Television doomed us to the Family, whose household instrument it has become-what the hearth used to be, flanked by the communal kettle.
ROLAND BARTHESA 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.
More Roland Barthes Quotes
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Is not the most erotic part of the body wherever the clothing affords a glimpse?
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It must always be considered as though spoken by a character in a novel
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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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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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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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Literature is the question minus the answer.
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Painting can feign reality without having seen it.
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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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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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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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Thus every writer’s motto reads: mad I cannot be, sane I do not deign to be, neurotic I am.
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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 try to busy myself elsewhere, to arrive late; but I always lose at this game. Whatever I do, I find myself there, with nothing to do, punctual, even ahead of time.
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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 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.
ROLAND BARTHES






