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Roland Barthes

Roland Barthes Quotes

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Famous Roland Barthes Quotes

“We were friends and have become estranged. But this was right, and we do not want to conceal and obscure it from ourselves as if we had reason to feel ashamed. We are two ships each of which has its goal and course; our paths may cross and we may celebrate a feast together, as we did - and then the good ships rested so quietly in one harbor and one sunshine that it may have looked as if they had reached their goal and as if they had one goal. But then the mighty force of our tasks drove us apart again into different seas and sunny zones, and perhaps we shall never see each other again; perhaps we shall meet again but fail to recognize each other: our exposure to different seas and suns has changed us.”

Relationships
Book:A lover's discourse: fragments
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“Another unary photograph is the pornographic photograph (I am not saying the erotic photograph: the erotic is a pornographic that has been disturbed, fissured). Nothing more homogeneous than a pornographic photograph. It is always a naive photograph, without intention and without calculation. Like a shop window which shows only one illuminated piece of jewelry, it is completely constituted by the presentation of only one thing: sex: no secondary, untimely object ever manages to half conceal, delay, or distract... A proof a contrario: Mapplethorpe shifts his close-ups of genitalia from the pornographic to the erotic by photographing the fabric of underwear at very close range: the photograph is no longer unary, since I am interested in the texture of the material. The presence (the dynamics) of this blind field is, I believe, what distinguishes the erotic photograph from the pornographic photograph. Pornography ordinarily represents the sexual organs, making them into a motionless object (a fetish), flattered like an idol that does not leave its niche; for me, there is no punctum in the pornographic image; at most it amuses me (and even then, boredom follows quickly). The erotic photograph, on the contrary (and this is its very condition), does not make the sexual organs into a central object; it may very well not show them at all; it takes the spectator outside its frame, and it is there that I animate this photograph and that it animates me.”

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Book:Camera Lucida: Reflections on Photography
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“Cinema captures the sound of speech close up and makes us hear in their materiality, their sensuality, the breath, the gutturals, the fleshiness of the lips, a whole presence of the human muzzle (that the voice, that writing, be as fresh, supple, lubricated, delicately granular and vibrant as an animal's muzzle), to succeed in shifting the signified a great distance and in throwing, so to speak, the anonymous body of the actor into my ear: it granulates, it crackles, it caresses, it grates, it cuts, it comes: that is bliss.”

WritingRoland Barthes
Book:The Pleasure of the Text
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“I experience reality as a system of power. Coluche, the restaurant, the painter, Rome on a holiday, everything imposes on me its system of being; everyone is *badly behaved*. Isn't their impoliteness merely a *plenitude*? The world is full, plenitude is its system, and as a final offense this system is presented as a "nature" with which I must sustain good relations: in order to be "normal" (exempt from love)..." —from_A Lover's Discourse: Fragments_”

RealityBeingRoland Barthes
Author:Roland Barthes
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“So long as I perceive the world as hostile, I remain linked to it: *I am not crazy*. But sometimes, once my bad temper is exhausted, I have no language left at all: the world is not "unreal" (I could then utter it: there are arts of the unreal, among them the greatest arts of all), but disreal: reality has fled from it, is nowhere, so that I no longer have any meaning (any paradigm) available to me; *I do not manage* to define my relations with Coluche, the restaurant, the painter, the Piazza del Popolo. What relation can I have with a system of power if I am neither its slave nor its accomplice nor its witness." —from_A Lover's Discourse: Fragments_”

