00:00:00.960 - 00:00:22.880

Unknown: Here was the problem of how the individual, the individual human being, is turned into a subjectivity, that is to say, a not only a person that is aware of having an interior dimension to their being, a subjectivity, an

00:00:22.880 - 00:00:42.460

interior dimension to their being, a dimension of inner conscious but also the way, the way in which that person with that sense of interiority is turned into a willing subject of authority. We're using the term subjectivity, therefore, in two

00:00:42.460 - 00:01:06.360

senses, you say, in the sense of interiority, that aspect of consciousness That's peculiar the human the human animal, as far as we know, a capacity to reflect upon oneself, to speak to oneself, you see, and this dimension of subjectivity, and

00:01:06.360 - 00:01:24.140

we're using the term subjectivity in the current in the sense of subjection, subjection, individual self, subjection. Above all, remember we pointed out that for Freud, the human animal differs from the rest of the animal kingdom

00:01:24.140 - 00:01:43.060

by virtue of its capacity to set restraints upon its own desire to set restraints, self restraints. You say, not only is the human animal see driven by the same desire to presume as other animals and as those desires frustrated by very

00:01:43.060 - 00:02:02.160

practical problems that one runs into in the nature of things. But the human animal apparently has this capacity to repress its desire, to set constraints upon what it will desire. This is what seems to be one aspect of the uniqueness of the human

00:02:02.280 - 00:02:19.260

situation, the stochastic repression, therefore can be seen you see as a liability or as an advantage. Freud maintains that it's both a liability insofar as it creates certain specifically human illnesses, manifested in neurosis, in

00:02:19.260 - 00:02:37.640

neurotic behaviors, but it's also an advantage in so far as it alone is what makes a human life possible, a life in society, a kind of altruism, for example, with respect to others, capacity for self sacrifice, self aggregation, so forth, that

00:02:37.640 - 00:02:57.400

are usually associated With the highest heroes, the heroic models of human support, the capacity for self sacrifice, for doing, for others. So this repression here you see, creates a kind of subjectivity that is both an interiority and a

00:02:57.400 - 00:03:20.160

capacity for self subjection. I The problem is, I mean, the problem for society is how to get the human animal to enter voluntarily into this program of self repression? Okay, how to get a person we can put it very privilege, to obey the law even

00:03:20.160 - 00:03:45.880

when no one is looking, that's the problem. Now you have, therefore, then the whole society in place. When the individual is born, you have the subject over here, conscious, unconscious, driven by these drives and oriented towards a

00:03:45.880 - 00:04:07.560

world that is functionally differentiated, differentiated into classes, groups and so forth, each enjoying different privileges, privileges, wealth, power. These are differentially, differentially distributed, and the question is, how to how to

00:04:07.560 - 00:04:28.940

engage the society. Is how to engage the individual in such a way that it will affirm the system into which it is being incorporated. How to affirm it? How to affirm therefore one's own subjection to the social system. How to affirm one's own

00:04:28.940 - 00:05:01.440

subjection to the social system, according to BART and to many theorists of culture nowadays, the way this subject is created, the way the subject is created is by way of discourses. Society is seen as a source of a number of discourses. The. Which are

00:05:01.440 - 00:05:23.600

directed not only at the subject's consciousness, in the form of overt laws don't run traffic lights when Red comes on, stop and so forth. These are all directly given as orator comparative law is the command law command,

00:05:24.860 - 00:05:53.980

and these are directed at consciousness, but also also the effectiveness of these laws requires that these laws become vested in grounded in the subjects unconscious, and so we're going to look at these discourses that originated in

00:05:54.160 - 00:06:14.940

the larger social system that are directed towards the individual and are concerned to constitute the individual as a self, subjecting entity. It's only do this by playing upon the unconscious in such a way as to

00:06:14.940 - 00:06:34.760

produce in the subject a kind of imaginary relationship to society, a kind of imaginary relationship to society, such that the subject affirms the social order as being in the nature of things as being something that cannot be

00:06:34.760 - 00:06:56.380

changed, as being, therefore just in Some way, you say. And at the same time, gratify to the subject, not only in the rewards that it gives them, but in the punishment it gives them as well. Okay, the society, the social order must be experienced

