I encounter millions of bodies in my life; of these millions, I may desire some hundreds; but of these hundreds, I love only one.
ROLAND BARTHESThe haiku reproduces the designating gesture of the child pointing at whatever it is (the haiku shows no partiality for the subject), merely saying: that!
More Roland Barthes Quotes
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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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To make someone wait: the constant prerogative of all power.
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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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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.
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Language is a skin: I rub my language against the other. It is as if I had words instead of fingers, or fingers at the tip of my words. My language trembles with desire.
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The birth of the reader must be at the cost of the death of the Author.
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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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This endured absence is nothing more or less than forgetfulness. I am, intermittently, unfaithful. This is the condition of my survival.
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Thus every writer’s motto reads: mad I cannot be, sane I do not deign to be, neurotic I am.
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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 photograph is always invisible, it is not it that we see.
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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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I make the other’s absence responsible for my worldliness.
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Language is never innocent.
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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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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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Through the mythology of Einstein, the world blissfully regained the image of knowledge reduced to a formula.
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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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Don’t say mourning. It’s too psychoanalytic. I’m not mourning. I’m suffering.
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Why is it better to last than to burn?
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Painting can feign reality without having seen it.
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Touch is the most demystifying of all senses, different from sight which is the most magical.
ROLAND BARTHES -
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 haiku reproduces the designating gesture of the child pointing at whatever it is (the haiku shows no partiality for the subject), merely saying: that!
ROLAND BARTHES -
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?
ROLAND BARTHES