78 Quotes & Sayings By Roland Barthes

You see the first thing we love is a scene. For love at first sight requires the very sign of its suddenness; and of all things, it is the scene which seems to be seen best for the first time: a curtain parts and what had not yet ever been seen is devoured by the eyes: the scene consecrates the object I am going to love. The context is the constellation of elements, harmoniously arranged that encompass the experience of the amorous subject.. Love at first sight is always spoken in the past tense. The scene is perfectly adapted to this temporal phenomenon: distinct, abrupt, framed, it is already a memory (the nature of a photograph is not to represent but to memorialize).. this scene has all the magnificence of an accident: I cannot get over having had this good fortune: to meet what matches my desire. interval, something has been successful: I have been fulfilled (all my desires abolished by the plenitude of their satisfaction). . Roland Barthes

(Love’s atopia, characteristic which causes it to escape all dissertations, would be that *ultimately* it is possible to talk about love only *according to a strict allocutive determination*; whether philosophical, gnomic, lyric, or novelistic, there is always, in the discourse upon love, a person whom one addresses, though this person may have shifted to the condition of a phantom or a creature still to come. No one wants to speak of love unless it is *for* someone.). Roland Barthes

…This singular reversal may perhaps proceed from the fact that for us the “subject” (since Christianity) is the one who suffers: where there is a wound, there is a subject: die Wunde! die Wunde! says Parsifal, thereby becoming “himself”; and the deeper the wound, at the body’s center (at the “heart”), the more the subject becomes a subject: for the subject is intimacy (“The wound…is of a frightful intimacy”). Such is love’s wound: a radical chasm (at the “roots” of being), which cannot be closed, and out of which the subject drains, constituting himself as a subject in this very draining.”―from_ A Lover’s Discourse: Fragments_. Translated by Richard Howard, p. 189. Roland Barthes

Gossip reduces the other to he/she, and this reduction is intolerable to me. For me the other is neither he nor she; the other has only a name of his own, or her own name. The third-person pronoun is a wicked pronoun: it is the pronoun of the non-person, it absents, it annuls. When I realize that common discourse takes possession of my other and restores that other to me in the bloodless form of a universal substitute, applied to all the things which are not here, it is as if I saw my other dead, reduced, shelved in an urn upon the wall of the great mausoleum of language. For me, the other cannot be a referent: you are never anything but you, I do not want the Other to speak of you. Roland Barthes

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). Roland Barthes

To 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. Roland Barthes

[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. Roland Barthes

You see the first thing we love is a scene. For love at first sight requires the very sign of its suddenness; and of all things, it is the scene which seems to be seen best for the first time: a curtain parts and what had not yet ever been seen is devoured by the eyes: the scene consecrates the object I am going to love. The context is the constellation of elements, harmoniously arranged that encompass the experience of the amorous subject.. Love at first sight is always spoken in the past tense. The scene is perfectly adapted to this temporal phenomenon: distinct, abrupt, framed, it is already a memory (the nature of a photograph is not to represent but to memorialize).. this scene has all the magnificence of an accident: I cannot get over having had this good fortune: to meet what matches my d . Roland Barthes

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

...what I enjoy in a narrative is not directly its content or even its structure, but rather the abrasions I impose upon the fine surface: I read on, I skip, I look up, I dip in again. Which has nothing to do with the deep laceration the text of bliss inflicts upon language itself, and not upon the simple temporality of its reading. Roland Barthes

We don’t forget, but something vacant settles in us. Roland Barthes

So long as I perceive the world as hostile, I remain linked to it: *I am not crazy*. But sometimes, once my bad temper is exhausted, I have no language left at all: the world is not "unreal" (I could then utter it: there are arts of the unreal, among them the greatest arts of all), but disreal: reality has fled from it, is nowhere, so that I no longer have any meaning (any paradigm) available to me; *I do not manage* to define my relations with Coluche, the restaurant, the painter, the Piazza del Popolo. What relation can I have with a system of power if I am neither its slave nor its accomplice nor its witness." –from_A Lover's Discourse: Fragments_ . Roland Barthes

I experience reality as a system of power. Coluche, the restaurant, the painter, Rome on a holiday, everything imposes on me its system of being; everyone is *badly behaved*. Isn't their impoliteness merely a *plenitude*? The world is full, plenitude is its system, and as a final offense this system is presented as a "nature" with which I must sustain good relations: in order to be "normal" (exempt from love).."–from_ A Lover's Discourse: Fragments_ . Roland Barthes

