Roland Barthes Quotes & Sayings

In order to satisfy this great oneiric function, which makes it not a kind of total monument, the [Eiffel] Tower must escape reason. The first condition of this victorious flight is that the Tower be an utterly useless monument. — Roland Barthes

Engulfment is a moment of hypnosis. — Roland Barthes

Above all, do not attempt to be exhaustive. — Roland Barthes

Like a kind of melancholy mirage, the other withdraws into infinity and I wear myself out trying to get there. — Roland Barthes

Now take all the delights of the earth, melt them into one single delight, and cast it entire into a single man - all this will be as nothing to the delight of which I speak. — Roland Barthes

To dope the racer is as criminal, as sacrilegious, as trying to imitate God; it is stealing from God the privilege of the spark. — Roland Barthes

Frontiers are physical as well as symbolic constructions
— Roland Barthes

One must turn the tongue seven times in the mouth before speaking. — Roland Barthes

There is a time when death is an event, an ad-venture, and as such mobilizes, interests, activates, tetanizes. And then one day it is no longer an event, it is another duration, compressed, insignificant, not narrated, grim, without recourse: true mourning not susceptible to any narrative dialectic. — Roland Barthes

The portrait-photograph is a closed field of forces. Four image-repertoires intersect here, oppose and distort each other. In front of the lens, I am at the same time: the one I think I am, the one I want others to think I am, the one the photographer thinks I am, and the one he makes use of to exhibit his art. — Roland Barthes

Gaudium is what I dream of: to enjoy a lifelong pleasure. But being unable to accede to Gaudium, from which I am separated by a thousand obstacles, I dream of falling back on Laetitia: if I could manage to confine myself to the lively pleasures the other affords me, without contaminating them, mortifying them by the anxiety which serves as their hinge? If I could take an anthological view of the amorous relation? If I were to understand, initially, that a great preoccupation does not include moments of pure pleasure, and then, if I managed systematically to forget the zones of alarm which separate these moments of pleasure? If I could be dazed, inconsistent? — Roland Barthes

As a general rule, desire is always marketable: we don't do anything but sell, buy, exchange desires ... And I think of Bloy's words: there is nothing perfectly beautiful except what is invisible and above all unbuyable. — Roland Barthes

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! — Roland Barthes

Literature is that neuter, that composite, that oblique into which every subject escapes, the trap where all identity is lost, beginning with the very identity of the body that writes. — Roland Barthes

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. — Roland Barthes

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. — Roland Barthes

Is not the most erotic portion of a body where the garment gapes? In perversion (which is the realm of textual pleasure) there are no "erogenous zones" (a foolish expression, besides); it is intermittence, as psychoanalysis has so rightly stated, which is erotic: the intermittence of skin flashing between two articles of clothing (trousers and sweater), between two edges (the open-necked shirt, the glove and the sleeve); it is this flash itself which seduces, or rather: the staging of an appearance-as-disappearance. — Roland Barthes

That ambiguous area of culture where something unfailingly political, though separate from the political choices of the day, infiltrates judgment and language. — Roland Barthes

Maman's death: perhaps it is the one thing in my life that I have not responded to neurotically. My grief has not been hysterical, scarcely visible to others (perhaps because the notion of "theatralizing" my mother's death would have been intolerable); and doubtless, more hysterically parading my depression, driving everyone away, ceasing to live socially, I would have been less unhappy. And I see that the non-neurotic is not good, not the right thing at all. — Roland Barthes

To whom could I put this question (with any hope of an answer)? Does being able to live without someone you loved mean you loved her less than you thought ... ? — Roland Barthes

The text, in its mass, is comparable to a sky, at once flat and smooth, deep, without edges and without landmarks; like the soothsayer drawing on it with the tip of his staff an imaginary rectangle wherein to consult, according to certain principles, the flight of birds, the commentator traces through the text certain zones of reading, in order to observe therein the migration of meanings, the outcropping of codes, the passage of citations. — Roland Barthes

The realists do not take the photograph for a 'copy' of reality, but for an emanation of past reality, a magic, not an art. — Roland Barthes

Let us suppose that I have wept, on account of some incident of which the other has not even become aware (to weep is part of the normal activity of the amorous body), and that, so this cannot be seen, I put on dark glasses to mask my swollen eyes (a fine example of denial: to darken the sight in order not to be seen). The intention of this gesture is a calculated one: I want to keep the moral advantage of stoicism, of "dignity" (I take myself for Clotilde de Vaux), and at the same time, contradictorily, I want to provoke the tender question ("But what's the matter with you?"); 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. — Roland Barthes

