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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
Sports
Dope
Trying
Imitate
Spark
Sparks
Criminal
Stealing
Racer
Criminals
Sacrilegious
Privilege
Racers
More quotes by Roland Barthes
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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All of a sudden it didn't bother me not being modern.
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I love you is unsubtle. It removes explanations, facilities, degrees, scruples.
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Every object in the world can pass from a closed, silent existence to an oral state, open to appropriation by society, for there is no law, whether natural or not, which forbids talking about things
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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.
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Literature is like phosphorus: it shines with its maximum brilliance and the moment when it attempts to die.
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Tout refus du langage est une mort. Any refusal of language is a death.
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The discourse on the Text should itself be nothing other than text, research, textual activity, since the Text is that social space which leaves no language safe, outside, nor any subject of the enunciation in position as judge, master, analyst, confessor, decoder. The theory of the Text can coincide only with a practice of writing.
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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.
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I passed beyond the unreality of the thing represented, I entered crazily into the spectacle, into the image, taking into my arms what is dead, what is going to die.
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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!
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I call the discourse of power any discourse that engenders blame, hence guilt, in its recipient.
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I have not a desire but a need for solitude.
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Those who fail to reread are obliged to read the same story everywhere.
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Today there is no symbolic compensation for old age, no recognition of a specific value: wisdom, perceptiveness, experience, vision.
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Myth is neither a lie nor a confession: it is an inflexion.
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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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Ultimately, Photography is subversive, not when it frightens, repels, or even stigmatizes, but when it is pensive, when it thinks.
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Painting can feign reality without having seen it.
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Tout ce qui est anachronique est obsce' ne. Everything anachronistic is obscene.
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