The incapacity to name is a good symptom of disturbance. Roland Barthes

The text is a tissue of quotations drawn from the innumerable centres of culture. Roland Barthes

Literature is that neuter, that composite, that oblique into which every subject escapes, the trap where all identity is lost, beginning with the very identity of the body that writes. Roland Barthes

Literature is like phosphorus: it shines with its maximum brilliance and the moment when it attempts to die. Roland Barthes

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. Roland Barthes

Don't say mourning. It's too psychoanalytic. I'm not mourning. I'm suffering. Roland Barthes

Paradoxically (since people say: Work, amuse yourself, see friends) it’s when we’re busy, distracted, sought out, exteriorized, that we suffer most. Inwardness, calm, solitude makes us less miserable. Roland Barthes

I transform "Work" in its analytic meaning (the Work of Mourning, the Dream-Work) into the real "Work" - of writing. Roland Barthes

In this manner , we are told, the system of the imaginary is spread circularly, by detours and returns the length of an empty subject. Roland Barthes

What right does my present have to speak of my past? Has my present some advantage over my past? What "grace" might have enlightened me? except that of passing time, or of a good cause, encountered on my way? Roland Barthes

Am I in love? — yes, since I am waiting. The other one never waits. Sometimes I want to play the part of the one who doesn't wait; 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. The lover's fatal identity is precisely this: I am the one who waits. Roland Barthes

...The editors of (i)Life(i) rejected Ker̩sz'a photographs when he arrived in the United States in 1937 because, they said, his images 'spoke too much'; they made us reflect, suggested a meaning Рa different meaning from the literal one. Ultimately, Photography is subversive not when it frightens, repels, or even stigmatizes, but when it is (i)pensive(i), when it thinks. Roland Barthes

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 Roland Barthes

Absence is the figure of privation; simultaneously, I desire and I need. Desire is squashed against need: that is the obsessive phenomenon of all amorous sentiment. Roland Barthes

As a general rule, desire is always marketable: we don’t do anything but sell, buy, exchange desires.. .. And I think of Bloy’s words: “there is nothing perfectly beautiful except what is invisible and above all unbuyable. Roland Barthes

Above all, do not attempt to be exhaustive. Roland Barthes

The Winter Photograph was my Ariadne, not because it would help me discover a secret thing (monster or treasure), but because it would tell me what constituted that thread which drew me toward Photography. I had understood that henceforth I must interrogate the evidence of Photography, not from the viewpoint of pleasure, but in relation to what we romantically call love and death. Roland Barthes

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. Roland Barthes

I can do everything with my language but not with my body. What I hide by my language, my body utters. I can deliberately mold my message, not my voice. By my voice, whatever it says, the other will recognize "that something is wrong with me". I am a liar (by preterition), not an actor. My body is a stubborn child, my language is a very civilized adult... Roland Barthes

Language is neither reactionary nor progressive; it is quite simply fascist; for fascism does not prevent speech, it compels speech. Roland Barthes

Don’t bleach language, savour it instead. Stroke it gently or even groom it, but don’t “purify” it. Roland Barthes

Where there is meaning, there is paradigm, and where there is paradigm (opposition), there is meaning .. . elliptically put: meaning rests on conflict (the choice of one term against another), and all conflict is generative of meaning: to choose one and refuse the other is always a sacrifice made to meaning, to produce meaning, to offer it to be consumed. Roland Barthes

Today, information: pulverized, nonhierarchized, dealing with everything: nothing is protected from information and at the same time nothing is open to reflection -> Encyclopedias are impossible -> I would say: the more information grows, the more knowledge retreats and therefore the more decision is partial (terroristic, dogmatic) -> “I don’t know, ” “I refuse to judge”: as scandalous as an agrammatical sentence: doesn’t belong to the language of the discourse. Variations on the “I don’t know.” The obligation to “be interested” in everything that is imposed on you by the world: prohibition of noninterest, even if provisional. . Roland Barthes

But I never looked like that! ’ - How do you know? What is the ‘you’ you might or might not look like? Where do you find it - by which morphological or expressive calibration? Where is your authentic body? You are the only one who can never see yourself except as an image; you never see your eyes unless they are dulled by the gaze they rest upon the mirror or the lens (I am interested in seeing my eyes only when they look at you): even and especially for your own body, you are condemned to the repertoire of its images. Roland Barthes