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. — Roland Barthes

When we define the Photograph as a motionless image, this does not mean only that the figures it represents do not move; it means that they do not (i)emerge(i), do not (i)leave(i): they are anesthetized and fastened down, like butterflies. — Roland Barthes

Literature is like phosphorus: it shines with its maximum brilliance and the moment when it attempts to die. — Roland Barthes

This book has two determinants: on the one hand, an ideological critique of the language of so-called mass culture; on the other, an initial semiological dismantling of that language: I had just read Saussure and emerged with the conviction that by treating "collective representations" as sign systems one might hope to transcend pious denunciation and instead account in detail for the mystification which transforms petit bourgeois culture into a universal nature. — Roland Barthes

I try to busy myself elsewhere, to arrive late; but I always lose at this game. Whatever I do, I find myself there, with nothing to do, punctual, even ahead of time. — Roland Barthes

The incapacity to name is a good symptom of disturbance. — Roland Barthes

Dreamed of maman again. She was telling me - O cruelty! - that I didn't really love her. But I took it calmly, because I was so sure it wasn't true.

The idea that death would be a kind of sleep. But it would be horrible if we had to dream eternally.

(And this morning, her birthday. I always gave her a rose. Bought two at the little market of Mers Sultan and put them on my desk) — Roland Barthes

Suffering is a form of egoism.
I speak only of myself. I am not talking about her, saying what she was, making an overwhelming portrait (like the one Gide made of Madeleine).
(Yet: everything is true: the sweetness, the energy, the nobility, the kindness.) — Roland Barthes

The author enters into his own death, writing begins. — Roland Barthes

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

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

The Winter Photograph was my Ariadne, not because it would help me discover a secret thing (monster or treasure), but because it would tell me what constituted that thread which drew me toward Photography. I had understood that henceforth I must interrogate the evidence of Photography, not from the viewpoint of pleasure, but in relation to what we romantically call love and death. — Roland Barthes

The photographic image ... is a message without a code. — Roland Barthes

[T]he most repugnant bastard there is: the bastard-octopus. — Roland Barthes

Fashion postulates an achrony, a time which does not exist; here the past is shameful and the present is constantly "eaten up" by the Fashion being heralded. — Roland Barthes

Despite the difficulties of my story, despite discomforts, doubts, despairs, despite impulses to be done with it, I unceasingly affirm love, within myself, as a value. — Roland Barthes

Text of bliss: the text that imposes a state of loss, the text that discomforts (perhaps to the point of a certain boredom), unsettles the reader's historical, cultural, psychological assumptions, the consistency of his tastes, values, memories, brings to a crisis his relation with language. — Roland Barthes

Every photograph is a certificate of presence. — Roland Barthes

As Spectator I wanted to explore photography not as a question (a theme) but as a wound. — Roland Barthes

Like love, mourning affects the world - and the worldly - with unreality, with importunity. I resist the world, I suffer from what it demands of me, from its demands. The world increases my sadness, my dryness, my confusion, my irritation, etc. The world depresses me. — Roland Barthes

Language is legislation, speech is its code. We do not see the power which is in speech because we forget that all speech is a classification, and that all classifications are oppressive. — Roland Barthes

I make the other's absence responsible for my worldliness. — Roland Barthes

Any demand is frigid until desire, until neurosis forms in it. — Roland Barthes

The grim
egoism (egotism)
of mourning
of suffering — Roland Barthes

It is as if the Photograph always carries its referent with itself, both affected by the same amorous or funereal immobility, at the very heart of the moving world: they are glued together, limb by limb, like the condemned man and the corpse in certain tortures; or even like those pairs of fish (sharks, I think, according to Michelet) which navigate in convoy, as though united by an eternal coitus. — Roland Barthes

The Text is not a definitive object. — Roland Barthes

The pleasure of the text is that moment when my body pursues its own ideas - for my body does not have the same ideas as I do. — Roland Barthes

What I enjoy in a narrative is not directly its content or even its structure, but rather the abrasions I impose upon the fine surface: I read on, I skip, I look up, I dip in again. Which has nothing to do with the deep laceration the text of bliss inflicts upon language itself, and not upon the simple temporality of its reading. — Roland Barthes

There is only one way left to escape the alienation of present day society: to retreat ahead of it. — Roland Barthes

Where there is meaning, there is paradigm, and where there is paradigm (opposition), there is meaning ... elliptically put: meaning rests on conflict (the choice of one term against another), and all conflict is generative of meaning: to choose one and refuse the other is always a sacrifice made to meaning, to produce meaning, to offer it to be consumed. — Roland Barthes

