Truth-telling is the promise of a photograph — as if fact itself resides in the optical precision with which photography reflects the way we see the world. A photograph comes as close as we get to witnessing an authentic moment with our own eyes while not actually being there.
It was intended for a scholarly and academic readership and has remained largely unaltered. In particular I address myth as coded language through the faculty of metaphor, where implicit information and meaning can be derived from the unspoken elements of metaphoric communication.
Despite this, however, most myths revolve around very similar events and conceptual archetypes, indicating that there must be some kind of parameter of what must occur in myth. Themes and structure, however, are more universal. Furthermore, the structure of myth carries with it a sense of timelessness, in that, myths and mythicized events are not limited by time nor context of original occurrence.
But what gives the myth an operative value is that the specific pattern described is everlasting; it explains the present and the past as well as the future.
This can be made clear through a comparison between myth and what appears to have largely replaced it in modern societies, namely, politics. When a historian refers to the French Revolution it is always as a sequence of past happenings, a non-revertible series of events the remote consequences of which may still be felt at present.
This is akin to American politicians regularly citing the American founding fathers as a source of legitimacy and guidance during elections and pathos-driven policy-making.
Not only is myth effectively unaffected by time, it is also largely immune to the effects of translation, unlike any other form of language or linguistic expression. Myth is the part of language where the formula traduttore, tradittore reaches its lowest truth-value.
From that point of view it should be put in the whole gamut of linguistic expressions at the end opposite to that of poetry, in spite of all the claims which have been made to prove the contrary.
Poetry is a kind of speech which cannot be translated except at the cost of serious distortions; whereas the mythical value of the myth remains preserved, even through the worst translation.
Whatever our ignorance of the language and the culture of the people where it originated, a myth is still felt as a myth by any reader throughout the world. Its substance does not lie in its style, its original music, or its syntax, but in the story which it tells.
This important, cross-cultural aspect of any myth is fundamentally its content. If there is a meaning to be found in mythology, this cannot reside in the isolated elements which enter into the composition of a myth, but only in the way those elements are combined.
Although myth belongs to the same category as language, being, as a matter of fact, only part of it, language in myth unveils specific properties.
In this context, myths must be approached through a specific method in order to be properly understood the same way that literature or music must be.
In this conceptual geography arrived at through myth, the unspoken, whether through metaphor or implication, is what grants myth an elevated stature within language in order to cross time, space, and culture.
I will clarify this hypothesis over the course of this analysis, but for now, I wish to stress that what is most significant about myth, as well as any form of elevated expression, is what is not explicitly stated. Thus, myth grows spiral-wise until the intellectual impulse which has originated it is exhausted.I recently be re-reading "Photography after frank, Essays by Phillip Gefter" When I came across the essay "Photographic Icons, Fact, Fiction or Metaphor?
Here are the instructions how.
However, in Philip Gefter’s essay, “Photographic Icons: Fact, Fiction, or Metaphor”, Gefter points out that, “just because a photograph reflects the world with perceptual accuracy doesn’t mean it is proof of what actually transpired.
Jul 23, · Essay: Icons as Fact, Fiction and Metaphor By Philip Gefter Jul. 23, Jul. 23, For the Lens blog, Philip Gefter, formerly a picture editor at The Times who writes regularly about photography, has adapted an essay from his new book, “ Photography After Frank,” published by the Aperture Foundation.
Definition of Metaphor. Metaphor is a figure of speech that makes an implicit, implied, or hidden comparison between two things that are unrelated, but which share some common characteristics.
In other words, a resemblance of two contradictory or different objects is made based on a single or some common characteristics. Sep 26, · Metaphor and the Unspoken – An Analysis of Lévi-Strauss’s Approach to Myth (Original written April ) Note to reader: This is was an original analytical essay for the field of semiotics during my focus in both Religion Studies and Critical Media & Cultural Studies at Rollins College.
It was intended for a scholarly and academic .