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Is not the most erotic part of the body wherever the clothing affords a glimpse?

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
Part
Body
Affords
Erotic
Clothings
Clothing
Glimpse
Wherever

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We don't forget, but something vacant settles in us.
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Literature is the question minus the answer.
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It is no longer the sexual which is indecent, it is the sentimental.
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I call the discourse of power any discourse that engenders blame, hence guilt, in its recipient.
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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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Where you are tender, you speak your plural.
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I love you is unsubtle. It removes explanations, facilities, degrees, scruples.
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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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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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Flaubert had infinite correction to perform.
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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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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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Is the scene always visual? It can be aural, the frame can be linguistic: I can fall in love with a sentence spoken to me: and not only because it says something which manages to touch my desire, but because of its syntactical turn (framing), which will inhabit me like a memory.
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To make someone wait: the constant prerogative of all power.
Roland Barthes
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For me the noise of Time is not sad: I love bells, clocks, watches — and I recall that at first photographic implements were related to techniques of cabinetmaking and the machinery of precision: 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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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.
Roland Barthes
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New York... is a city of geometric heights, a petrified desert of grids and lattices, an inferno of greenish abstraction under a flat sky, a real Metropolis from which man is absent by his very accumulation.
Roland Barthes
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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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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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In front of the photograph of my mother as a child, I tell myself: she is going to die: I shudder, like winnicott's psychotic patient, over a catastrophe which has already occurred. Whether or not the subject is already dead, every photograph is this catastrophe.
Roland Barthes