The birth of the reader must be at the cost of the death of the Author.
ROLAND BARTHESThere 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.
More Roland Barthes Quotes
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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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What love lays bare in me is energy.
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Painting can feign reality without having seen it.
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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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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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Language is never innocent.
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I am interested in language because it wounds or seduces me.
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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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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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He who reads a story only once is condemned to read the same story his whole life.
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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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Man does not exist prior to language, either as a species or as an individual.
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I make the other’s absence responsible for my worldliness.
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It must always be considered as though spoken by a character in a novel
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I passed beyond the unreality of the thing represented, I entered crazily into the spectacle, into the image, taking into my arms what is dead, what is going to die.
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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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Is not the most erotic part of the body wherever the clothing affords a glimpse?
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To make someone wait: the constant prerogative of all power.
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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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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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Literature is the question minus the answer.
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The photographer, like an acrobat, must defy the laws of probability or even of possibility; at the limit, he must defy those of the interesting: the photograph becomes surprising when we do not know why it has been taken.
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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 picture is never anything but its own plural description.
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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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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