a-lover's-discourse

anonymous asked:

Perhaps Cait can let us know if she ever finds Sam's cahonas... They seem to have disappeared in an Shatner induced daze of misplaced boyhood admiration. How any rational person cannot see that Shatner is the archetypical bully is beyond me! Kudos to Stephen Amall (Arrow) for kicking the creepy IW and his sidekick to the curb. It's a shame that Sam lacks the courage and decency to do the same thing. #toobusyplayinginsandcastles

🤷🏻‍♀️

“I can do everything with my language but not with my body. What I hide by my language, my body utters. I can deliberately mold my message, not my voice. By my voice, whatever it says, the other will recognize "that something is wrong with me”. I am a liar (by preterition), not an actor. My body is a stubborn child, my language is a very civilized adult…“

-Roland Barthes, A Lover’s Discourse: Fragments

A squeeze of the hand—enormous documentation—a tiny gesture within the palm, a knee which doesn’t move away, an arm extended, as if quite naturally, along the back of a sofa and against which the other’s head gradually comes to rest—this is the paradisiac realm of subtle and clandestine signs: a kind of festival not of the senses but of meaning.
—  Roland Barthes, “Contacts” in A Lover’s Discourse: Fragments
Is the scene always visual? It can be aural, the frame can be linguistic: I can fall in love with a sentence spoken to me: and not only because it says something which manages to touch my desire, but because of its syntactical turn (framing), which will inhabit me like a memory.
—  Roland Barthes, A Lover’s Discourse 
Am I in love? – yes, since I am waiting. The other one never waits. Sometimes I want to play the part of the one who doesn’t wait; 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. The lover’s fatal identity is precisely this: I am the one who waits.
A squeeze of the hand - enormous documentation - a tiny gesture within the palm, a knee which doesn’t move away, an arm extended, as if quite naturally, along the back of a sofa and against which the other’s head gradually comes to rest - this is the paradisiac realm of subtle and clandestine signs: a kind of festival not of the senses but of meaning.
—  Roland Barthes, A Lover’s Discourse: Fragments
9

Millennium Actress (2001) dir. Satoshi Kon

The other is in a condition of perpetual  departure, of journeying; the other is, by vocation, migrant, fugitive…Amorous absence functions in a single direction, expressed by the one who stays, never by the one who leaves: an always present I is constituted only by confrontation with an always absent you.

- Roland Barthes, A Lover’s Discourse