00:06:56.380 - 00:07:16.680

in order for the thing to function as a source of rewards for jobs well done. And these rewards may be both materialized psychologically, the feeling, the feeling that I know I've done a good job, right? I don't do this very often, right? But

00:07:16.860 - 00:07:42.880

when I do, I feel pride, self esteem is but at the same time I must the good citizen is one who also feels that whatever restrictions or punishments are placed upon him or her, that these two are As it should be, so that the the the ideal

00:07:42.880 - 00:08:07.380

subject is the one that affirms both the justice of the system you see, and whatever pain or suffering system wishes upon the subject, we create an imaginary relationship to the social reality in which the subject affirms its own subjection to

00:08:07.380 - 00:08:28.880

the system. How is this done? The reason we're reading Bart is that we have a theory you see here offered, or a summary of a theory created by a very large number of people trying to do with the nature of messages that are both productive, that are

00:08:28.880 - 00:08:51.400

well, let's put it, they have to do with the nature of social and cultural messages that not only contain information, but also contain a certain kind of process, productive of or related to the imaginary life of the human subject, the imaginary

00:08:51.400 - 00:09:12.600

life. I was trying to think of an example. Fortunately, I went to see a movie yesterday called Out of Africa. And this movie in a perfect example. You see mythification, a mythification in Barth's sense. You call that. BART is talking about messages,

00:09:13.020 - 00:09:47.920

and he introduces us to the science of semiology, which is a science created in this century, the science of sign, of signs and signification, of signifying. The word same up, Greek word for sign, okay to say Mother, the Greek word for sign,

00:09:48.460 - 00:10:10.680

semiology, the science of the reading of signs. Signs themselves are to be distinguished from words. Are to be distinguished from words. If. In the same way, says Bart today, in the same way that semiology is to be distinguished

00:10:10.680 - 00:10:28.460

on linguistic analysis signs, the signs that interest Bart and cultural analysts in general, and historians of consciousness, the kind of signs are made out of language. They're made out of language, but they are not. They do not correspond to language

00:10:28.700 - 00:10:50.800

itself. I say to you, the class the the Xerox copy of Mary Douglas's book here in danger is now available at the copy center, a straightforward message, a straightforward message with no kind of secondary implications. Oh,

00:10:50.800 - 00:11:10.380

there's some behind me. We could analyze them out, I say to you so forth, just a secondary message, supposing that I picked the conception of copy centers, taken out of that sentence the same and put it into another discourse. Start talking about

00:11:10.440 - 00:11:31.520

the reproductions of originals. I can endow the notion of copying itself, you see, with all sorts of secondary associations that can be directed towards not only the conscious aspect of your cortex, cerebellum and so forth, but

00:11:31.520 - 00:11:53.200

also the unconscious dimensions and personality I can invoke in the very notion of copying. You say, all of those fears that we have of being you say copy my six year old, seven year old daughter hates being copied. Jacqueline copies me today.

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Great fear that loss of individuality, the great idea of doubling the double, the very notion of the copy, contemporary post modernist art. Post modernist art is based upon the idea that there is no original anymore, right? That all you've

00:12:14.820 - 00:12:35.360

got are copies of copies. This has to do with the feeling that we have in our in our society, you see, of the value of being an individual, an original. You say, being an original, an unduplicatable original. You see how I could have just used the

00:12:35.360 - 00:12:53.980

notion of the copy. I could put it into another discourse, you see, and it has connotations quite different from what it has when I use it in utilitarian or practical speech. Of just giving you an instruction where you can get your now out of Africa was a

00:12:53.980 - 00:13:19.800

good example of this. You see Mark claims that we can see the ways in which messages cast in ordinary language carry the kind of weight of possible meaning that can be used to generate messages that speak to not Only the cognitive centers, the

00:13:19.800 - 00:13:40.220

knowledge centers of consciousness, but also those areas in which of consciousness, in which anxieties, fears, desires and so forth, are all present in order to create you see this imaginary domain in which, In which I submit myself

00:13:40.220 - 00:14:03.000

to the world, sending out an apple is a good example. Well, good example. All of the pictures in there presumably are real pictures of a real real animals, people and so forth, right? That is to say that every picture there Brazil has what we

