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have their centres of worship, our Mecca of fashion is Paris.<br />

Pilgrims from all over the world come to Paris in order to<br />

celebrate the new collections and confirm the myth of creativity.<br />

And the priests of the cult point out the significance of the event<br />

and its effects on everyday life:<br />

“Dear reader! This is the great month of collections in which<br />

new fashion is born in Paris. Your choice, your style, your entire<br />

behaviour will depend on it.” 558<br />

Let us now return from the place of worship to mythology.<br />

Although we would be more at ease with our explanation that<br />

the fashion ritual is part of the same type of festival as the<br />

Anthesteria, we will examine whether it is possible for myths to<br />

change or whether they are partially replaced by other contents.<br />

Nietzsche was not convinced that this is possible:<br />

“It seems scarcely possible to transplant a foreign myth with<br />

lasting success, without irreversibly damaging the tree in<br />

the process: the occasional tree may perhaps prove sufficiently<br />

strong and healthy to exercise the foreign element through<br />

a fearful struggle, but must more usually consume itself in<br />

stunted infirmity or in rampant but sickly growth.” 559<br />

Myths are capable of changing over time. According to<br />

Lévi-Strauss, a myth can create yet another myth, and the myth<br />

can also survive when it is transferred from one society to<br />

another. It is also possible that the formula changes during the<br />

transformations, though its “figure” is still recognisable. 560 Things<br />

become more complicated when the myth is related to a ritual,<br />

because the relation of ritual and myth is still not sufficiently<br />

clear today. 561 The Greek’s did not have an all-encompassing<br />

category of ritual, as three different types of ritual acts existed. 562<br />

The elaborate Greek festivals had a limited number of basic<br />

ritual acts, 563 the procession and the sacrifice being the most<br />

important elements in them. This is why we will try to fill this<br />

basic structure of the ancient Greek festival with the dramatisation<br />

of the contemporary fashion system.<br />

558 Charles-Roux (1959:VI)*.<br />

559 Nietzsche (2000:125).<br />

560 Lévi-Strauss (1978:256).<br />

561 Graf (1993:52).<br />

562 Bremmer (1999:38).<br />

563 Bremmer (1999:39).<br />

Mythology<br />

244

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