To eat, to speak, to sing (need we add: to kiss?) are operations which have the same site of the body for origin.
ROLAND BARTHESTo 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.
More Roland Barthes Quotes
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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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Those who fail to reread are obliged to read the same story everywhere.
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Through the mythology of Einstein, the world blissfully regained the image of knowledge reduced to a formula.
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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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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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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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Cameras, in short, were clocks for seeing, and perhaps in me someone very old still hears in the photographic mechanism the living sound of the wood.
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To make someone wait: the constant prerogative of all power.
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Painting can feign reality without having seen it.
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The author enters into his own death, writing begins.
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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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When we look at a photograph of ourselves or of others, we are really looking at the return of the dead.
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Frontiers are physical as well as symbolic constructions.
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The text is a tissue of quotations drawn from the innumerable centres of culture.
ROLAND BARTHES -
I am interested in language because it wounds or seduces me.
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Great portrait photographers are great mythologists.
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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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Who speaks is not who writes, and who writes is not who is.
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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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It must always be considered as though spoken by a character in a novel
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I try to busy myself elsewhere, to arrive late; but I always lose at this game. Whatever I do, I find myself there, with nothing to do, punctual, even ahead of time.
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To whom could I put this question (with any hope of an answer)? Does being able to live without someone you loved mean you loved her less than you thought?
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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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The lover who does not forget sometimes dies from excess, fatigue, and the strain of memory (like Werther).
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We don’t forget, but something vacant settles in us.
ROLAND BARTHES -
Why is it better to last than to burn?
ROLAND BARTHES