00:14:03.000 - 00:14:17.820

call a reference in reality. That house seen it. You have to see it, right? You know why you don't have to see it? Because the Africa that is represented, there is an imaginary Africa to begin. You

00:14:17.820 - 00:14:33.320

don't not have to have seen it. And the point of fact, because you watch that film, what you will see is the imaginary African you will see in that film by the multiplication of these images, each of them is referential and informational,

00:14:33.680 - 00:14:51.880

right? The repetition of them and the sequences of them will create an essence of Africa. This essence of Africa is quite distinct from the historical Africa, right? By the historical Africa to be the one that you said. There are no flies in this

00:14:55.540 - 00:15:14.640

Africa. It's just lush, beautiful, right? It's the African. Africa of the imagination, an Africa in which none of the problems of our lives you see arise. How what were the toilet facilities like in 1913 you see in June, I asked

00:15:14.640 - 00:15:40.120

myself, the natives were also Johnny, right? And so part of the scene, they were just as they should be, nice and jolly and laughing happy. You have the essence of Africa. Nothing that's in the that's in the film, I presume, is false. It

00:15:40.120 - 00:15:59.080

taken image by image, a sequence of image, images you see, and the way they're framed and the narrative in which they're put to say, create the essence of African remember, I spoke to you I mentioned last time Bart says wine, objectively, wine is good,

00:15:59.800 - 00:16:22.940

but the goodness of wine is a myth. Objectively, Africa exists, but that essence of Africa is a myth. That there is an essence of Africa. Take the people in this film. What we have from the very opening scene is a shot that just shows,

00:16:22.940 - 00:16:41.380

referentially, a hunting party people are out shooting routes, right within the context of what tables being waited on by servants who are pouring champagne, we immediately get the secondary Message what aristocracy hunting associated

00:16:41.380 - 00:17:00.160

with Aristotle. Hunting can be associated with it too, right? Hunting can be associated with work here. Hunting is associated with leisure and the kind of style and general decadence of the nobility, of the European nobility, for which also we have

00:17:00.160 - 00:17:27.080

a nostalgia, right? How could Meryl Streep be any more noble than she was in this building? I can't imagine. Is there nothing this woman could not do? She heals the sick, right? She She shoots raging lions. She drives one lion away with a whip from a

00:17:27.080 - 00:17:50.800

water pump. She, she does everything. She's beautiful. She, she inaugurates coffee plantations in Kenya where they said it couldn't be done. I She's a great lover. She's also tragic, right? Yes, I'm just funny. Could you go tell a story

00:17:50.800 - 00:18:12.240

without this, this good question, could you tell a story without this linification process? What do you think? No. He says, No, is there any such thing as a purely referential story saying, is story telling by its nature? Well, myth of

00:18:12.240 - 00:18:26.840

fine. What do you think you see? This is again, and then eventually, quite brought it, because part of it, have you seen the movie? Yeah. Well, part of the story is, it's about someone who's getting materials to tell stories later on, right?

00:18:28.100 - 00:18:44.980

The film is a celebration, a lyrical celebration, of being a writer. We know that all of this is going into Isaac Dennis or Karen glickson's stories later on, and some of the most beautiful moments of the film is when she's telling stories,

00:18:44.980 - 00:19:00.780

right? The details of which we never hear. We hear the beginning and the end, right, and we never hear the middle. But we don't need to, because these are ideal stories, right? These are the essence of stories. You see what I'm

00:19:00.780 - 00:19:18.960

getting at here. The difference between a report, I mean, for example, writing is not you know something you do when you sit in front of the fire with a glass of contact with two admiring men and sort of, it's hard work. That's why there are so few, so

00:19:18.960 - 00:19:36.200

few, very good storytellers, right? Or writers of story. Writing is very minimal, and we value stories because it's very rarely that we get good stories. It's not something you know that you just present lyric, hey, give me the first sentence and

00:19:36.200 - 00:19:52.960

I'll give you the rest of the story. We then like this kind of puzzle, if you've got genius, you have to plant coffee in the morning, shoot a lion in the afternoon. I will have a fair and big evening, and write your stories in between, while you're

