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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.
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
Criminal
Stealing
Racer
Criminals
Sacrilegious
Privilege
Racers
Sports
Dope
Trying
Imitate
Spark
Sparks
More quotes by Roland Barthes
The birth of the reader must be at the cost of the death of the Author.
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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).
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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.
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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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Is not the most erotic part of the body wherever the clothing affords a glimpse?
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To eat steak rare . . . represents both a nature and a morality.
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To make someone wait: the constant prerogative of all power.
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Flaubert had infinite correction to perform.
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Myth is neither a lie nor a confession: it is an inflexion.
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Ultimately, Photography is subversive, not when it frightens, repels, or even stigmatizes, but when it is pensive, when it thinks.
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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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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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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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The Text is not a definitive object.
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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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Even hidden in the most squalid Parisian halls, wrestling partakes of the nature of the great solar spectacles, Greek drama and bullfights: in both, a light without shadow generates an emotion without reserve.
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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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I love you is unsubtle. It removes explanations, facilities, degrees, scruples.
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There is only one way left to escape the alienation of present day society: to retreat ahead of it.
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It must always be considered as though spoken by a character in a novel
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