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The merit of Flaubert (and all the creators of artificial myths, wonderful
ReplyDeletesamples of which can be found in the works of Sartre) is that it
gave a purely semiological solution to the problem of realism in literature. Of course,
the merit of Flaubert not because of his ideology, according to which
the bourgeoisie is merely an aesthetic freak, it's totally unrealistic. However
at least he avoided the main sin in literature is the mixing of reality
ideological and semiological reality. As the ideology of realism in
the literature in no way depends on the language in which
says the writer. Language is a form, it may not be realistic or
irrealistically. It can only be mythical or semiticism or
as in the novel "Bouvard and Pecuchet", antiemeticescoy. Unfortunately, realism
and myth to feel for each other no dislikes. It is known to what
extent mythological our so-called "realistic" literature (including
lurid myths about realism) and how often our "unrealistic" literature
has at least the advantage that it is minimally mythological.
Obviously, it is most reasonable to approach the realism of a writer like
a purely ideological problem. Of course, it would be wrong to say that
the form does not accept any liability in relation to the reality. But the degree
this responsibility can only be determined in terms of symptomatology. One or
another form can be judged (as long as the case comes to court) only in
as a value, not a means of representation. The writer's language must not
To represent this reality, but only to oznacovat her. This should
it would make literary critics to use two completely
different methods: realism writer should be considered as either
the ideological substance (such, for example, Marxist themes in
the works of Brecht) or as a semiological value (the props, actors,
music, color in the drama of Brecht). The ideal would obviously be a combination
these two types of criticism; however, a constant error is mixing them,
although the ideology of its methods and the scope of semiology