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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.

Roland Barthes

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Roland Barthes
Age: 64 †
Born: 1915
Born: November 12
Died: 1980
Died: March 25
Diarist
Essayist
Linguist
Literary Critic
Literary Scholar
Literary Theorist
Mythographer
Non-Fiction Writer
Philosopher
Screenwriter
Roland Gérard Barthes
Lose
Loses
Point
Fact
Language
Facts
Amorous
Must
Mourning
Love
Sensitive

More quotes by Roland Barthes

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Is not the most erotic part of the body wherever the clothing affords a glimpse?
Roland Barthes
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Death of the Father would deprive literature of many of its pleasures. If there is no longer a Father, why tell stories? Doesn't every narrative lead back to Oedipus? Isn't storytelling always a way of searching for one's origin, speaking one's conflicts with the Law, entering into the dialectic of tenderness and hatred?
Roland Barthes
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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
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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
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I love you is unsubtle. It removes explanations, facilities, degrees, scruples.
Roland Barthes
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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.
Roland Barthes
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Henceforth I would have to cosent to combine two voices: the voice of banality (to say what everyone sees and knows) and the voice of singularity (to replenish such banality with all the élan of an emotion which belonged only to myself).
Roland Barthes
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Literature is like phosphorus: it shines with its maximum brilliance and the moment when it attempts to die.
Roland Barthes
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Historically and politically, the petit-bourgeois is the key to the century. The bourgeois and proletariat classes have become abstractions: the petite-bourgeoisie, in contrast, is everywhere, you can see it everywhere, even in the areas of the bourgeois and the proletariat, what's left of them.
Roland Barthes
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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
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I want a History of Looking. For the Photograph is the advent of myself as other: a cunning dissociation of consciousness from identity. Even odder: it was before Photography that men had the most to say about the vision of the double. Heautoscopy was compared with an hallucinosis for centuries this was a great mythic theme.
Roland Barthes
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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.)
Roland Barthes
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Literature is the question minus the answer.
Roland Barthes
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To eat steak rare . . . represents both a nature and a morality.
Roland Barthes
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Is the scene always visual? It can be aural, the frame can be linguistic: I can fall in love with a sentence spoken to me: and not only because it says something which manages to touch my desire, but because of its syntactical turn (framing), which will inhabit me like a memory.
Roland Barthes
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We don't forget, but something vacant settles in us.
Roland Barthes
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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
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What the Photograph reproduces to infinity has occurred only once: the Photograph mechanically repeats what could never be repeated existentially.
Roland Barthes
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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
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Ultimately, Photography is subversive, not when it frightens, repels, or even stigmatizes, but when it is pensive, when it thinks.
Roland Barthes