The birth of the reader must be at the cost of the death of the Author.
ROLAND BARTHESI am interested in language because it wounds or seduces 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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It is no longer the sexual which is indecent, it is the sentimental.
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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 book creates meaning, the meaning creates life.
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Those who fail to reread are obliged to read the same story everywhere.
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Language is never innocent.
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There is only one way left to escape the alienation of present day society: to retreat ahead of it.
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Each of us has his own rhythm of suffering.
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He who reads a story only once is condemned to read the same story his whole life.
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One must turn the tongue seven times in the mouth before speaking.
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Every new Fashion is a refusal to inherit, a subversion against the oppression of the preceding Fashion; Fashion experiences itself as a Right, the natural right of the present over the past.
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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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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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Ultimately, Photography is subversive, not when it frightens, repels, or even stigmatizes, but when it is pensive, when it thinks.
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I call the discourse of power any discourse that engenders blame, hence guilt, in its recipient.
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Man does not exist prior to language, either as a species or as an individual.
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The author enters into his own death, writing begins.
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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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In front of the photograph of my mother as a child, I tell myself: she is going to die: I shudder, like winnicott’s psychotic patient, over a catastrophe which has already occurred. Whether or not the subject is already dead, every photograph is this catastrophe.
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Pleasure is continually disappointed, reduced, deflated, in favor of strong, noble values: Truth, Death, Progress, Struggle, Joy, etc. Its victorious rival is Desire: we are always being told about Desire, never about Pleasure.
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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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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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I make the other’s absence responsible for my worldliness.
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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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Painting can feign reality without having seen it.
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Frontiers are physical as well as symbolic constructions.
ROLAND BARTHES