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We don't forget, but something vacant settles in us.

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
Vacant
Settling
Forget
Something
Settles

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Every new Fashion is a refusal to inherit, a subversion against the oppression of the preceding Fashion Fashion experiences itself as a Right, the natural right of the present over the past.
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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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Someone tells me: this kind of love is not viable. But how can you evaluate viability? Why is the viable a Good Thing? Why is it better to last than to burn?
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If I had to create a god, I would lend him a “slow understanding”: a kind of drip-by-drip understanding of problems. People who understand quickly frighten me.
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What love lays bare in me is energy.
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What the Photograph reproduces to infinity has occurred only once: the Photograph mechanically repeats what could never be repeated existentially.
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I want to be both pathetic and admirable, I want to be at the same time a child and an adult. Thereby I gamble, I take a risk: for it is always possible that the other will simply ask no question whatever about these unaccustomed glasses that the other will see, in the fact, no sign.
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Even hidden in the most squalid Parisian halls, wrestling partakes of the nature of the great solar spectacles, Greek drama and bullfights: in both, a light without shadow generates an emotion without reserve.
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Myth is neither a lie nor a confession: it is an inflexion.
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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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If I acknowledge my dependency, I do so because for me it is a means of signifying my demand: in the realm of love, futility is not a weakness or an absurdity: it is a strong sign: the more futile, the more it signifies and the more it asserts itself as strength.)
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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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Every photograph is a certificate of presence.
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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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Those who fail to reread are obliged to read the same story everywhere.
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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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Where you are tender, you speak your plural.
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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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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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The art of living has no history: it does not evolve: the pleasure which vanishes vanishes for good, there is no substitute for it. Other pleasures come, which replace nothing. No progress in pleasures, nothing but mutations.
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