00:19:52.960 - 00:20:10.140

getting the house in order, putting the natives in school, teaching them to speak English right, to read. And so forth. It'd be very difficult. But you also have to help win the war by running, running, some wise to your husband received his trap

00:20:10.560 - 00:20:40.220

in the back country, fighting the German. I mean, you know all of this in five years, symphys husband's fault, and you and, but also also flaw. It's like flaw do not bear children, sign of not being ordinary here within the context of this epic

00:20:41.540 - 00:21:01.200

version of noble life. Who's wrong? Nostalgia? Would you like to ride an acronym find that kind of house waiting all the servants who say, I mean the nostalgia for life, not only a nostalgia for an aristocratic life, but for an image of an

00:21:01.200 - 00:21:17.820

aristocratic life that itself is an image, is it not of the heroic life as represented in the ethics of the literary tradition? So here we have discourses you see that refer to other discourses, that refer to other discourses, always on the

00:21:17.820 - 00:21:36.680

level, always on the level of the appeal to the unconscious. You see where our desire to be the same kind of creative person, our desire to be autonomous, our desire to do things, our desire to do meaningful work, which is one of

00:21:36.680 - 00:21:51.820

the images that comes through this film, right? She's doing everything. It doesn't matter that the plantation finally things right. They find an act of God that that happens, right? The fire destroys the back. Just an act of God. In fact, the

00:21:51.820 - 00:22:10.800

servant says that when he awakens and he sees the fire on the horizon, I think God is here. Okay, so we have, in this wonderful film, a perfect example you see, of the use of images to on the one hand, all of which we assume you see, are

00:22:11.040 - 00:22:28.400

perfectly straightforward in their informational content. We could read them for information, although you notice the animals are there also for similar debt or their purposes, right? Elephants, there are always the essence of elephant. They move

00:22:28.940 - 00:22:54.280

their gas ball. Do they knock from one side of the screen to the other? Seems probably bang. Oh, my little I put my little girl said, she said, Oh, that's another one. This is no within the context, however it spells Africa. Those

00:22:54.280 - 00:23:13.500

drums, they're driving me mad. That's part of Africa too. But there were no drums in this Mort right? That shows us a modern film, an art film, no drums, just lush strings, right? Well, I don't mean to sound like an admirer of this film, because I

00:23:13.500 - 00:23:30.920

was, but it went on too long, but I'm an admirer of it as much for the expertise with which it creates the myth of Africa and the myth of nobility, and fuses the two, you see, in order to allow me, for about two hours and 40 minutes, to sit there and

00:23:30.920 - 00:23:50.680

imagine what it would be like to be in such a world doing those kinds of things without any fear or threat of Danger, you see, because I know I'm protected or inoculated against real tragedy here, and to take to sublimate, therefore you see to sublimate,

00:23:50.860 - 00:24:16.560

as Freud would say, all of those anxieties I have about, well, what, sex, work, violence, knowledge all of those things here I'm allowed for a moment, you see to reinforce certain ideal, what Freud would call super ego component. Ego ideal,

00:24:16.560 - 00:24:45.760

you see that I have imbibed, that has been invested in me as a result of my experience, for the most, part of family and education and general cultural experience. Well, no, we have what's going on here? Freud asked, I mean, Bart asks us, how

00:24:45.760 - 00:25:08.580

do we analyze the process that I have just described, the process of mythification. Let me say first of all that mythification is a general term that Barth uses, and that. I will, I will distinguish among three kinds of what he calls mythification. The

00:25:08.580 - 00:25:28.640

essence of the essence of myth is always, he says, to substitute nature or history by nature, he doesn't mean well, what do we mean by nature? Violent seas. What better weather? What do we mean by nature? Nature is the condition

00:25:28.700 - 00:25:59.080

that we take to be the way things are. That is to say, when the spell, or whoever the director is, substitutes an essence of Africa, more historical. He surreptitiously substitutes the one, the one for the other.

