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Sunya
“Constatavo con disappunto che nessuno mi parlava espressamente delle foto che m’interessano, quelle che mi danno piacere o emozione. Cosa me ne facevo delle regole di composizione del paesaggio fotografico, oppure, all’opposto della Fotografia come rito familiare? Ogni volta che leggevo qualcosa sulla Fotografia, pensavo a quella particolare foto che amavo, e questo mi faceva andare in collera. Infatti, io non vedevo altro che il referente, l’oggetto desiderato, il corpo prediletto; allora una voce importuna […] mi diceva con tono severo: ritorna alla Fotografia. […] Tuttavia io insistevo; davanti a certe foto, volevo essere selvaggio, senza cultura”. (Roland Barthes, 1980)
« Je t'aime. Ce peut être un mot sublime, solennel, léger. Ce peut être un mot érotique, pornographique. C'est un mot socialement baladeur. Je t'aime est sans nuance. Je t'aime est hors dictionnaire. »
Roland Barthes, Fragments d'un discours amoureux
« Vouloir saisir. Comprenant que les difficultés de la relation amoureuse viennent de ce qu'il veut sans cesse s'approprier d'une manière ou d'une autre l'être aimé, le sujet prend la décision d'abandonner dorénavant tout vouloir saisir à son égard. Et si le Non Vouloir Saisir était une pensée tactique ? Si je voulais toujours, quoique secrètement, conquérir l'autre en feignant de renoncer à lui ? Si je m'éloignais pour le saisir plus sûrement ? »
Roland Barthes, Fragments d'un discours amoureux
« ‹Suis-je amoureux? – Oui, puisque j’attends ›. L’autre, lui, n’attend jamais. Parfois, je veux jouer à celui qui n’attend pas: j’essaie de m’occuper ailleurs, d’arriver en retard; mais, à ce jeu, je perd toujours: quoi que je fasse, je me retrouve toujours désoeuvré, exact, voir en avance. L’identité fatale de l’amoureux n’est rien d’autre que: je suis celui qui attend ».
— Roland Barthes, Fragments d’un discours amoureux

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The success of a piece of research—especially textual research—does not abide in its "result," a fallacious notion, but in the reflexive nature of its speech-act; at every moment of its trajectory, a piece of research can turn language back upon itself and thereby overcome the scholar's bad faith: in a word, displace author and reader.
Roland Barthes, "Research: The Young" in The Rustle of Language
Rustling . . . language would not thereby abandon a horizon of meaning: meaning, undivided, impenetrable, unnamable, would however be posited in the distance like a mirage, making the vocal exercise into a double landscape, furnished with a "background"; but instead of the music of phenomes being the "background" of our messages (as happens in our poetry), meaning would now be the vanishing point of delectation. And just as, when attributed to the machine, the rustle is only the noise of an absence of noise, in the same way, shifted to language, it would be that meaning which reveals an exemption of meaning or—the same thing—that non-meaning which produces in the distance a meaning henceforth liberated from all the aggressions of which the sign, formed in the "sad and fierce history of men," is the Pandora's box.
Roland Barthes, The Rustle of Language
Fragments d'un discours amoureux - Roland Barthes