Art - A Culturally Constructed Myth :: American Culture Essays

Art - A Culturally Constructed MythThe development of semiotics in the 20th century revealed much about ideology in push-down stack culture. Structuralist Roland B fraudhes texts on the matter are very much products of their times, however many still have a troubling modern-day relevance. Barthes Mythologies demonstrates the possibilty to celebrate smasheding through the trivia of everyday life. He claims to want to challenge the innoncence and naturalness of cultural texts and practices, as they are capable of producing a multitude of supplementary centers, or connotations.Although objects, gestures and practices have a certain utilitarian function, they are not kind to the imposition of meaning. Barthes wants to suspend consideration of function, and concentrate rather on what things mean and how they function as signs. Mythologies is a study of the ways in which mass culture constructs this fabricationological reality and encourages conformity to its own values.Barthes ana lysis of signs reveals that in that location are very few innoncent objects, that almost everything is coded (assigned meaning). Barthes arrives at this conclusion base on his theory of myth that a form (expanded from Saussures sound-image, which was limited to linguistics) and a concept create mythologies sign systems that fork out atomic number 53 dominant meaning (or signification). For the receiver, this signification arrives automatically and smoothly, thus seemingly denying the intentional re-coding. Barthes believes that this constant foundation of myth is how a culture invents its beliefs and narratives, and is able to find meaning in the world.This premise draws a particular parallel in our contemporary union for it is my hypothesis that our culture now locates meaning through mythological art (whether fine, commercial, popular, industrial etc.). Has art truly become myth?In high society to read or deconstruct myth, Barthes suggests, one must (1) accept the myth as a cultural construction, thus emptying its meaning (2) rear the myth as full, identifying all practicable signs and significations and finally (3) recognize the signifier as both empty and full, capable of signifying many things, yet with only one clear, dominant meaning. It is my argument that such a deconstruction can render art as myth.Having realized art as a incorporated cultural phenomenon, and having emptied its direct and apparent meaning, it is possible to identify all its possible significations. Interestingly enough, I find that art reveals many diametrically distant significations expression and oppression, bias and acceptance, individual and society, creativity and confinement, and freedom and convention, among others. Art signifies the de-politicization of our culture, for still the most political of pieces cease to cause a stir among the masses.