Quote

To dope the racer is as criminal, as sacrilegious, as trying to imitate God it is stealing from God the privilege of the spark.

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
Trying
Imitate
Spark
Sparks
Criminal
Stealing
Racer
Criminals
Sacrilegious
Privilege
Racers
Sports
Dope

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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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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.
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Tout refus du langage est une mort. Any refusal of language is a death.
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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?
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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.
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One must turn the tongue seven times in the mouth before speaking.
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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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I cannot classify the other, for the other is, precisely, Unique, the singular Image which has miraculously come to correspond to the speciality of my desire. The other is the figure of my truth, and cannot be imprisoned in any stereotype (which is the truth of others).
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I want to be both pathetic and admirable, I want to be at the same time a child and an adult. Thereby I gamble, I take a risk: for it is always possible that the other will simply ask no question whatever about these unaccustomed glasses that the other will see, in the fact, no sign.
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All official institutions of language are repeating machines: school, sports, advertising, popular songs, news, all continually repeat the same structure, the same meaning, often the same words: the stereotype is a political fact, the major figure of ideology.
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When we look at a photograph of ourselves or of others, we are really looking at the return of the dead.
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To make someone wait: the constant prerogative of all power.
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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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The author enters into his own death, writing begins.
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Tout ce qui est anachronique est obsce' ne. Everything anachronistic is obscene.
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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.
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To eat, to speak, to sing (need we add: to kiss?) are operations which have the same site of the body for origin.
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Language is neither reactionary nor progressive it is quite simply fascist for fascism does not prevent speech, it compels speech.
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Flaubert had infinite correction to perform.
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