, over a catastrophe which has already occurred. Whether or not the subject is already dead, every photograph is this catastrophe.
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The best principals are not heroes; they are hero makers.
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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.
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Man does not exist prior to language, either as a species or as an individual.
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The book creates meaning, the meaning creates life.
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I am interested in language because it wounds or seduces me.
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It is no longer the sexual which is indecent, it is the sentimental.
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I have tried to be as eclectic as I possibly can with my professional life, and so far it’s been pretty fun.
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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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It must always be considered as though spoken by a character in a novel
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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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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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Myth is neither a lie nor a confession: it is an inflexion.
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A paradox: the same century invented history and photography. But history is a memory fabricated according to positive formulas, a pure intellectual discourse which abolishes mythic time; and the photograph is a certain but fugitive testimony.
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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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How does meaning get into the image? Where does it end? And if it ends, what is there beyond?
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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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Language is never innocent.
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Those who fail to reread are obliged to read the same story everywhere.
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When we look at a photograph of ourselves or of others, we are really looking at the return of the dead.
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I cannot classify the other, for the other is, precisely, Unique, the singular Image which has miraculously come to correspond to the speciality of my desire. The other is the figure of my truth, and cannot be imprisoned in any stereotype (which is the truth of others).
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What love lays bare in me is energy.
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Through the mythology of Einstein, the world blissfully regained the image of knowledge reduced to a formula.
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Why is it better to last than to burn?
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Cameras, in short, were clocks for seeing, and perhaps in me someone very old still hears in the photographic mechanism the living sound of the wood.
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Language is legislation, speech is its code. We do not see the power which is in speech because we forget that all speech is a classification, and that all classifications are oppressive.
ROLAND BARTHES