vienna

magic is based on the concept of metaphor and metonymy. The
metaphorical relationship is given when A is treated as if it were
B (to throw something into the water in order to make rain). We
can speak about a metonymical relationship when A is treated
as if it is a part of B (the crown as a part of the king). These two
principles are similar to Frazer’s concept of magic. The law of
similarity can be compared to the metaphorical relationship, the
law of physical contact relates to the metonymical relationship. 631
Umberto Eco explains the two forms of magical action in the
context of the use of signs:
“In both cases, one demonstrates the magic of signs that stand
for something: the image is the metaphor, an imitation of the
thing. The object that belongs to something else is its metonymy;
it is part for the whole, cause for the effect, container for
the content. One has power over things through their signs or
through other things that one sees as signs for them.” 632
The mannequins of today do not represent gods, but the
ideal of a beautiful body according to the latest fashions. Taste
has changed continually over the decades. Mannequins always
represent the types of models used in fashion photography and
for the catwalk of the respective time. The mannequin in the
show window represents the commonly shared belief in beauty.
During the seasonal sale, the mannequins are often naked or
dressed in a “ritual dress” made of poor materials, such as packing
paper. This signifies the state of the victim being sacrificed.
The body of the mannequin loses its customary role; it no longer
represents fashion. The naked body of the victim only has a
presence. 633 This is the state during the sales. The re-dressing of
the mannequin in spring echoes a couple of rites, which work
with the magical action of dressing the sacred statue in order
to show that the god has been resurrected. 634 And as the god is
fashion, fashion will rise with new power through sympathetic
magic. 635 This is the end of the biggest sacrificial ritual in our
consumer culture. We have to wait for another half year until
we can attend it again. And as it is natural that rituals transform
631 Bell (1997:50-51).
632 Eco (1977:110)*.
633 Fischer-Lichte (2004:255).
634 Specht (2000:165) gives the example of Odysseus, who returned from his adventures like a beggar. His social status was
recovered when he was re-dressed in appropriate garments. His power was renewed by a product of female labour, and
not by that of male labour such as weapons.
635 Frazer (1993:386).
Magic
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