00:25:59.320 - 00:26:21.200

He does it by way of images and stories. Which are we, which purport to be perfectly straightforward informational items. That is to say, the nice thing that, for my purposes, about this movie out of Africa, is that it's, it's about a real

00:26:21.200 - 00:26:40.300

person who really lived. It's about this writer, this woman, Danish writer, who wrote under the name of Isaac Dennis. And so therefore, at the level of the characters themselves, all of these characters represent actual human beings who once

00:26:40.300 - 00:27:02.940

lived, and whose stories are true. So it's a kind of true story, a kind of true story, as for Africa itself, all of the images are take it from Africa. I don't know if the summer main studio or not, but any of them so you have at both, at both the

00:27:02.940 - 00:27:29.900

levels of the characters and of the locale, you can make a distinction between the historical reality and the myth. The historical reality and the myth, yes, its intrinsic quality. Qualities. Well, the question is, why do I use the

00:27:29.900 - 00:27:45.580

term essence of Africa? I'm following it primarily because, because of BART's usage. Because Bart takes it. When you create an essence, you are, you are indulging in mythification, because, for Bach, there are no essences. You say there are no

00:27:45.580 - 00:28:02.460

essences. That's an idealist concept. For Bach, there is no essence of you. There is no essence of America. You say we desire, we would desire, in our condition of instability, internal and external, to believe that there are essences.

00:28:02.700 - 00:28:19.140

And the ideal, of course of all knowledge, or all wisdom, is to see through things and to grasp their essence. That's the, I mean, that's the claim of a certain kind of knowledge above all religious knowledge, right? Religious knowledge, which

00:28:19.140 - 00:28:39.080

claims to give you the essence of things, to be able to distinguish between the essence and the attribute, to pierce through the internal essence. So for Barth myth, modern myth, is always producing the essence effect. We call it the essence

00:28:39.080 - 00:29:03.060

effect you see, and that is what grasp grabs us about myth. But this essence is a creation, you see, of the manipulation of science is a creation of the manipulation of sign, which, and by science, he means, they may be linguistic signs, but also

00:29:03.180 - 00:29:19.200

all visual images, visual images, what do you got now? What is the relationship you see between and we can say, by the way, that the meaning of the myth, the meaning of the myth, is always

00:29:19.440 - 00:29:40.160

this suggestion that we at last found the essence. Essences are always, always manifest themselves in stereotypes, right? That is to say, if you probably feel that stereotyping is a bad thing, and yet it's the very quintessence of

00:29:40.220 - 00:30:02.220

essentialist thing, right? You say there's an essence of Negritude, or there's an essence of America, of America that has to be distinguished. There's an essence of Christianity and so forth. It's a sense. Miss thinking that is characterized

00:30:02.280 - 00:30:23.660

as a mythic thinking by Barth. Now, so this is myth in Barth's term, but I am making a distinction between three kinds of myth, factological, ideological and what I will continue to call mythological. And I want to give you today, I

00:30:23.660 - 00:30:56.080

will go through with you this, this text of Genesis as an example of a kind of manifest mythology, which does much the same thing that BART claims goes on in all forms of mythic thinking, from such things as the blue guy to Spain, which he

00:30:56.080 - 00:31:13.980

analyzes in pathology, all the way Over to the brain of Einstein. Now here are some in the mythologies, because of kind of Werner, for our discussion of Genesis, you have the analysis in much the same terms that I have given you about a map

00:31:13.980 - 00:31:38.240

assessment of certain ordinary things encountered in daily life in France, ordinary a guidebook, this fake meal made up of steak and french fries, something comes to him in the newspaper, news, news that they

00:31:38.240 - 00:31:58.120

have saved Einstein's brain. They're going to analyze it, they're going to weigh it, and so forth. What's involved he thinks in these practices, what's involved in these practices? And he goes on to show you how, for example, in

00:31:58.120 - 00:32:23.240

the discussion of the symbolic, the mythical significance you see of the French passion or belief in stake, and I'll just call them french fries, alright. Stake in french fries, the ways in which a kind of essence of France or of noble humanity is

00:32:23.240 - 00:32:46.720

merged with these mundane items of consumption in order to reinforce a certain self conception of the French as having as being almost one with the state now mythified, received and the French prize. What does he say about then,

00:32:47.200 - 00:33:10.320

about these two humble items, save the French prize? What's going on through his analysis of the this of the culinary message. Point here is that steaks and french fries within the French context, you see, is not only just an item for

