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.It is a complex product which has its notifying look; but at the same time, the fact paralyses thedeterminations at the level of a very wide history: it does not call intention, gives it something like a malaise producing immobility:out to me, it does not provoke me into naming it, except if I think in order to make it innocent, it freezes it.This is because myth isof inserting it into a vast picture of rural habitat.But if I am in the speech stolen and restored.Only, speech which is restored is noParis region and I catch a glimpse, at the end of the rue Gambetta longer quite that which was stolen: when it was brought back, itor the rue Jean-Jaures, of a natty white chalet with red tiles, dark was not put exactly in its place.It is this brief act of larceny, thisbrown half-timbering, an asymmetrical roof and a wattle-and-daub moment taken for a surreptitious faking, which gives mythicalfront, I feel as if I were personally receiving an imperious speech its benumbed look.injunction to name this object a Basque chalet: or even better, tosee it as the very essence of basquity.This is because the concept One last element of the signification remains to be examined: itsappears to me in all its appropriative nature: it comes and seeks me motivation.We know that in a language, the sign is arbitrary:out in order to oblige me to acknowledge the body of intentions nothing compels the acoustic image tree 'naturally' to mean thewhich have motivated it and arranged it there as the signal of an concept tree: the sign, here, is unmotivated.Yet this arbitrarinessindividual history, as a confidence and a complicity: it is a real has limits, which come from the associative relations of the word:call, which the owners of the chalet send out to me.And this call, the language can produce a whole fragment of the sign by analogyin order to be more imperious, has agreed to all manner of with other signs (for instance one says aimable in French, and notimpoverishments: all that justified the Basque house on the plane amable, by analogy with aime).The mythical signification, on theof technology - the barn, the outside stairs, the dove-cote, etc.- has other hand, is never arbitrary; it is always in part motivated, andbeen dropped; there remains only a brief order, not to be disputed.unavoidably contains some analogy.For Latin exemplarity to meetAnd the adhomination is so frank that I feel this chalet has just the naming of the lion, there must be an analogy, which is thebeen created on the spot, for me, like a magical object springing up agreement of the predicate; for French imperiality to get hold ofthe saluting Negro, there must be identity between the Negro's123 124 salute and that of the French soldier.Motivation is necessary to the piccaninnies: the press undertakes every day to demonstrate thatvery duplicity of myth: myth plays on the analogy between the store of mythical signifiers is inexhaustible.meaning and form, there is no myth without motivated form.7 Inorder to grasp the power of motivation in myth, it is enough to The nature of the mythical signification can in fact be wellreflect for a moment on an extreme case.I have here before me a conveyed by one particular simile: it is neither more nor lesscollection of objects so lacking in order that I can find no meaning arbitrary than an ideograph.Myth is a pure ideographic system,in it; it would seem that here, deprived of any previous meaning, where the forms are still motivated by the concept which theythe form could not root its analogy in anything, and that myth is represent while not yet, by a long way, covering the sum of itsimpossible.But what the form can always give one to read is possibilities for representation.And just as, historically, ideographsdisorder itself: it can give a signification to the absurd, make the have gradually left the concept and have become associated withabsurd itself a myth.This is what happens when commonsense the sound, thus growing less and less motivated, the worn out statemythifies surrealism, for instance.Even the absence of motivation of a myth can be recognized by the arbitrariness of itsdoes not embarrass myth; for this absence will itself be sufficiently signification: the whole of Molière is seen in a doctor's ruff.objectified to become legible: and finally, the absence ofmotivation will become a second-order motivation, and myth willbe re-established.Motivation is unavoidable.It is none the less very fragmentary.Tostart with, it is not 'natural': it is history which supplies itsanalogies to the form.Then, the analogy between the meaning andthe concept is never anything but partial: the form drops manyanalogous features and keeps only a few: it keeps the sloping roof,the visible beams in the Basque chalet, it abandons the stairs, thebarn, the weathered look, etc.One must even go further: acomplete image would exclude myth, or at least would compel it toseize only its very completeness.This is just what happens in thecase of bad painting, which is wholly based on the myth of what is'filled out' and 'finished' (it is the opposite and symmetrical case ofthe myth of the absurd: here, the form mythifies an 'absence', there,a surplus).But in general myth prefers to work with poor,incomplete images, where the meaning is already relieved of itsfat, and ready for a signification, such as caricatures, pastiches,symbols, etc.Finally, the motivation is chosen among otherpossible ones: I can very well give to French imperiality manyother signifiers beside a Negro's salute: a French general pins adecoration on a one-armed Senegalese, a nun hands a cup of tea toa bed-ridden Arab, a white schoolmaster teaches attentive125 126 If one wishes to connect a mythical schema to a general history, toexplain how it corresponds to the interests of a definite society, inReading and deciphering mythshort, to pass from semiology to ideology, it is obviously at thelevel of the third type of focusing that one must place oneself: it isthe reader of myths himself who must reveal their essentialfunction.How does he receive this particular myth today? If heHow is a myth received? We must here once more come back toreceives it in an innocent fashion, what is the point of proposing itthe duplicity of its signifier, which is at once meaning and form [ Pobierz caÅ‚ość w formacie PDF ]
