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.Iaccidental failure of language is magically identified with what one have given several examples of this mechanism which bourgeois -decides is a natural resistance of the object.In tautology, there is a and especially petit-bourgeois - mythology does not hesitate todouble murder: one kills rationality because it resists one; one kills apply to aesthetic realities which it deems on the other hand tolanguage because it betrays one.Tautology is a faint at the right partake of an immaterial essence.Bourgeois theatre is a goodmoment, a saving aphasia, it is a death, or perhaps a comedy, the example of this contradiction: on the one hand, theatre is presentedindignant 'representation' of the rights of reality over and above as an essence which cannot be reduced to any language and revealslanguage.Since it is magical, it can of course only take refuge itself only to the heart, to intuition.From this quality, it receives anbehind the argument of authority: thus do parents at the end of irritable dignity (it is forbidden as a crime of 'lese-essence' to speaktheir tether reply to the child who keeps on asking for about the theatre scientifically: or rather, any intellectual way ofexplanations: 'because that's how it is', or even better: 'just viewing the theatre is discredited as scientism or pedanticbecause, that's all' - a magical act ashamed of itself, which language).On the other hand, bourgeois dramatic art rests on a153 154pure quantification of effects: a whole circuit of computable there may well be many others: some can become worn out, othersappearances establishes a quantitative equality between the cost of can come into being.But it is obvious that those given here, sucha ticket and the tears of an actor or the luxuriousness of a set: what as they are, fall into two great categories, which are like theis currently meant by the 'naturalness' of an actor, for instance, is Zodiacal Signs of the bourgeois universe: the Essences and theabove all a conspicuous quantity of effects.Scales.Bourgeois ideology continuously transforms the productsof history into essential types.Just as the cuttlefish squirts its ink in7.The statement of fact.Myths tend towards proverbs.Bourgeois order to protect itself, it cannot rest until it has obscured theideology invests in this figure interests which are bound to its very ceaseless making of the world, fixated this world into an objectessence: universalism, the refusal of any explanation, an which can be for ever possessed, catalogued its riches, embalmedunalterable hierarchy of the world.But we must again distinguish it, and injected into reality some purifying essence which will stopthe language-object from the metalanguage.Popular, ancestral its transformation, its flight towards other forms of existence.Andproverbs still partake of an instrumental grasp of the world as these riches, thus fixated and frozen, will at last becomeobject.A rural statement of fact, such as 'the weather is fine' keeps computable: bourgeois morality will essentially be a weighinga real link with the usefulness of fine weather.It is an implicitly operation, the essences will be placed in scales of which bourgeoistechnological statement; the word, here, in spite of its general, man will remain the motionless beam.For the very end of myths isabstract form, paves the way for actions, it inserts itself into a to immobilize the world: they must suggest and mimic a universalfabricating order: the farmer does not speak about the weather, he order which has fixated once and for all the hierarchy of'acts it', he draws it into his labour.All our popular proverbs thus possessions.Thus, every day and everywhere, man is stopped byrepresent active speech which has gradually solidified into myths, referred by them to this motionless prototype which lives inreflexive speech, but where rcflection is curtailed, reduced to a his place, stifles him in the manner of a huge internal parasite andstatement of fact, and so to speak timid, prudent, and closely assigns to his activity the narrow limits within which he is allowedhugging experience.Popular proverbs foresee more than they to suffer without upsetting the world: bourgeois pseudo-physis isassert, they remain the speech of a humanity which is making in the fullest sense a prohibition for man against inventing himself.itself, not one which is.Bourgeois aphorisms, on the other hand, Myths are nothing but this ceaseless, untiring solicitation, thisbelong to metalanguage; they are a second-order language which insidious and inflexible demand that all men recognize themselvesbears on objects already prepared.Their classical form is the in this image, eternal yet bearing a date, which was built of themmaxim.Here the statement is no longer directed towards a world to one day as if for all time.For the Nature, in which they are lockedbe made; it must overlay one which is already made, bury the up under the pretext of being eternalized, is nothing but an Usage.traces of this production under a self-evident appearance of And it is this Usage, however lofty, that they must take in hand andeternity: it is a counter-explanation, the decorous equivalent of a transform.tautology, of this peremptory because which parents in need ofknowledge hang above the heads of their children.The foundationof the bourgeois statement of fact is common sense, that is, truthwhen it stops on the arbitrary order of him who speaks it.I have listed these rhetorical figures without any special order, and155 156myth reaches the entire community, it is from the latter that themythologist must become estranged if he wants to liberate theNecessity and limits of mythologymyth.Any myth with some degree of generality is in factambiguous, because it represents the very humanity of those who,having nothing, have borrowed it.To decipher the Tour de Franceor the 'good French Wine' is to cut oneself off from those who areI must, as a conclusion, say a few words about the mythologistentertained or warmed up by them.The mythologist is condemnedhimself.This term is rather grand and self-assured.Yet one canto live in a theoretical sociality; for him, to be in society is, at best,predict for the mythologist, if there ever is one, a few difficulties,to be truthful: his utmost sociality dwells in his utmost morality.in feeling if not in method.True, he will have no trouble in feelingHis connection with the world is of the order of sarcasm.justified: whatever its mistakes, mythology is certain to participatein the making of the world.Holding as a principle that man in aOne must even go further: in a sense, the mythologist is excludedbourgeois society is at every turn plunged into a false Nature, itfrom this history in the name of which he professes to act.Theattempts to find again under the assumed innocence of the mosthavoc which he wreaks in the language of the community isunsophisticated relationships, the profound alienation which thisabsolute for him, it fills his assignment to the brim: he must liveinnocence is meant to make one accept [ Pobierz całość w formacie PDF ]