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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).
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
Forget
Strain
Doe
Excess
Sometimes
Lover
Like
Tension
Lovers
Memory
Memories
Dies
Fatigue
More quotes by Roland Barthes
Today there is no symbolic compensation for old age, no recognition of a specific value: wisdom, perceptiveness, experience, vision.
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I have not a desire but a need for solitude.
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To try to write love is to confront the muck of language: that region of hysteria where language is both too much and too little, excessive and impoverished.
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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.
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There are two kinds of liberalism. A liberalism which is always, subterraneously authoritative and paternalistic, on the side of one's good conscience. And then there is a liberalism which is more ethical than political one would have to find another name for this. Something like a profound suspension of judgment.
Roland Barthes
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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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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The Text is not a definitive object.
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A light without shadow generates an emotion without reserve.
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Each of us has his own rhythm of suffering.
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All of a sudden it didn't bother me not being modern.
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Through the mythology of Einstein, the world blissfully regained the image of knowledge reduced to a formula.
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The author enters into his own death, writing begins.
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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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For the theatre one needs long arms it is better to have them too long than too short. An artiste with short arms can never, never make a fine gesture.
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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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To know that one does not write for the other, to know that these things I am going to write will never cause me to be loved by the one I love (the other), to know that writing compensates for nothing, sublimates nothing, that it is precisely there where you are not--this is the beginning of writing.
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Isn’t the most sensitive point of this mourning the fact that I must lose a language — the amorous language? No more ‘I love you’s.
Roland Barthes
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 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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