Abstract

This article brings together Roland Barthes and Samuel Beckett into a dialogue devoid of hierarchy, with Jacques Lacan as mediator. Both writers were intent on escaping the sway of the image considered as formatted by meanings. For Barthes, the themes of love and photography point to the existence of unicity within the dispersal of meanings and the reality of loss. Rather than undoing the image like Barthes, Beckett starts from an inaugural absence of instituted reality: from an original absence of any ‘that-has-been’, as expressed in the motif of the mask. Both authors locate vision within speech, and the alterity contained within the latter.