Roland Barthes Quotes - Page 5

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• Le toucher est le plus de mystificateur de tous les sens, a' la diffe rence de la vue, qui est le plus magique. Touch is the most demystifying of all senses, different from sight which is the most magical.

  Roland Barthes

  Sight, Different, Plus

  1957 Mythologies,'La nouvelle Citroen'.

  6 Copy quote

• New York... is a city of geometric heights, a petrified desert of grids and lattices, an inferno of greenish abstraction under a flat sky, a real Metropolis from which man is absent by his very accumulation.

  Roland Barthes

  New York, Real, Men

  Roland Barthes, Susan Sontag (1983). “Barthes: Selected Writings”

  67 Copy quote

• One must turn the tongue seven times in the mouth before speaking.

  Roland Barthes

  Mouths, Tongue, Seven

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• Other countries drink to get drunk, and this is accepted by everyone; in France, drunkenness is a consequence, never an intention. A drink is felt as the spinning out of a pleasure, not as the necessary cause of an effect which is sought: wine is not only a philtre, it is also the leisurely act of drinking.

  Roland Barthes

  Country, Drinking, Wine

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• The discourse on the Text should itself be nothing other than text, research, textual activity, since the Text is that social space which leaves no language safe, outside, nor any subject of the enunciation in position as judge, master, analyst, confessor, decoder. The theory of the Text can coincide only with a practice of writing.

  Roland Barthes

  Writing, Practice, Space

  "From Work to Text". Book by Roland Barthes. Conclusion, 1971.

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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

  Roland Barthes

  Talking, Law, World

  Roland Barthes, Susan Sontag (1983). “Barthes: Selected Writings”

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• As Spectator I wanted to explore photography not as a question (a theme) but as a wound.

  Roland Barthes

  Photography, Theme, Wanted

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• The gesture of the amorous embrace seems to fulfill, for a time, the subject's dream of total union with the loved being: The longing for consummation with the other.

  Roland Barthes

  Dream, Unions, Gestures

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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.

  Roland Barthes

  Sacrifice, Evil, Forgiving

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• L'amoureux qui n'oublie pas quelquefois meurt par exce' s, fatigue et tension de me moire (tel Werther). The lover who does not forget sometimes dies from excess, fatigue, and the strain of memory (like Werther).

  Roland Barthes

  Memories, Doe, Excess

  1977 Fragments d'un discours amoureux.

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• The incapacity to name is a good symptom of disturbance.

  Roland Barthes

  Names, Symptoms, Incapacity

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• The Photograph is violent: not because it shows violent tings, but because on each occasion (i)it fills the sight by force(i), and because in it nothing can be refused or transformed (that we can sometimes call it mild does not contradict its violence: many say that sugar is mild, but to me sugar is violent, and I call it so).

  Roland Barthes

  Sight, Doe, Sugar

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• Is not the most erotic portion of a body where the garment gapes? In perversion (which is the realm of textual pleasure) there are no "erogenous zones" (a foolish expression, besides); it is intermittence, as psychoanalysis has so rightly stated, which is erotic: the intermittence of skin flashing between two articles of clothing (trousers and sweater), between two edges (the open-necked shirt, the glove and the sleeve); it is this flash itself which seduces, or rather: the staging of an appearance-as-disappearance.

  Roland Barthes

  Sweaters, Expression, Two

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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.

  Roland Barthes

  Strong, Struggle, Joy

  Roland Barthes, Susan Sontag (1983). “Barthes: Selected Writings”

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• Literature can no longer be either Mimesis or Mathesis but merely Semiosis, the adventure of what is impossible to language, in a word: Text (it is wrong to say that the notion of 'text' repeats the notion of 'literature': literature represents a finite world, the text figures the infinite of language).

  Roland Barthes

  Adventure, Literature, World

  Roland Barthes (1994). “Roland Barthes”

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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.

  Roland Barthes

  Games, Trying, Busy

  Roland Barthes (1990). “A lover's discourse: fragments”, Penguin Books

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• Literature is that which he can not read without pain, without choking on truth.

  Roland Barthes

  Pain, Literature, Choke

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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.

  Roland Barthes

  Understanding, Literature, Trouble

  Roland Barthes, Richard Howard (1989). “Bruissement de la Langue”, p.372, Univ of California Press

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• Frontiers are physical as well as symbolic constructions

  Roland Barthes

  Construction, Wells, Symbolic

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• Thus every writer's motto reads: mad I cannot be, sane I do not deign to be, neurotic I am.

  Roland Barthes

  Writing, Mad, Motto

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• Through the mythology of Einstein, the world blissfully regained the image of knowledge reduced to a formula.

  Roland Barthes

  Knowledge, World, Mythology

  Roland Barthes (1973). “Mythologies”

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• The Photograph belongs to that class of laminated objects whose two leaves cannot be separated without destroying them both: the windowpane and the landscape, and why not: Good and Evil, desire and its object: dualities we can conceive but not perceive... Whatever it grants to vision and whatever its manner, a photograph is always invisible: it is not it that we see.

  Roland Barthes

  Photography, Class, Two

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• I have tried to be as eclectic as I possibly can with my professional life, and so far it's been pretty fun.

  Roland Barthes

  Fun, Eclectic Style, Eclectic

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• For me the noise of Time is not sad: I love bells, clocks, watches — and I recall that at first photographic implements were related to techniques of cabinetmaking and the machinery of precision: 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.

  Roland Barthes

  Technique, Cameras, Sound

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• The art of living has no history: it does not evolve: the pleasure which vanishes vanishes for good, there is no substitute for it. Other pleasures come, which replace nothing. No progress in pleasures, nothing but mutations.

  Roland Barthes

  Art, Progress, Doe

  Roland Barthes (1994). “Roland Barthes”

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