All those young photographers who are at work in the world, determined upon the capture of actuality, do not know that they are agents of Death. — Roland Barthes

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. — Roland Barthes

Photography transformed subject into object, and even, one might say, into a museum object: in order to take the first portraits the subject had to assume long poses under a glass roof in bright sunlight; to become an object made one suffer as much as surgical operation; then a device was invented, a kind of prosthesis invisible to the lens, which supported and maintained the body in its passage to immobility: this headrest was the pedestal of the statue I would become, the corset of my imaginary essence. — Roland Barthes

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

Man does not exist prior to language, either as a species or as an individual. We never encounter a state where man is separated from language, which he then elaborates in order to 'express' what is happening to him: it is language which teaches the definition of man, not the contrary. — Roland Barthes

Those who fail to reread are obliged to read the same story everywhere. — Roland Barthes

Each photograph is read as the private appearance of its referent: the age of Photography corresponds precisely to the explosion of the private into the public, or rather into the creation of a new social value, which is the publicity of the private: the private is consumes as such, publicly. — Roland Barthes

In an initial period, Photography, in order to surprise, photographs the notable; but soon, by a familiar reversal, it decrees notable whatever it photographs. The 'anything whatever' then becomes the sophisticated acme of value. — Roland Barthes

The lover's discourse is usually a smooth envelope which encases the Image, a very gentle glove around the loved being. — Roland Barthes

The unary Photograph has every reason to be banal, 'unity'
of composition being the first rule of vulgar (and notably, of academic) rhetoric: 'The subject,' says one handbook for amateur photographers, 'must be simple, free of useless accessories; this is called the Search for Unity. — Roland Barthes

I call the discourse of power any discourse that engenders blame, hence guilt, in its recipient. — Roland Barthes

For the photograph's immobility is somehow the result of a perverse confusion between two concepts: the Real and the Live: by attesting that the object has been real, the photograph surreptitiously induces belief that it is alive, because of that delusion which makes us attribute to Reality an absolute superior, somehow eternal value; but by shifting this reality to the past ('this-has-been'), the photograph suggests that it is already dead. — Roland Barthes

What I claim is to live to the full the contradiction of my time, which may well make sarcasm the condition of truth. — Roland Barthes

Usually the amateur is defined as an immature state of the artist: someone who cannot - or will not - achieve the mastery of a profession. But in the field of photographic practice, it is the amateur, on the contrary, who is the assumption of the professional: for it is he who stands closer to the (i)noeme(i) of Photography. — Roland Barthes

As soon as someone dies, frenzied construction of the future (shifting furniture, etc.): futuromania. — Roland Barthes

Charlus takes the narrator's chin and slides his magnetized fingers up to the ears "like a barber's fingers." This trivial gesture, which I begin, is continued by another part of myself; without anything interrupting it physically, it branches off, shifts from a simple function to a dazzling meaning, that of the demand for love. Meaning (destiny) electrifies my hand: I am about to tear open the other's opaque body, oblige the other (whether there is a response, a withdrawal, or mere acceptance) to enter into the interplay of meaning: I am about to make the other speak. In the lover's realm, there is no acting out: no propulsion, perhaps even no pleasure
nothing but signs, a frenzied activity of language: to institute, on each furtive occasion, the system (the paradigm) of demand and response. — Roland Barthes

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 note 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. — Roland Barthes

The Ventoux is a god of Evil, to which sacrifices must be made. It never forgives weakness and extracts an unfair tribute of suffering. — Roland Barthes

Writing is the destruction of every voice, of every point of origin. — Roland Barthes

It must always be considered as though spoken by a character in a novel — Roland Barthes

Ultimately, Photography is subversive, not when it frightens, repels, or even stigmatizes, but when it is pensive, when it thinks. — Roland Barthes

I have a disease; I see language. — Roland Barthes

It is by studium that I am interested in so many photographs, whether I receive them as political testimony or enjoy them as good historical scenes: for it is culturally (this connotation is present in studium) that I participate in the figures, the faces, the gestures, the settings, the actions. — Roland Barthes

It is no longer the sexual which is indecent, it is the sentimental. — Roland Barthes

The Photograph is violent: not because it shows violent tings, but because on each occasion (i)it fills the sight by force(i), and because in it nothing can be refused or transformed (that we can sometimes call it mild does not contradict its violence: many say that sugar is mild, but to me sugar is violent, and I call it so). — Roland Barthes

There is nothing in discourse that is not to be found in a sentence. — Roland Barthes

