“objets / objects
Every object touched by the loved being’s body becomes part of that body, and the subject eagerly attaches himself to it.

2. Aside from these fetishes, there is no other object in the amorous world. It is a world sensuously impovrished, abstract, erased, canceled out; my gaze passes through things without acknowledging their seduction; I am dead to all sensuality except that of the “charming body.” Of the external world, the only thing I can associate with my condition is the quality of the weather, as if the day’s character were a dimension of the Image-repertoire (the Image is neither profound nor colored, but it is charged with all the nuances of light and warmth, communicating with the amorous body, which thus feels itself to be well or ill as a whole, as a communion). In the code of Japanese haiku, there must always be a word which refers back to the time of day and of the year; this is the kigo, the season-word. Amorous notation retains the kigo, that faint allusion to the rain, to the evening, to the light, to everything that envelopes, diffuses.”

Roland Barthes, A Lover’s Discourse: Fragments [Fragments d’un discours amoureux], 1977. Via.

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