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                                      Contemporary Cultural Theory



                   ‘was necessarily restricted by its essence to results other than
                   those destined to be achieved by the exact natural sciences but
                   it was no less scientific and its results no less genuine. They were
                   secured ten thousand years earlier and still remain at the basis
                   of our own civilization’ (Lévi-Strauss, 1966, p. 16). Consider the
                   famous parallel between primitive science and the role of
                   the modern French bricoleur: both build up structured sets from
                   the ‘debris of events’; and in practice both ‘reach brilliant unfore-
                   seen results’ (pp. 16–22). This conception releases us from notions
                   of cultural superiority and unilinear narratives of progress from
                   ‘backwardness’ to ‘enlightened’ modernity. If any superiority is
                   attached to either, for Lévi-Strauss it would have been to the
                   ‘primitive’. The West ‘started by cutting man off from nature and
                   establishing him in an absolute reign’, he observed: ‘This
                   ‘radical separation of humanity and animality... initiated a
                   vicious circle’ that eventually governed even the relations
                   between supposedly ‘civilised’ men and supposedly ‘primitive’.
                   For Lévi-Strauss, it was thus a humanism ‘corrupted at birth by
                   taking self-interest as its principle and its notion’ (Lévi-Strauss,
                   1976, p. 41).


                   Roland Barthes
                   Barthes was perhaps the single most important, representative
                   figure of French high structuralism, an immensely prolific writer,
                   literary critic, sociologist and semiologist, structuralist and, later,
                   post-structuralist, whose bizarre death—he was run over by a
                   laundry truck—was as untimely as it was improbable. His most
                   famous work, Mythologies, was first published in 1957. Strongly
                   influenced by Saussure, it sought to analyse semiologically a
                   whole range of contemporary myths, from wrestling to adver-
                   tising, from striptease to Romans in the cinema. Here Barthes
                   aspired to ‘read’ washing powder advertisements, for example,
                   as languages, that is, as signifying systems with their own distinc-
                   tive grammars. The book included a long essay, entitled ‘Myth
                   Today’, which attempted to sketch out the theoretical corollaries
                   of the often very entertaining, almost journalistic and invariably
                   insightful, particular analyses that occupied the bulk of the text.

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