I have not a desire but a need for solitude. Roland Barthes

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

I think that cars today are almost the exact equivalent of the great Gothic cathedrals; I mean the supreme creation of an era, conceived with passion by unknown artists, and consumed in image if not in usage by a whole population which appropriates them as a purely magical object. Roland Barthes

Engulfment is a moment of hypnosis. Roland Barthes

Today there is no symbolic compensation for old age, no recognition of a specific value: wisdom, perceptiveness, experience, vision. Roland Barthes

Are not couturiers the poets who, from year to year, from strophe to strophe, write the anthem of the feminine body? Roland Barthes

Ultimately – or at the limit – in order to see a photograph well, it is best to look away or close your eyes. 'The necessary condition for an image is sight, ' Janouch told Kafka; and Kafka smiled and replied: 'We photograph things in order to drive them out of our minds. My stories are a way of shutting my eyes. Roland Barthes

When we define the Photograph as a motionless image, this does not mean only that the figures it represents do not move; it means that they do not (i)emerge(i), do not (i)leave(i): they are anesthetized and fastened down, like butterflies. Roland Barthes

The photograph is literally an emanation of the referent. From a real body, which was there, proceed radiations which ultimately touch me, who am here; the duration of the transmission is insignificant; the photograph of the missing being, as Sontag says, will touch me like the delayed rays of a star. Roland Barthes

The Photograph is an extended, loaded evidence – as if it caricatured not the figure of what it represents (quite the converse) but its very existence .. The Photograph then becomes a bizarre (i)medium(i), a new form of hallucination: false on the level of perception, true on the level of time: a temporal hallucination, so to speak, a modest (o)shared(i) hallucination (on the one hand 'it is not there, ' on the other 'but it has indeed been'): a mad image, chafed by reality. Roland Barthes

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. Roland Barthes

For Death must be somewhere in a society; if it is no longer (or less intensely) in religion, it must be elsewhere; perhaps in this image which produces Death while trying to preserve life. Contemporary with the withdrawal of rites, Photography may correspond to the intrusion, in our modern society, of an asymbolic Death, outside of religion, outside of ritual, a kind of abrupt dive into literal Death. Roland Barthes

For the photograph's immobility is somehow the result of a perverse confusion between two concepts: the Real and the Live: by attesting that the object has been real, the photograph surreptitiously induces belief that it is alive, because of that delusion which makes us attribute to Reality an absolute superior, somehow eternal value; but by shifting this reality to the past ('this-has-been'), the photograph suggests that it is already dead. Roland Barthes

We know the original relation of the theater and the cult of the Dead: the first actors separated themselves from the community by playing the role of the Dead: to make oneself up was to designate oneself as a body simultaneously living and dead: the whitened bust of the totemic theater, the man with the painted face in the Chinese theater, the rice-paste makeup of the Indian Katha-Kali, the Japanese No mask .. Now it is this same relation which I find in the Photograph; however 'lifelike' we strive to make it (and this frenzy to be lifelike can only be our mythic denial of an apprehension of death), Photography is a kind of primitive theater, a kind of Tableau Vivant, a figuration of the motionless and made-up face beneath which we see the dead. Roland Barthes

It is as if the Photograph always carries its referent with itself, both affected by the same amorous or funereal immobility, at the very heart of the moving world: they are glued together, limb by limb, like the condemned man and the corpse in certain tortures; or even like those pairs of fish (sharks, I think, according to Michelet) which navigate in convoy, as though united by an eternal coitus. Roland Barthes

Each photograph is read as the private appearance of its referent: the age of Photography corresponds precisely to the explosion of the private into the public, or rather into the creation of a new social value, which is the publicity of the private: the private is consumes as such, publicly. Roland Barthes

What pricks me is the discovery of this equivalence. In front of the photograph of my mother as a child, I tell myself: She is going to die: I shudder… over a catastrophe which has already occurred. Whether or not the subject is already dead, every photograph is this catastrophe. Roland Barthes

Usually the amateur is defined as an immature state of the artist: someone who cannot – or will not – achieve the mastery of a profession. But in the field of photographic practice, it is the amateur, on the contrary, who is the assumption of the professional: for it is he who stands closer to the (i)noeme(i) of Photography. Roland Barthes

