Myth is neither a lie nor a confession: it is an inflexion.
ROLAND BARTHESI love you is unsubtle. It removes explanations, facilities, degrees, scruples.
More Roland Barthes Quotes
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A light without shadow generates an emotion without reserve.
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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 whom could I put this question (with any hope of an answer)? Does being able to live without someone you loved mean you loved her less than you thought?
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The birth of the reader must be at the cost of the death of the Author.
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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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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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All official institutions of language are repeating machines: school, sports, advertising, popular songs, news, all continually repeat the same structure, the same meaning, often the same words: the stereotype is a political fact, the major figure of ideology.
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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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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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Ultimately, Photography is subversive, not when it frightens, repels, or even stigmatizes, but when it is pensive, when it thinks.
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It is no longer the sexual which is indecent, it is the sentimental.
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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.
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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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How does meaning get into the image? Where does it end? And if it ends, what is there beyond?
ROLAND BARTHES