The best principals are not heroes; they are hero makers.
ROLAND BARTHESIf I had to create a god, I would lend him a “slow understanding”: a kind of drip-by-drip understanding of problems. People who understand quickly frighten me.
More Roland Barthes Quotes
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The lover’s fatal identity is precisely this: I am the one who waits.
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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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Every exploration is an appropriation.
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Today there is no symbolic compensation for old age, no recognition of a specific value: wisdom, perceptiveness, experience, vision.
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The photographic image is a message without a code.
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Don’t say mourning. It’s too psychoanalytic. I’m not mourning. I’m suffering.
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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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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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Literature is without proofs. By which it must be understood that it cannot prove, not only what it says, but even that it is worth the trouble of saying it.
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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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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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Those who fail to reread are obliged to read the same story everywhere.
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Literature is the question minus the answer.
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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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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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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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I call the discourse of power any discourse that engenders blame, hence guilt, in its recipient.
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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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If I had to create a god, I would lend him a “slow understanding”: a kind of drip-by-drip understanding of problems. People who understand quickly frighten me.
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A picture is never anything but its own plural description.
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The book creates meaning, the meaning creates life.
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Great portrait photographers are great mythologists.
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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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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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Every photograph is a certificate of presence.
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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.
ROLAND BARTHES