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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APARoland Barthes Quotes. (n.d.). Jar of Quotes. Retrieved , from JarofQuotes.com Web site: https://www.jarofquotes.com/view.php?id=the-text-is-plural-which-is-not-simply-to-say-that-it-has-several-meanings-but-that-it-accomplishes-plural-meaning-irreducible-not-merely-roland-barthes
ChicagoRoland Barthes Quotes. Jar of Quotes, 2020. https://www.jarofquotes.com/view.php?id=the-text-is-plural-which-is-not-simply-to-say-that-it-has-several-meanings-but-that-it-accomplishes-plural-meaning-irreducible-not-merely-roland-barthes, accessed .
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The Photograph is an extended, loaded evidence "" as if it caricatured not the figure of what it represents (quite the converse) but its very existence ... The Photograph then becomes a bizarre (i)medium(i), a new form of hallucination: false on the level of perception, true on the level of time: a temporal hallucination, so to speak, a modest (o)shared(i) hallucination (on the one hand 'it is not there,' on the other 'but it has indeed been'): a mad image, chafed by reality.
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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 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.
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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.
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The photograph is literally an emanation of the referent. From a real body, which was there, proceed radiations which ultimately touch me, who am here; the duration of the transmission is insignificant; the photograph of the missing being, as Sontag says, will touch me like the delayed rays of a star.
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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.
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The Photograph is an extended, loaded evidence - as if it caricatured not the figure of what it represents (quite the converse) but its very existence... The Photograph then becomes a bizarre (i)medium(i), a new form of hallucination: false on the level of perception, true on the level of time: a temporal hallucination, so to speak, a modest (o)shared(i) hallucination (on the one hand 'it is not there, ' on the other 'but it has indeed been'): a mad image, chafed by reality.
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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).
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