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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
Doe
Excess
Sometimes
Lover
Like
Tension
Lovers
Memory
Memories
Dies
Fatigue
Forget
Strain

More quotes by Roland Barthes

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I love you is unsubtle. It removes explanations, facilities, degrees, scruples.
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Tout refus du langage est une mort. Any refusal of language is a death.
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Great portrait photographers are great mythologists.
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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.
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Tout ce qui est anachronique est obsce' ne. Everything anachronistic is obscene.
Roland Barthes
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A photograph is always invisible, it is not it that we see.
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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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Literature is that which he can not read without pain, without choking on truth.
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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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Each of us has his own rhythm of suffering.
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One must turn the tongue seven times in the mouth before speaking.
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The author enters into his own death, writing begins.
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The politician being interviewed clearly takes a great deal of trouble to imagine an ending to his sentence: and if he stopped short? His entire policy would be jeopardized!
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What love lays bare in me is energy.
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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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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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The photograph is literally an emanation of the referent. From a real body, which was there, proceed radiations which ultimately touch me, who am here the duration of the transmission is insignificant the photograph of the missing being, as Sontag says, will touch me like the delayed rays of a star.
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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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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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What I claim is to live to the full the contradiction of my time, which may well make sarcasm the condition of truth.
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