Why is it the philosopher who is expected to be easier and not some scientist who is even more inaccessible?

I do everything I think possible or acceptable to escape from this trap.

I have always had school sickness, as others have seasickness. I cried when it was time to go back to school long after I was old enough to be ashamed of such behavior.

We are all mediators, translators.

Whatever precautions you take so the photograph will look like this or that, there comes a moment when the photograph surprises you. It is the other's gaze that wins out and decides.

The circle of the return to birth can only remain open, but this is a chance, a sign of life, and a wound.

These critics organize and practice in my case a sort of obsessive personality cult which philosophers should know how to question and above all, to moderate.

The boarding-school experience in Paris was very hard, I didn't put up with it very well. I was sick all the time, or in any case frail, on the edge of a nervous breakdown.

The first problem of the media is posed by what does not get translated, or even published in the dominant political languages.

In philosophy, you have to reckon with the implicit level of an accumulated reserve, and thus with a very great number of relays, with the shared responsibility of these relays.

I became the stage for the great argument between Nietzsche and Rousseau. I was the extra ready to take on all the roles.

To pretend, I actually do the thing: I have therefore only pretended to pretend.

Who ever said that one was born just once?

My most resolute opponents believe that I am too visible, that I am a little too alive, that my name echoes too much in the texts which they nevertheless claim to be inaccessible.

Why is it the philosopher who is expected to be easier and not some scientist who is even more inaccessible?

Every discourse, even a poetic or oracular sentence, carries with it a system of rules for producing analogous things and thus an outline of methodology.

As soon as there is language, generality has entered the scen.

In Algeria, I had begun to get into literature and philosophy. I dreamed of writing-and already models were instructing the dream, a certain language governed it.

I wrote some bad poetry that I published in North African journals, but even as I withdrew into this reading, I also led the life of a kind of young hooligan.

If this work seems so threatening, this is because it isn't simply eccentric or strange, but competent, rigorously argued, and carrying conviction.

These years of the Ecole Normale were an ordeal. Nothing was handed to me on the first try.

I have always had trouble recognizing myself in the features of the intellectual playing his political role according to the screenplay that you are familiar with and whose heritage deserves to be questioned.

No one gets angry at a mathematician or a physicist whom he or she doesn't understand, or at someone who speaks a foreign language, but rather at someone who tampers with your own language.

I do not believe in pure idioms. I think there is naturally a desire, for whoever speaks or writes, to sign in an idiomatic, irreplaceable manner.

I never give in to the temptation to be difficult just for the sake of being difficult. That would be too ridiculous.

Certain readers resented me when they could no longer recognize their territory, their institution.

Still today, I cannot cross the threshold of a teaching institution without physical symptoms, in my chest and my stomach, of discomfort or anxiety. And yet I have never left school.

Everything is arranged so that it be this way, this is what is called culture.

As soon as there is language, generality has entered the scene.

The end approaches, but the apocalypse is long lived.

The circle of the return to birth can only remain open but this is a chance a sign of life and a wound.

Everything is arranged so that it be this way this is what is called culture.

Speech is a text, gesture is a text, reality is a text in this new sense. This is not about re-establishing graphocentrism alongside logocentrism or phonocentrism or text-centrism. The text is not a centre. The text is an openness without borders, of ever-differentiating references.

Psychoanalysis has taught that the dead -- a dead parent, for example -- can be more alive for us, more powerful, more scary, than the living. It is the question of ghosts.

When I first started out in the music industry and went to Elektra Records, I didn't go to be an artist, I went to get a record label started. And they said in order to have a label deal, I had to be an artist - so that's what I did.

It's fashionable with the Sarah Palin set to attack Harvard and treat its graduates as elitists. But if you spend any time on campus, you see students drawn from all over the world - an astonishing number these days with roots in Asia - whose chief assets are brainpower and hard work.

If you look at national economies today, for example, the American economy, the European economy, the Indians, the Chinese, we're all tied together. If one of them sinks, the rest are going to sink with them and if one floats, the rest are lifted up. I find that very interesting.

If one truly has lost hope, one would not be on hand to say so.

I never believed marriage was a lasting institution. I thought that to be married for five years was to be married forever.

I'm not an expert on the Middle East or terrorism or the use of military force or politics. It's all I can do to know a little bit about how to help people raise their kids and what to do when they get sick. When a war happens, I just hope it gets over with quickly so that how we take care of children becomes more important again.

I was made to believe there was a plan in place for ending Donald's previous marriage. I pulled away because I wanted to allow him the time to deal with his wife.

If you do not train hard you will never fulfill your potential.

I would never intend to hurt anyone I'm in the ring with. It's entertainment, it's a performance, it's a sport.

Life is too short to wear boring nail polish.

I find that movies tend to fix the aesthetics of a story in people's minds.

The true beloveds of this world are in their lover's eyes lilacs opening, ship lights, school bells, a landscape, remembered conversations, friends, a child's Sunday, lost voices, one's favorite suit, autumn and all seasons, memory, yes, it being the earth and water of existence, memory.

If you want to be an actor, you have to do it because you love acting, not because you want to be a celebrity.

I'm very sensitive. Because my mum was my primary emotional caregiver growing up, I found myself being pinned into dresses, darting her dresses, choosing her high heels for the evening or what to wear. I'm very much a mommy's boy.

Virtue is the truest nobility.