Today there is no symbolic compensation for old age, no recognition of a specific value: wisdom, perceptiveness, experience, vision.
ROLAND BARTHESI am interested in language because it wounds or seduces me.
More Roland Barthes Quotes
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Those who fail to reread are obliged to read the same story everywhere.
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Each of us has his own rhythm of suffering.
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Language is a skin: I rub my language against the other. It is as if I had words instead of fingers, or fingers at the tip of my words. My language trembles with desire.
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The text is a tissue of quotations drawn from the innumerable centres of culture.
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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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Don’t say mourning. It’s too psychoanalytic. I’m not mourning. I’m suffering.
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To try to write love is to confront the muck of language: that region of hysteria where language is both too much and too little, excessive and impoverished.
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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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A picture is never anything but its own plural description.
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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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I have tried to be as eclectic as I possibly can with my professional life, and so far it’s been pretty fun.
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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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Every photograph is a certificate of presence.
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The text you write must prove to me that it desires me. This proof exists: it is writing. Writing is: the science of the various blisses of language, its Kama Sutra (this science has but one treatise: writing itself).
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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