Painting can feign reality without having seen it. — Roland Barthes

It exists only for me. For you, it would be nothing but an indifferent picture. — 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. — Roland Barthes

A mandarin fell in love with a courtesan. 'I shall be yours,' she told him, 'when you have spent a hundred nights waiting for me, sitting on a stool, in my garden, beneath my window.' But on the ninety-ninth night, the mandarin stood up, put his stool under his arm, and went away. — Roland Barthes

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. — Roland Barthes

In terms of image-repertoire, the Photographer (the one I intend) represents that very subtle moment when, to tell the truth, I am neither subject nor object but a subject who feels he is becoming an object: I then experience a micro-version of death. — Roland Barthes

Werther identifies himself with the madman, with the footman. As a reader, I can identify myself with Werther. Historically, thousands of subjects have done so, suffering, killing themselves, dressing, perfuming themselves, writing as if they were Werther (songs, poems, candy boxes, belt buckles, fans, colognes a' la Werther). A long chain of equivalences links all the lovers in the world. In the theory of literature, "projection" (of the reader into the character) no longer has any currency: yet it is the appropriate tonality of imaginative readings: reading a love story, it is scarcely adequate to say I project myself; I cling to the image of the lover, shut up with his image in the very enclosure of the book (everyone knows that such stories are read in a state of secession, of retirement, of voluptuous absence: in the toilet). — Roland Barthes

Great portrait photographers are great mythologists. — Roland Barthes

The bastard form of mass culture is humiliated repetition ... always new books, new programs, new films, news items, but always the same meaning. — Roland Barthes

Where you are tender, you speak your plural. — Roland Barthes

I waver - in the dark - between the observation (but is it entirely accurate?) that I'm unhappy only by moments, by jerks and surges, sporadically, even if such spasms are close together - and the conviction that deep down, in actual fact, I am continually, all the time, unhappy since maman's death. — Roland Barthes

What right does my present have to speak of my past? Has my present some advantage over my past? What "grace" might have enlightened me? except that of passing time, or of a good cause, encountered on my way? — Roland Barthes

We often hear it said that it is the task of art to express the inexpressible: it is contrary which must be said (with no intention of paradox): the whole task of art is to unexpress the expressible, to kidnap from the world's language, which is the poor and powerful language of the passion, another speech, an exact speech. — Roland Barthes

I transform "Work" in its analytic meaning (the Work of Mourning, the Dream-Work) into the real "Work" - of writing.)
for:
the "Work" by which (it is said) we emerge from the great crises (love, grief) cannot be liquidated hastily: for me, it is accomplished only in and by writing. — Roland Barthes

Take the gesture, the action of writing. I have an almost obsessive relation to writing instruments. I often switch from one pen to another just for the pleasure of it. I try out new ones. I have far too many pens - I don't know what to do with all of them! And yet, as soon as I see a new one, I start craving it. I cannot keep myself from buying them. — Roland Barthes

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. — Roland Barthes

Incoherence seems to me preferable to a distorting order. — Roland Barthes

Love at first sight is a hypnosis: I am fascinated by an image: at first shaken, electrified, stunned, "paralysed" as Menon was by Socrates, the model of loved objects, of captivating images, or again converted by an apparition, nothing distinguishing the path of enamoration from the Road to Damascus; subsequently ensnared, held fast, immobilised, nose stuck to the image (the mirror). In that moment when the other's image comes to ravish me for the first time, I am nothing more than the Jesuit Athanasius Kirchner's wonderful Hen: feet tied, the hen went to sleep with her eyes fixed on the chalk line, which was traced not far from her beak; when she was untied, she remained motionless, fascinated, "submitting to her vanquisher," as the Jesuit says (1646); yet, to waken her from her enchantment, to break off the violence of her Image-repertoire (vehemens animalis imaginatio), it was enough to tap her on the wing; she shook herself and began pecking in the dust again. — Roland Barthes

How does meaning get into the image? Where does it end? And if it ends, what is there beyond? — Roland Barthes

To hide a passion totally (or even to hide, more simply, its excess) is inconceivable: not because the human subject is too weak, but because passion is in essence made to be seen: the hiding must be seen: I want you to know that I am hiding something from you, that is the active paradox I must resolve: at one and the same time it must be known and not known: I want you to know that I don't want to show my feelings: that is the message I address to the other. — Roland Barthes

The photographer, like an acrobat, must defy the laws of probability or even of possibility; at the limit, he must defy those of the interesting: the photograph becomes surprising when we do not know why it has been taken. — Roland Barthes