To eat, to speak, to sing (need we add: to kiss?) are operations which have the same site of the body for origin.
ROLAND BARTHESLanguage 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.
More Roland Barthes Quotes
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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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It is no longer the sexual which is indecent, it is the sentimental.
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Touch is the most demystifying of all senses, different from sight which is the most magical.
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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.
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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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To eat steak rare represents both a nature and a morality.
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The realists do not take the photograph for a ‘copy’ of reality, but for an emanation of past reality, a magic, not an art.
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If I acknowledge my dependency, I do so because for me it is a means of signifying my demand: in the realm of love, futility is not a “weakness” or an “absurdity”: it is a strong sign: the more futile, the more it signifies and the more it asserts itself as strength.)
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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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Every object in the world can pass from a closed, silent existence to an oral state, open to appropriation by society, for there is no law, whether natural or not, which forbids talking about things
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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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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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Is not the most erotic part of the body wherever the clothing affords a glimpse?
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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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Painting can feign reality without having seen it.
ROLAND BARTHES