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.It is a complex product which has its notifying look; but at the same time, the fact paralyses thedeterminations at the level of a very wide history: it does not call intention, gives it something like a malaise producing immobility:out to me, it does not provoke me into naming it, except if I think in order to make it innocent, it freezes it.This is because myth isof inserting it into a vast picture of rural habitat.But if I am in the speech stolen and restored.Only, speech which is restored is noParis region and I catch a glimpse, at the end of the rue Gambetta longer quite that which was stolen: when it was brought back, itor the rue Jean-Jaures, of a natty white chalet with red tiles, dark was not put exactly in its place.It is this brief act of larceny, thisbrown half-timbering, an asymmetrical roof and a wattle-and-daub moment taken for a surreptitious faking, which gives mythicalfront, I feel as if I were personally receiving an imperious speech its benumbed look.injunction to name this object a Basque chalet: or even better, tosee it as the very essence of basquity.This is because the concept One last element of the signification remains to be examined: itsappears to me in all its appropriative nature: it comes and seeks me motivation.We know that in a language, the sign is arbitrary:out in order to oblige me to acknowledge the body of intentions nothing compels the acoustic image tree 'naturally' to mean thewhich have motivated it and arranged it there as the signal of an concept tree: the sign, here, is unmotivated.Yet this arbitrarinessindividual history, as a confidence and a complicity: it is a real has limits, which come from the associative relations of the word:call, which the owners of the chalet send out to me.And this call, the language can produce a whole fragment of the sign by analogyin order to be more imperious, has agreed to all manner of with other signs (for instance one says aimable in French, and notimpoverishments: all that justified the Basque house on the plane amable, by analogy with aime).The mythical signification, on theof technology - the barn, the outside stairs, the dove-cote, etc.- has other hand, is never arbitrary; it is always in part motivated, andbeen dropped; there remains only a brief order, not to be disputed.unavoidably contains some analogy.For Latin exemplarity to meetAnd the adhomination is so frank that I feel this chalet has just the naming of the lion, there must be an analogy, which is thebeen created on the spot, for me, like a magical object springing up agreement of the predicate; for French imperiality to get hold ofthe saluting Negro, there must be identity between the Negro's123 124 salute and that of the French soldier.Motivation is necessary to the piccaninnies: the press undertakes every day to demonstrate thatvery duplicity of myth: myth plays on the analogy between the store of mythical signifiers is inexhaustible.meaning and form, there is no myth without motivated form.7 Inorder to grasp the power of motivation in myth, it is enough to The nature of the mythical signification can in fact be wellreflect for a moment on an extreme case.I have here before me a conveyed by one particular simile: it is neither more nor lesscollection of objects so lacking in order that I can find no meaning arbitrary than an ideograph.Myth is a pure ideographic system,in it; it would seem that here, deprived of any previous meaning, where the forms are still motivated by the concept which theythe form could not root its analogy in anything, and that myth is represent while not yet, by a long way, covering the sum of itsimpossible.But what the form can always give one to read is possibilities for representation.And just as, historically, ideographsdisorder itself: it can give a signification to the absurd, make the have gradually left the concept and have become associated withabsurd itself a myth.This is what happens when commonsense the sound, thus growing less and less motivated, the worn out statemythifies surrealism, for instance.Even the absence of motivation of a myth can be recognized by the arbitrariness of itsdoes not embarrass myth; for this absence will itself be sufficiently signification: the whole of Molière is seen in a doctor's ruff.objectified to become legible: and finally, the absence ofmotivation will become a second-order motivation, and myth willbe re-established.Motivation is unavoidable.It is none the less very fragmentary.Tostart with, it is not 'natural': it is history which supplies itsanalogies to the form.Then, the analogy between the meaning andthe concept is never anything but partial: the form drops manyanalogous features and keeps only a few: it keeps the sloping roof,the visible beams in the Basque chalet, it abandons the stairs, thebarn, the weathered look, etc.One must even go further: acomplete image would exclude myth, or at least would compel it toseize only its very completeness.This is just what happens in thecase of bad painting, which is wholly based on the myth of what is'filled out' and 'finished' (it is the opposite and symmetrical case ofthe myth of the absurd: here, the form mythifies an 'absence', there,a surplus).But in general myth prefers to work with poor,incomplete images, where the meaning is already relieved of itsfat, and ready for a signification, such as caricatures, pastiches,symbols, etc.Finally, the motivation is chosen among otherpossible ones: I can very well give to French imperiality manyother signifiers beside a Negro's salute: a French general pins adecoration on a one-armed Senegalese, a nun hands a cup of tea toa bed-ridden Arab, a white schoolmaster teaches attentive125 126 If one wishes to connect a mythical schema to a general history, toexplain how it corresponds to the interests of a definite society, inReading and deciphering mythshort, to pass from semiology to ideology, it is obviously at thelevel of the third type of focusing that one must place oneself: it isthe reader of myths himself who must reveal their essentialfunction.How does he receive this particular myth today? If heHow is a myth received? We must here once more come back toreceives it in an innocent fashion, what is the point of proposing itthe duplicity of its signifier, which is at once meaning and form [ Pobierz caÅ‚ość w formacie PDF ]