00:33:10.320 - 00:33:31.100

consumption, for the nutrition, in my view, it's also, it's also a message. Steak and french fries is a message, as he points us when the Frenchman leaves home, this is before, of course, the new cuisine. No Frenchman today, I think, would continue

00:33:31.340 - 00:33:53.080

to, is that right now to leave to think of steak and french fries as the very essence of France, but steak is part of the same Santa wine, mythology as wine, the same blood mythology, mythology and blood as wine. It is the heart of meat. It is meat

00:33:53.380 - 00:34:20.360

in its pure space. Whoever partakes of it assimilates a bowl like strength, the prestige of state, evidently derives from its quasi rawness. In it, blood is visible, natural, dense, at once compact and satire. One can well imagine the ambrosia of the

00:34:20.360 - 00:34:40.780

ages as this kind of heavy substance which dwindles under one's teeth in such a way as to make one keenly aware the same time of its original strength and of its aptitude to flow into the very blood of man. Full bloodiness is the raison d'etre,

00:34:41.260 - 00:35:00.240

the reason for being a state, the degrees to which it is cooked are expressed not in power of units, but in images of blood. Rare state is said to be sent young when it recalls the arterial flow from the cup and the animals throat or. Lived

00:35:01.080 - 00:35:21.140

blue and it is now the heavy the thoracic blood of the veins, which is suggested by the purplish color, the superlative of redness its cooking even moderate, cannot openly find expression for this unnatural state. A euphemism is needed for

00:35:21.140 - 00:35:41.740

the unnatural state of cooking steak. The mythology of steak is the closer it is too raw, right? The more noble, and the more strength you will get from its consumption. The more virile for males, right? Like Rocky eating those raw eggs. One says that

00:35:41.920 - 00:35:58.060

steak is up when medium, and this in truth, is understood more as a limit than as a perfection. When you order a steak, medium, this is a limit beyond which the cooking should not go. All of this is included you see in the message, the

00:35:58.060 - 00:36:16.800

messages with which just a surgeon of state is in doubt. I think probably this is more a description of the American myth of state than it is the French myth. Now, I thought that's usually the case in matters culinary to each state rare

00:36:16.800 - 00:36:39.860

therefore represents both a nature and the morality to eat steak rare is a moral act above all, is it not? Don't you feel better when you order your steak rare? You probably need steak, right? Santa Cruz, bizarre, but you can do the same thing with

00:36:39.860 - 00:37:04.860

the folder over here. I mean, there is a whole morality that they're not in the whole earth. Truth on this is kind of cool. The effectiveness is reduced by sort of its credibility. It's I guess

00:37:06.240 - 00:37:20.360

this was Franken, yes, so doesn't that sort of defeat What? No for him, you see, the point is that myths are always being reproduced in order, I mean new myths being

00:37:20.360 - 00:37:42.340

created in order to affect, always the union of some kind of ordinary, daily social activity and a certain morality, a certain moral message is being always super laid on to But then these messages are always changing. They're always

00:37:42.340 - 00:37:59.740

changing. They're always changing, right? They're always changing. But there is usually one message, always constant, and that message is all nature. You see is morality, that the order of nature is as it should be, is as it should be. So there

00:37:59.740 - 00:38:19.200

is a hierarchy of foods. That's the dominant culture that advertising provides us with. You see, for him, advertising is merely another form of mythification, sports spectacles. Sports spectacles. That's why he analyzes

00:38:19.200 - 00:38:36.260

wrestling. I mean, you can do the same with pro football, right? That is to say that the important thing about this is that, as he points out in his essay on Wrestling, the crowd isn't taken in by this. It's not a matter of duplicitousness.

00:38:36.740 - 00:38:52.180

This is all on the surface. You see the older, the older theory of ideology that we might have used, you see, to talk about these, these things, all the way from state up to the book of Genesis, first book of the Bible, the older theory of

00:38:52.180 - 00:39:10.560

morality is that was that ideology is distorting and deforming and duplicitous. That's playing a trick on the masses. No. Bart makes type three. All of this is up front. All of this is on the surface. And it's not a matter of my

00:39:11.280 - 00:39:30.800

failing to recognize any of this. It's not as if Bart is some superior analyst too. He probably goes into the restaurant and orders a snake, you say, or Houston before he was killed by a laundry truck. Symbolic event there too, right?

