“We know that the war against intelligence is always waged in the name of common sense.”
― Roland Barthes, quote from Mythologies
“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, quote from Mythologies
“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.”
― Roland Barthes, quote from Mythologies
“A light without shadow generates an emotion without reserve.”
― Roland Barthes, quote from Mythologies
“To see someone who does not see is the best way to be intensely aware of what he does not see.”
― Roland Barthes, quote from Mythologies
“Justice is always ready to lend you a spare brain in order to condemn you without a second thought”
― Roland Barthes, quote from Mythologies
“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, quote from Mythologies
“[T]he most repugnant bastard there is: the bastard-octopus.”
― Roland Barthes, quote from Mythologies
“The cultural work done in the past by gods and epic sagas is now done by laundry-detergent commercials and comic-strip character”
― Roland Barthes, quote from Mythologies
“In wrestling, nothing exists unless it exists totally, there is no symbol, no allusion, everything is given exhaustively; leaving nothing in shadow, the gesture severs every parasitical meaning and ceremonially presents the public with a pure and full signification, three dimensional, like Nature. Such emphasis is nothing but the popular and ancestral image of the perfect intelligibility of reality. What is enacted by wrestling, then, is an ideal intelligence of things, a euphoria of humanity, raised for a while out of the constitutive ambiguity of everyday situations and installed in a panoramic vision of a univocal Nature, in which signs finally correspond to causes without obstacle, without evasion, and without contradiction.”
― Roland Barthes, quote from Mythologies
“To instil into the Established Order the complacent portrayal of its drawbacks has nowadays become a paradoxical but incontrovertible means of exalting it.”
― Roland Barthes, quote from Mythologies
“A film, The Lost Continent, throws a clear light on the current myth of exoticism. It is a big documentary on 'the East', the pretext of which is some undefined ethnographic expedition, evidently false, incidentally, led by three or four Italians into the Malay archipelago. The film is euphoric, everything in it is easy, innocent. Our explorers are good fellows, who fill up their leisure time with child-like amusements: they play with their mascot, a little bear (a mascot is indispensable in all expeditions: no film about the polar region is without its tame seal, no documentary on the tropics is without its monkey), or they comically upset a dish of spaghetti on the deck. Which means that these good people, anthropologists though they are, don't bother much with historical or sociological problems. Penetrating the Orient never means more for them than a little trip in a boat, on an azure sea, in an essentially sunny country. And this same Orient which has today become the political centre of the world we see here all flattened, made smooth and gaudily coloured like an old-fashioned postcard.
The device which produces irresponsibility is clear: colouring the world is always a means of denying it (and perhaps one should at this point begin an inquiry into the use of colour in the cinema). Deprived of all substance, driven back into colour, disembodied through the very glamour of the 'images', the Orient is ready for the spiriting away which the film has in store for it. What with the bear as a mascot and the droll spaghetti, our studio anthropologists will have no trouble in postulating an Orient which is exotic in form, while being in reality profoundly similar to the Occident, at least the Occident of spiritualist thought. Orientals have religions of their own? Never mind, these variations matter very little compared to the basic unity of idealism. Every rite is thus made at once specific and eternal, promoted at one stroke into a piquant spectacle and a quasi-Christian symbol.
...If we are concerned with fisherman, it is not the type of fishing which is whown; but rather, drowned in a garish sunset and eternalized, a romantic essense of the fisherman, presented not as a workman dependent by his technique and his gains on a definite society, but rather as the theme of an eternal condition, in which man is far away and exposed to the perils of the sea, and woman weeping and praying at home. The same applies to refugees, a long procession of which is shown at the beginning, coming down a mountain: to identify them is of course unnecessary: they are eternal essences of refugees, which it is in the nature of the East to produce.”
― Roland Barthes, quote from Mythologies
“Robar a un hombre su lenguaje en nombre del propio lenguaje: todos los crímenes legales comienzan así.”
― Roland Barthes, quote from Mythologies
“I wish second chances were real.”
― Amy Zhang, quote from Falling into Place
“His mother was exacting revenge because he’d dared to marry me, and his father—well, we weren’t exactly sure. Either”
― Sara Gruen, quote from At the Water's Edge
“I kissed his cheek. "My King." I swooped into the courtly curtsy he'd taught me as a girl, regally kicking an imaginary train aside as I turned to go. He was laughing silently as I left. For a moment I saw that spark again. I did not say goodbye.”
― Sandra Gulland, quote from The Many Lives & Secret Sorrows of Josephine B.
“I am not sure prayer puts us in touch with God the way many people think it does--that we approach God as a supplicant, a beggar asking for favors, or as a customer presenting Him with a shopping list and asking what it will cost. Prayer is not primarily a matter of asking God to change things. If we come to understand what prayer can and should be, and rid ourselves of some unrealistic expectations, we will be better able to call on prayer, and on God, when we need them most.”
― Harold S. Kushner, quote from When Bad Things Happen to Good People
“In the early hours of the morning she turned her swollen face toward Mike and opened her eyes—or tried to. One was partially shut because of the swelling. He scooted closer. “Brie,” he whispered. “It’s me, Brie. I’m here.” She put her hands over her face and cried out. “No! No!” He took gentle hold of her wrists. “Brie! It’s me. It’s Mike. It’s okay.” But he couldn’t pull her hands away from her face. “Please,” she whimpered pitifully. “I don’t want you to see this….” “Honey, I saw you already,” he said. “I’ve been sitting here for hours. Let it go,” he said. “It’s okay.” She let him slowly pull her hands away from her battered face. “Why? Why are you here? You shouldn’t be here!” “Jack wanted me to help him understand what was happening with the investigation. But I wanted to be here. Brie, I wanted to be here for you.” He brushed her brow gently. “You’re going to be okay.” “He… He got my gun….” “The police know, honey. You didn’t do anything wrong.” “He’s so dangerous. I tried to get him—that’s why he did this. I was going to put him away for life.” Mike’s jaw pulsed, but he kept his voice soft. “It’s okay, Brie. It’s over now.” “Did they find him?” she asked. “Did they pick him up?” Oh, how he wished she wouldn’t ask that. “Not yet.” “Do you know why he didn’t kill me?” she asked, a tear running out of her swollen eye and down over the bridge of her purple nose. He tenderly wiped it away. “He said he didn’t want me to die. He wanted me to try to get him again, and watch him walk again. He wore a condom.” “Aw, honey…” “I’m going to get him, Mike.” “Please… Don’t think about that now. I’ll get the nurse. Get you another sedative.” He put the light on and the nurse came immediately. “Brie needs something to help her go back to sleep.” “Sure,” the nurse said. “I’m just going to wake up again,” she said. “And I’m just going to think the same things.” “Try to rest,” he said, leaning over to kiss her brow. “I’ll be right here. And there’s an officer outside your door. You’re completely safe.” “Mike,” she whispered. She held his hand for a long moment. “Did Jack ask you to come?” “No,” he said, gently touching her brow. “But when I found out what happened, I had to come,” he whispered. “I had to.” After having a sedative administered into the IV, she gently closed her eyes again. Her hand slipped out of his and he sat back in his chair. Then, his elbows on his knees and his face buried in his hands, he silently wept. *”
― Robyn Carr, quote from Whispering Rock
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