The book creates meaning, the meaning creates life.
ROLAND BARTHESUltimately, Photography is subversive, not when it frightens, repels, or even stigmatizes, but when it is pensive, when it thinks.
More Roland Barthes Quotes
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Whereas the work is understood to be traceable to a source (through a process of derivation or “filiation”), the Text is without a source – the “author” a mere “guest” at the reading of the Text.
ROLAND BARTHES -
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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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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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.
ROLAND BARTHES -
Don’t say mourning. It’s too psychoanalytic. I’m not mourning. I’m suffering.
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A picture is never anything but its own plural description.
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Literature is the question minus the answer.
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The birth of the reader must be at the cost of the death of the Author.
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Ultimately, Photography is subversive, not when it frightens, repels, or even stigmatizes, but when it is pensive, when it thinks.
ROLAND BARTHES -
Isn’t desire always the same, whether the object is present or absent? Isn’t the object always absent? -This isn’t the same languor: there are two words: Pothos, desire for the absent being, and Himéros, the more burning desire for the present being.
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The new is not a fashion, it is a value.
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The lover who does not forget sometimes dies from excess, fatigue, and the strain of memory (like Werther).
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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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All those young photographers who are at work in the world, determined upon the capture of actuality, do not know that they are agents of Death.
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How does meaning get into the image? Where does it end? And if it ends, what is there beyond?
ROLAND BARTHES