羅蘭巴特在其書寫生涯中一直對攝影很感興趣，也留下多篇重要理論著作。可是當他不談攝影時，也經常提到可與攝影互喻的現象，可以說，巴特對攝影的觀感，是與他對文學的見解，或對其他文化現象的觀察剖析，同時並進，相輔相成的。至今，已有多位學者舉出這樣的觀察，比如杜玻瓦 便 認為巴特是以一種「攝影的注目」在看待一切事物，無論是圖像、文字，或其他事物；換言之，是以巴特「佇留目光的態勢」作為探詢的起點；不是看巴特寫什麼或有否提及攝影，而是以「攝影」為「一普遍而不明言的程序」。 我們認為 這樣的思維模式也體現在《巴特寫巴特》中，故反過來看，本論文欲指出：當巴特在審思自己的注目焦點，他的思考模式，他的多面自我想像時，他也正是在思索著攝影 ── 巴特寫巴特，即巴特寫攝影。若《巴特寫巴特》是一本藉由種種寫作修辭策略來閃躲中心我的（反 ／ 非）自傳體文本，而《明室》以半論文半小說的融合形式，可能是巴特作品中最直接顯現親密我的一本書。這兩本一隱一顯的類自傳，恰巧也在一隱一顯、一潛在一直接地寫攝影。最後，反身檢驗上述本論文對這兩本著作所進行的互文閱讀動勢，試著提出「從後思索」、「取消重來（出爾反爾）」、「事後回想」三種思維動勢的解釋可行性。

Roland Barthes was all life long interested in photography. Not only did he write several important critical essays about this subject, but he also applied his vision to all that comparable to photography. This particular vision is in relation with his observation upon all cultural phenomena. Indeed, many scholars have already agreed upon this remark. Philippe Dubois, for example, thought that Barthes adopted a so-called “photographic gaze” upon all sorts of things, either image or text. In other words, by the photographic gaze, Barthes entered into a questioning position in face of his contemplated object. So, the notion of “photography” can even be considered here as “an implicit general process” of his thinking mode, which is also present in his reluctant autobiography roland Barthes by roland barthes. This paper will try to prove that Barthes did look into his plural ego images, his self-reflection and all ideas, as if this were relevant to photography. Through Camera Lucida, one can read/see this uncommon autobiography, one eye upon Barthes himself and the other eye upon photography. Finally, we will try to define our own intertextual reading as an incessant come-across movement between these two texts of Barthes.