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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

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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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All of a sudden it didn't bother me not being modern.
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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.
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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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The realists do not take the photograph for a 'copy' of reality, but for an emanation of past reality, a magic, not an art.
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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.
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As Spectator I wanted to explore photography not as a question (a theme) but as a wound.
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A photograph is always invisible, it is not it that we see.
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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.
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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.
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To dope the racer is as criminal, as sacrilegious, as trying to imitate God it is stealing from God the privilege of the spark.
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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.
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Rarely do outside of school remedies work their way into the fabric of the schools or into the teachers lives, and more rarely into the classrooms. Therefore they only offer a modest hope of influencing the basic culture of the school
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I call the discourse of power any discourse that engenders blame, hence guilt, in its recipient.
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There are two kinds of liberalism. A liberalism which is always, subterraneously authoritative and paternalistic, on the side of one's good conscience. And then there is a liberalism which is more ethical than political one would have to find another name for this. Something like a profound suspension of judgment.
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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.
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I encounter millions of bodies in my life of these millions, I may desire some hundreds but of these hundreds, I love only one.
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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.
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What the Photograph reproduces to infinity has occurred only once: the Photograph mechanically repeats what could never be repeated existentially.
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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