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

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Tout ce qui est anachronique est obsce' ne. Everything anachronistic is obscene.
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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 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 Text is not a definitive object.
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It must always be considered as though spoken by a character in a novel
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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.
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Today there is no symbolic compensation for old age, no recognition of a specific value: wisdom, perceptiveness, experience, vision.
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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 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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Ultimately, Photography is subversive, not when it frightens, repels, or even stigmatizes, but when it is pensive, when it thinks.
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To make someone wait: the constant prerogative of all power.
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To eat steak rare . . . represents both a nature and a morality.
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I have not a desire but a need for solitude.
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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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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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Literature is like phosphorus: it shines with its maximum brilliance and the moment when it attempts to die.
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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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Flaubert had infinite correction to perform.
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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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