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.Neither-Norism can have degraded forms: in astrology, forbut lags behind.example, ill-luck is always followed by equal good-luck; they arealways predicted in a prudently compensatory perspective: a final4.Tautology.Yes, I know, it's an ugly word.But so is the thing.equilibrium immobilizes values, life, destiny, etc.: one no longerTautology is this verbal device which consists in defining like by needs to choose, but only to endorse.like ('Drama is drama').We can view it as one of those types ofmagical behaviour dealt with by Sartre in his Outline of a Theory 6.The quantification of quality.This is a figure which is latent inof the Emotions: one takes refuge in tautology as one does in fear, all the preceding ones.By reducing any quality to quantity, mythor anger, or sadness, when one is at a loss for an explanation: the economizes intelligence: it understands reality more cheaply.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 [ Pobierz całość w formacie PDF ]
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.Neither-Norism can have degraded forms: in astrology, forbut lags behind.example, ill-luck is always followed by equal good-luck; they arealways predicted in a prudently compensatory perspective: a final4.Tautology.Yes, I know, it's an ugly word.But so is the thing.equilibrium immobilizes values, life, destiny, etc.: one no longerTautology is this verbal device which consists in defining like by needs to choose, but only to endorse.like ('Drama is drama').We can view it as one of those types ofmagical behaviour dealt with by Sartre in his Outline of a Theory 6.The quantification of quality.This is a figure which is latent inof the Emotions: one takes refuge in tautology as one does in fear, all the preceding ones.By reducing any quality to quantity, mythor anger, or sadness, when one is at a loss for an explanation: the economizes intelligence: it understands reality more cheaply.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 [ Pobierz całość w formacie PDF ]