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Author:Roland Barthes
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“Iš prigimties Fotografija (patogumo dėlei tenka priimti šią universaliją, kuri kol kas remiasi tik nesiliaujančiu atsitiktinumų kartojimu) turi kažką tautologiško — pypkė čia yra visada ir neįveikiamai pypkė. Galima sakyti, kad Fotografija visada nešiojasi savo referentą — abudu sustingę iš tos pačios meilės ar gedulo pačioje judančio pasaulio širdyje: jiedu vienas su kitu suklijuoti, galūnė prie galūnės, kaip pasmerktasis prirakintas prie lavono kai kurių kankinimų metu; ar net panašiaip kaip tos žuvų poros (regis, rykliai, anot Michelet), kurios plaukia vilkstine, tarsi sujungtos kažkokiu amžinu lytiniu aktu. Fotografija priklauso tai sluoksniuotų objektų klasei, kai negalima atskirti dviejų sluoksnių jų nesunaikinant — kaip lango stikslas ir peizažas, ir — kodėl gi ne — Gėris ir Blogis, geismas ir jo objektas — dvilypumai, kuriuos galime suvokti, bet ne patirti.”

PhotographyRoland Barthes
Book:Camera Lucida: Reflections on Photography
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“What must always be remembered is that myth is a double system; there occurs in it a sort of ubiquity: its point of departure is constituted by the arrival of a meaning. […] the signification of the myth is constituted by a sort of constantly moving turnstile which presents alternately the meaning of the signifier and its form, a language-object and a metalanguage, a purely signifying and a purely imagining consciousness. This alternation is, so to speak, gathered up in the concept, which uses it like an ambiguous signifier, at once intellective and imaginary, arbitrary and natural.”

MythMeaningSignification
Book:Mythologies
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“The signifier of myth presents itself in an ambiguous way: it is at the same time meaning and form, full on one side and empty on the other. […] The meaning will be for the form like an instantaneous reserve of history, a tamed richness, which it is possible to call and dismiss in a sort of rapid alternation: the form must constantly be able to be rooted again in the meaning and to get there what nature it needs for its nutriment; above all, it must be able to hide there. It is this constant game of hide-and-seek between the meaning and the form which defines myth.”

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Book:Mythologies
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“The reader is the space on which all the quotations that make up a writing are inscribed without any of them being lost; a text's unity lies not in its origin but in its destination. Yet this destination cannot any longer be personal: the reader is without history, biography, psychology; he is simply that someone who holds together in a single field all the traces by which the written text is constituted…Classic criticism has never paid any attention to the reader; for it, the writer is the only person in literature…we know that to give writing its future, it is necessary to overthrow the myth: the birth of the reader must be at the cost of the death of the Author. [Final passage in "The Death of the Author," in Image-Music-Text, by Roland Barthes, Trans. Stephen Heath (1977)]”

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Book:The Death of the Author
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“It is said that mourning, by its gradual labour, slowly erases pain; I could not, I cannot believe this; because for me, Time eliminates the emotion of loss (I do not weep), that is all. For the rest, everything has remained motionless. For what I have lost is not a Figure (the Mother), but a being; and not a being, but a quality (a soul): not the indispensable, but the irreplaceable.”

LoveTimeLoss
Book:Camera Lucida: Reflections on Photography
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“...The editors of (i)Life(i) rejected Kerész'a photographs when he arrived in the United States in 1937 because, they said, his images 'spoke too much'; they made us reflect, suggested a meaning — a different meaning from the literal one. Ultimately, Photography is subversive not when it frightens, repels, or even stigmatizes, but when it is (i)pensive(i), when it thinks.”

PhotographyMeaningLooking38
Book:Camera Lucida: Reflections on Photography
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“To select only monuments supresses at one stroke the reality of the land and that of its people, it accounts for nothing of the present, that is, nothing historical, and as a consequence, the monuments themselves become undecipherable, therefore senseless. What is to be seen is thus constantly in the process of vanishing, and the Guide becomes, through an operation common to all mystifications, the very opposite of what it advertises, an agent of blindness.”

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Book:Mythologies
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“The Text is plural. Which is not simply to say that it has several meanings, but that it accomplishes the very plural of meaning: an irreducible (and not merely an acceptable) plural. The Text is not a co-existence of meanings but a passage, an overcrossing; thus it answers not to an interpretation, even a liberal one, but to an explosion, a dissemination.”

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Author:Roland Barthes
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