I imagine that the essential gesture of the Operator is to surprise something or someone (through the little hole in the camera), and that this gesture is therefore perfect when it is performed unbeknownst to the subject being photographed. From this gesture derive all photographs whose principle (or better whose alibi) is “shock”; for the photographic “shock” consists less in traumatizing than in revealing what was so well hidden that the actor himself was unaware or unconscious of it. Roland Barthes

One of the marks of our world is perhaps this reversal: we live according to a generalized image-repertoire. Consider the United Sates, where everything is transformed into images: only images exist and are produced and are consumes. . Such a reversal necessarily raises the ethical question: not that the image is immoral, irreligious, or diabolic (as some have declared it, upon the advent of the Photograph), but because, when generalized, it completely de-realizes the human world of conflicts and desires, under cover of illustrating it. Roland Barthes

Another unary photograph is the pornographic photograph (I am not saying the erotic photograph: the erotic is a pornographic that has been disturbed, fissured). Nothing more homogeneous than a pornographic photograph. It is always a naive photograph, without intention and without calculation. Like a shop window which shows only one illuminated piece of jewelry, it is completely constituted by the presentation of only one thing: sex: no secondary, untimely object ever manages to half conceal, delay, or distract.. A proof a contrario: Mapplethorpe shifts his close-ups of genitalia from the pornographic to the erotic by photographing the fabric of underwear at very close range: the photograph is no longer unary, since I am interested in the texture of the material. The presence (the dynamics) of this blind field is, I believe, what distinguishes the erotic photograph from the pornographic photograph. Pornography ordinarily represents the sexual organs, making them into a motionless object (a fetish), flattered like an idol that does not leave its niche; for me, there is no punctum in the pornographic image; at most it amuses me (and even then, boredom follows quickly). The erotic photograph, on the contrary (and this is its very condition), does not make the sexual organs into a central object; it may very well not show them at all; it takes the spectator outside its frame, and it is there that I animate this photograph and that it animates me. Roland Barthes

The unary Photograph has every reason to be banal, 'unity' of composition being the first rule of vulgar (and notably, of academic) rhetoric: 'The subject, ' says one handbook for amateur photographers, 'must be simple, free of useless accessories; this is called the Search for Unity. Roland Barthes

I feel that the Photograph creates my body or mortifies it, according to its caprice (apology of this mortiferous power: certain Communards paid with their lives for their willingness or even their eagerness to pose on the barricades: defeated, they were recognized by Thiers's police and shot, almost every one). Roland Barthes

It is by studium that I am interested in so many photographs, whether I receive them as political testimony or enjoy them as good historical scenes: for it is culturally (this connotation is present in studium) that I participate in the figures, the faces, the gestures, the settings, the actions. Roland Barthes

Hence the detail which interests me is not, or at least is not strictly intentional, and probably must not be so; it occurs in the field of the photographed thing like a supplement that is at once inevitable and delightful; it does not necessarily attest to the photographer's art; it says only that the photographer was there, or else, still more simply, that he could not (i)not(i) photograph the partial object at the same time as the total object (how could Ker̩sz have 'separated' the dirt road from the violinist walking on it?). The Photographer's 'second sight' does not consist in 'seeing' but in being there. And above all, imitating Orpheus, he must not turn back to look at what he is leading Рwhat hi is giving to me! . Roland Barthes

The (i)studium(i) is ultimately always coded, the (i)punctum is not)... Roland Barthes

If I like a photograph, if it disturbs me, I linger over it. What am I doing, during the whole times I remain with it? I look at it, I scrutinize it, as if I wanted to know more about the thing or the person it represents.. I want to outline the loved face by thought, to make it into the unique field of an intense observation; I want to enlarge this face in order to see it better, to understand it better, to know its truth. Roland Barthes

A photograph is always invisible, it is not it that we see. Roland Barthes

We know that the war against intelligence is always waged in the name of common sense. Roland Barthes

Miseries of a birth. Roland Barthes

To make someone wait: the constant prerogative of all power, "age-old pastime of humanity". Roland Barthes

The author enters into his own death, writing begins. Roland Barthes

Flaubert had infinite correction to perform. Roland Barthes

I call the discourse of power any discourse that engenders blame, hence guilt, in its recipient. Roland Barthes

What I claim is to live to the full the contradiction of my time, which may well make sarcasm the condition of truth. Roland Barthes

There is only one way left to escape the alienation of present day society: to retreat ahead of it. Roland Barthes