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To make someone wait: the constant prerogative of all power.

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
Someone
Power
Make
Prerogative
Wait
Constant
Waiting

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All those young photographers who are at work in the world, determined upon the capture of actuality, do not know that they are agents of Death.
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L'amoureux qui n'oublie pas quelquefois meurt par exce' s, fatigue et tension de me moire (tel Werther). The lover who does not forget sometimes dies from excess, fatigue, and the strain of memory (like Werther).
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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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Literature can no longer be either Mimesis or Mathesis but merely Semiosis, the adventure of what is impossible to language, in a word: Text (it is wrong to say that the notion of 'text' repeats the notion of 'literature': literature represents a finite world, the text figures the infinite of language).
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Why is it better to last than to burn?
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I have not a desire but a need for solitude.
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All of a sudden it didn't bother me not being modern.
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Le langage est une peau: je frotte mon langage contre l'autre. Language is a skin I rub my language against another language.
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To eat steak rare . . . represents both a nature and a morality.
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I love you is unsubtle. It removes explanations, facilities, degrees, scruples.
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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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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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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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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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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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Tout ce qui est anachronique est obsce' ne. Everything anachronistic is obscene.
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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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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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Literature is that which he can not read without pain, without choking on truth.
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It must always be considered as though spoken by a character in a novel
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