Tag: propaganda

history becomes legend, legend becomes myth (quote)

Erich Auerbach’s MIMESIS, pp. 19-20

Even where the legendary does not immediately betray itself by elements of the miraculous, by the repetition of well-known standard motives, typical patterns and themes, though neglect of clear details of time and place, and the like, it is generally quickly recognizable by its composition. It runs far too smoothly. All cross-currents, all friction, all that is casual, secondary to the main events and themes, everything unresolved, truncated, and uncertain, which confuses the clear progress of the action and the simple orientation of the actors, has disappeared. The historical event which we witness, or learn from the testimony of those who witnessed it, runs much more variously, contradictory, and confusedly; not until it has produced results in a definite domain are we able, with their help, to classify it to a certain extent; and how often the order to which we think we have attained becomes doubtful again,, how often we ask ourselves if the data before us have not led us to a far too simple classification of the original events! Legend arranges its material in a simple and straightforward way; it detaches it from its contemporary historical context, so that the latter will not confuse it; it knows only outlined men who act from few and simple motives and the continuity of whose feelings and actions remains uninterrupted. In the legends of martyrs, for example, a stiff-necked and fanatical victim; and a situation so complicated — that is to say, so real and historical — as that in which the “persecutor” Pliny finds himself in his celebrated letter to Trajan on the subject of the Christians, is unfit for legend. And that is still a comparatively simple case. Let the reader think of the history which we ourselves are witnessing; anyone who, for example, evaluates the behavior of individual men and groups of men at the time of the rise of National Socialism in Germany, or the behavior of individual peoples and states before and during the war, will feel how difficult it is to represent historical themes in general, and how unfit they are for legend; the historical comprises a great number of contradictory motives in each individual, a hesitation and ambiguous groping on the part of groups; only seldom (as in the last war) does a more or less plain situation is subject to division below the surface, is indeed almost constantly in danger of losing its simplicity; and the motives of all interested parties are so complex that the slogans of propaganda can be composed only through the crudest simplification — with the result that friend and foe alike can often employ the same ones. To write history is so difficult that most historians are forced to make concessions to the technique of legend.

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brain-chaos in the muffin factory

Evan Dara’s THE LOST SCRAPBOOK pp. 175-225

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The patchwork of oral history continues with two long, strange stories, and some smaller pieces that introduce highly specialized knowledge and a peppering of technical language. We meet a character who changes from a “she” to a “he,” and the book begins to embody more characteristics of encyclopedic narrative and postmodern play. While there are a lot of mysteries going on, only one of which is “solved,” there’s still nothing yet about a scrapbook, lost or otherwise (apart from the work itself as a lost scrapbook, of course), but there are more corporate shenanigans.

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