00:39:33.500 - 00:40:00.600

Yeah, it's kind of mundane. It's my last critic struck better to go out like James Dean or fast, or that just putting together those two items gives another example of how I can suggest. You see, I can suggest some kind of moral order. In the world.

00:40:01.140 - 00:40:19.320

The real point here, see about this is that order, when you read an ad, you know what's happening in the ad. It's not a matter of being taken in. When you see a beautiful girl standing next to a Goodyear Tire, you know perfectly well

00:40:19.500 - 00:40:39.680

put together with some item for consumption so as to enhance for the male audience, you see the desirability of the tiger. That's quite obvious, but it doesn't stop you from looking at the two together. I mean, if you're mad, right, and

00:40:39.740 - 00:40:55.120

appreciating the one and associating in your mind with the other. The point is here that there's and what you have here is a phenomenon of what Bart will call code switching. You see, in which you get the consumer or the utilitarian

00:40:55.120 - 00:41:16.080

code, in this case, the tire which you may or may not need, probably illness. And the quote of sexuality you see which generates the desire for the tire by giving you associate with an image of the beautiful woman. And women can identify

00:41:16.080 - 00:41:39.140

with the beautiful woman in the way that I identify with Robert or Maria Ron Bauer Len's name, the synthetic aristocrat, never do well. I mean, I can identify with both kind of things, right? So too, you can identify with these images you see, and

00:41:39.500 - 00:41:57.520

establish, thereby what we will call an imaginary relationship to a real situation. And you're aware of this. You're aware that there is a message being sent to you. You can reject it or not. Now, the overview of ideology was that the masses were stupid,

00:41:57.520 - 00:42:11.820

you see, and they were bombarded with all these messages from advertising, government, religion and what have you, and they were taken in by religions, the okay to the masses and so forth. No, the important thing about about Bart's analysis and

00:42:11.820 - 00:42:28.040

the semiological approach to notification is that it recognizes that the subject isn't waiting for messages of this sort. We're waiting for them. We read them selectively. We may, we may say, oh, corny, corny advertising in that

00:42:28.100 - 00:42:48.520

throwaway sheet that comes with your Sunday Santa Cruz sample, right? And prefer the ads in the New Yorker that takes on Pride right? In the superior of our case for preferring New Yorker ads to the ones that are in the center. But the point is that

00:42:48.520 - 00:43:12.900

we're being taught to do and making these discrimination is establish what our place in our imaginary place in a hierarchy, and reinforce the notion of hierarchy itself. Reinforce the notion of hierarchy itself with with its distribution, with this

00:43:12.900 - 00:43:34.040

distribution of powers and privileges, you say, differentially over different groups, classes, races, genders, we read the messages always are intended to establish or think the legitimacy of hierarchy there is, and how does it

00:43:34.040 - 00:44:03.060

happen? What does a hierarchy mean? Graduated, graduated arrangement from low to high to low to high, with whatever is regarded as high, representing the essence of society or of the good for the individual or the group itself. This becomes

00:44:03.300 - 00:44:20.460

whatever is regarded. I mean here you can say that among, say continents, among continents, we have the continents of the world we had yesterday. I saw yesterday an

00:44:22.140 - 00:44:38.180

essence of an essence of Africa. And as far as I take in that message, I know what's happening to me as I mean, I'm aware of what's happening to me. I still surrender to it, right? That's when I on TV, occasionally turn in and actually find a wrestling

00:44:38.660 - 00:44:56.680

match. I'm fascinated by it, you know? I mean, I know it's all pretend, but of course, it's all pretend. That's a theme, right here we have, I surrender to it, and I get a kind of act, essence of Africa that allows me to say and to justify, in some sense,

00:44:57.220 - 00:45:15.360

that I'm glad I don't have to see the real act. Her, which I know is made up of what undernourished, oppressed, native peoples now so called liberated, fighting among themselves, disease ridden, etc, etc. You see this? I can

00:45:16.440 - 00:45:39.320

thereby, as it were, displaced from my consciousness. The study the uncomparable reality of Africa, right? I become complicit in this, and as far as I do, I assert you see a difference between an essence and the attributes and.