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
ROLAND BARTHESI 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.
More Roland Barthes Quotes
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I love you is unsubtle. It removes explanations, facilities, degrees, scruples.
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Each of us has his own rhythm of suffering.
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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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I am interested in language because it wounds or seduces me.
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Is not the most erotic part of the body wherever the clothing affords a glimpse?
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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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It is no longer the sexual which is indecent, it is the sentimental.
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Language is never innocent.
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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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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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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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The text is a tissue of quotations drawn from the innumerable centres of culture.
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Language is neither reactionary nor progressive; it is quite simply fascist; for fascism does not prevent speech, it compels speech.
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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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The Ventoux is a god of Evil, to which sacrifices must be made. It never forgives weakness and extracts an unfair tribute of suffering.
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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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Every exploration is an appropriation.
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The new is not a fashion, it is a value.
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To make someone wait: the constant prerogative of all power.
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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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The lover who does not forget sometimes dies from excess, fatigue, and the strain of memory (like Werther).
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As Spectator I wanted to explore photography not as a question (a theme) but as a wound.
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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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Someone tells me: this kind of love is not viable. But how can you evaluate viability? Why is the viable a Good Thing? Why is it better to last than to burn?
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The author enters into his own death, writing begins.
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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.
ROLAND BARTHES