Quote

Pleasure is continually disappointed, reduced, deflated, in favor of strong, noble values: Truth, Death, Progress, Struggle, Joy, etc. Its victorious rival is Desire: we are always being told about Desire, never about Pleasure.

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
Strong
Noble
Rival
Death
Progress
Rivals
Joy
Reduced
Truth
Told
Continually
Always
Struggle
Etc
Never
Pleasure
Favor
Values
Disappointed
Deflated
Desire
Favors
Victorious

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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 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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Eiffel saw his Tower in the form of a serious object, rational, useful men return it to him in the form of a great baroque dream which quite naturally touches on the borders of the irrational ... architecture is always dream and function, expression of a utopia and instrument of a convenience.
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...language is never innocent.
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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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A photograph is always invisible, it is not it that we see.
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All of a sudden it didn't bother me not being modern.
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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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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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Literature is the question minus the answer.
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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.
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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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There is only one way left to escape the alienation of present day society: to retreat ahead of it.
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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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Literature is that which he can not read without pain, without choking on truth.
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To make someone wait: the constant prerogative of all power.
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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.
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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.
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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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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.
Roland Barthes