[Photography] allows me to accede to an infra-knowledge; it supplies me with a collection of partial objects and can flatter a certain fetishism of mine: for this 'me' which like knowledge, which nourishes a kind of amorous preference for it. In the same way, I like certain biographical features which, in a writer's life, delight me as much as certain photographs; I have called these features 'biographemes'; Photography has the same relation to History that the biographeme has to biography.
Flaubert had infinite correction to perform.
Ensnared in his starvation, Chaplin-man is always just below political awareness. A strike is a catastrophe for him because it threatens a man truly blinded by his hunger; this man achieves an awareness of the working-class condition only when the poor man and the proletarian coincide under the gaze (and the blows) of the police.
Take the gesture, the action of writing. I have an almost obsessive relation to writing instruments. I often switch from one pen to another just for the pleasure of it. I try out new ones. I have far too many pens - I don't know what to do with all of them! And yet, as soon as I see a new one, I start craving it. I cannot keep myself from buying them.
Are not couturiers the poets who, from year to year, from strophe to strophe, write the anthem of the feminine body?
For the theatre one needs long arms; it is better to have them too long than too short. An artiste with short arms can never, never make a fine gesture.
Fashion postulates an achrony, a time which does not exist; here the past is shameful and the present is constantly "eaten up" by the Fashion being heralded.
The petit-bourgeois is a man unable to imagine the Other. If he comes face to face with him, he blinds himself, ignores and denies him, or else transforms him into himself.
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