Mythologies

The 1990’s American teen in me was more than slightly confused a few essays into Roland Barthes’, Mythologies. I was even more so confused after googling “Elle France,” and finding out my connection was indeed accurate, and that the ‘Elle’ that Barthes continuously refers back to, is indeed the French counterpart to the American Elle magazine. The image of Barthes sitting in study reading a woman’s’ fashion and lifestyle magazine full of articles on “how to dress for your body type,” or “101 ways to please your man,” popped into my head a few times. Chuckles aside, I admit that I had to remind myself that it was 1957 more than a few times. Oddly enough, though Barthes undoubtedly had no idea what the connotation of Elle would become, its current meaning and presence in Mythologies is one that adds to some of the myths. Mythologies as a whole is based on society. There are stories, facts, and metaphors that cross generations, burying themselves as validation as myths. Barthes draws a great deal of his reactions from Elle, and those reactions live in a patriarchal universe. This is not so much a critique of Barthes and his view on society, as it is an observation on society and reality. Thematically men are at the top of society, children strive to grow into men, and women are allowed freedoms, but at the end of the day, their position is to bear children and care for the home. Reminder: It’s 1957. The first essay I read from Mythologies was “Novels and Children.” A feminist would have a field day with this essay (you’ve read it, so you know why). Personally, I wanted to pat the women mentioned in Elle on the back and congratulate them for writing their books while caring for their children, husbands and home. I’m there right now: terrible twos, a colicky newborn, endless laundry, cooking, dishes… and writing and school. Here’s the thing- 1957 or 2016, it doesn’t matter, the struggle for women to balance work and home is still essentially the same. I say essentially because society has changed to where it is not dictated, but for those who believe in the system, we live in the myth. Our husbands provide and we in turn bear children and take care of the home, often becoming superwomen for achieving careers and success as well. There is more equality today, but the bare system is still present. This system moves down to the children as well. In “Toys,” Barthes repeatedly defines his explanation as specifically relating solely to French toys. As I read “Toys” though, I can’t help but look around my living room and connect the dots. My living room has a little tykes grill, kitchen set, trucks, trucks, more trucks, and the plastic version of every tool you can possibly imagine… and blocks. Again, a theme that crosses time. Sixty years and a continent later, home life has not changed that much. We are undoubtedly, as Barthes connects, “creating the future...” “We present our children with miniature objects of adulthood and they take from it, what they will become... and admittedly, I’m rethinking some of my choices in toys now. While some of Barthes myths are relatable across times and nations, not all are. Barthes know this and points it out in “Striptease” and “Wine and Milk.” Some nations have common thought and systems within themselves. The French are different than Americans in not only some of their customs, but also their behavior. Mythologies explores the social power (or restraint or common behavior) that is present in French society. What is powerful is that things that would breakdown an individual in another society has no effect or power over the Frenchmen. A naked woman does not cause men or women in France to blush (so much as the act of stripping down would), just as wine does not cause them to become drunk (in so much as they do not purposefully overdrink). There is restraint in society, the French have control over their actions and the portrayal of themselves. In both myths it is the act of doing something that is meaningful and not the conclusion of that act. The veil in society is broken down in “Ornamental Cookery.” This essay also brings us full circle back to Elle, which still has me seeing Barthes red cheeked (though this essay makes it easier to remember its 1957), “Ornamental Cookery” was a validation of sorts for me. Barthes addresses Elle as a bit lackluster in terms of credible sources, but nevertheless, there is no doubt that the magazine in all of its 1957 glory is a reflection on society. However, the reflection on society is more connotation that denotation. “Ornamental Cookery” in its plainest version is descriptive of food recipes popular in the 1950’s. These recipes often called for dishes to be smothered in sauces, decorated, and glazed in a manner so that one cannot really tell from the surface what is underneath. “Ornamental Cookery” is a metaphorical essay that brings us back once more to the overall discussion on society, where individuals can cover themselves to appear appealing. This phenomenon is yet another idea that crosses time. The idea that people are never truly what they appear to be, and can hide their true identity. Mythologicaly, it reads almost as a warning, as much as it might appear to be advice. I think we are meant to see ourselves in Mythologies. Perhaps not each and every essay is conclusive with a readers life, but I could not help but find similarities with most of the essays that I read. While society will change with time, with location, with governing, the basic structure will remain. That is the mythology of the society.

In Mythologies, Barthes offers a series of snapshots with titles such as "Plastic," "Striptease," "Toys," "The World of Wrestling," and "Operation Margarine." His aim is to reveal the ideological abuse hidden in these myths, which are manufactured to read as reality. Though complex, Barthes essays are accessible, charming, and funny. I have taught Mythologies to first-year college students, because it does not require its reader to have read volumes of theory to engage in Barthes' clever reflections. My favorite essay might be "Toys," which demystifies modern (1954-56) French toys as designed to produce consumers ("users") rather than creators. "Toys" exemplifies how, 50 years later, Barthes' myths are still alive and worth reading.

It is a pleasure to read Barthes' carefully crafted prose. Every semester, I assign my undergraduates a few of the short essays in this groundbreaking book for close reading. I happen to like "Plastic," "Operation Margarine," and "The Writer on Holiday" best but they are each fascinating little peeks into a then-new form of criticism. At first pass, they may seem mere musings on popular culture but so much more bubbles beneath that initial layer. By the time students have read the longer "Myth Today," we are ready for any of dozens of conversation threads thinking critically about culture emerging around us.

I didn't think this book was going to be so funny but it definitely is.

I agree with everything that "[email protected]" said, except when he said "I'm French", because I'm not. However I read this book in French, several times over. It's amazing that commentary so attached to 1950's icons has remained so relevant; obviously the structures haven't changed much. This book permanently affected the way I see things, particularly in the media. It should be required reading for all media consumers, and that's pretty much everyone. At the same time, "Mythologies" offers an object lesson in the bond between language and culture. Much of Barthes' appeal lies in his tongue-in-cheek linguistic play, and that's something no translator could capture completely. This book alone is a good enough reason to learn French.

Major text in the field of semiotics

Camera Lucida was the first thing I read by Barthes and that was a long time ago. Got through it but I don't remember it being fun. "Mythologies" is a different story, short essays on a variety of topics and how those topics are mythologised. It's really fun and at times enternatining, also still very relevant.

In making the point that childhood is a relatively recent invention The Allure of Nymphets quotes the French literary theorist Barthes from Mythologies. Barthes wrote that the toys that adults buy children ironically exemplify how adults view children as small men and women. He wrote that this is due to the fact that a number of toys are, "... microcosm[s] of the adult world..." For example, according to Barthes, dolls that talk, cry and urinate are, "...meant to prepare the little girl for the causality of house-keeping, to `condition' her to her future role as mother where even in two income households the women still takes on the role of housekeeper and chef, with the husband making the occasional meal or changing the occasional diaper."

Je pensais le lire en français.Je l’ai reçu en anglais

Beautiful cover and copy of this incredible book.