Myth is neither a lie nor a confession: it is an inflexion.
ROLAND BARTHESThe lover who does not forget sometimes dies from excess, fatigue, and the strain of memory (like Werther).
More Roland Barthes Quotes
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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.
ROLAND BARTHES -
We can never know, for the good reason that writing is the destruction of every voice, every origin. Writing is that neuter, that composite, that obliquity into which our subject flees, the black-and-white where all identity is lost, beginning with the very identity of the body that writes.
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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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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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We don’t forget, but something vacant settles in us.
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Wine is a part of society because it provides a basis not only for a morality but also for an environment; it is an ornament in the slightest ceremonials of French daily life, from the snack to the feast, from the conversation at the local cafT to the speech at a formal dinner.
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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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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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How does meaning get into the image? Where does it end? And if it ends, what is there beyond?
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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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New York is a city of geometric heights, a petrified desert of grids and lattices, an inferno of greenish abstraction under a flat sky, a real Metropolis from which man is absent by his very accumulation.
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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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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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I am interested in language because it wounds or seduces me.
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He who reads a story only once is condemned to read the same story his whole life.
ROLAND BARTHES






