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 BARTHESThe 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!
More Roland Barthes Quotes
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As Spectator I wanted to explore photography not as a question (a theme) but as a wound.
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Myth is neither a lie nor a confession: it is an inflexion.
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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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The text is a tissue of quotations drawn from the innumerable centres of culture.
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To eat, to speak, to sing (need we add: to kiss?) are operations which have the same site of the body for origin.
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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 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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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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We know that the war against intelligence is always waged in the name of common sense.
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Painting can feign reality without having seen it.
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Language is never innocent.
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The birth of the reader must be at the cost of the death of the Author.
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Touch is the most demystifying of all senses, different from sight which is the most magical.
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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.
ROLAND BARTHES