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Subejctivity and Levi-Strauss

𝕃ÃĐ𝕧𝕚-𝕊ð•Ĩð•Ģ𝕒ð•Ķð•Īð•Īð•Ī ð•Īð•Ĩð•Ģð•Ķ𝕔ð•Ĩð•Ķð•Ģ𝕒𝕝𝕚ð•Ī𝕞 ð•Ī𝕙𝕠ð•Ļð•Ī ð•Ķð•Ī ð•Ĩ𝕙𝕒ð•Ĩ ð•Ĩ𝕙𝕖 𝕙ð•Ķ𝕞𝕒𝕟 ð•Īð•Ķ𝕓𝕛𝕖𝕔ð•Ĩ 𝕚ð•Ī 𝕟𝕠ð•Ĩ 𝕙𝕠𝕞𝕠𝕘𝕖𝕟𝕖𝕠ð•Ķð•Ī 𝕒𝕟𝕕 𝕚𝕟 𝕔𝕠𝕟ð•Ĩð•Ģ𝕠𝕝 𝕠𝕗 𝕙𝕚𝕞ð•Ī𝕖𝕝𝕗, 𝕙𝕖 𝕚ð•Ī 𝕔𝕠𝕟ð•Īð•Ĩð•Ģð•Ķ𝕔ð•Ĩ𝕖𝕕 𝕓𝕊 𝕒 ð•Īð•Ĩð•Ģð•Ķ𝕔ð•Ĩð•Ķð•Ģ𝕖 ð•Ļ𝕙𝕠ð•Ī𝕖 𝕧𝕖ð•Ģ𝕊 𝕖ð•Đ𝕚ð•Īð•Ĩ𝕖𝕟𝕔𝕖 𝕖ð•Īð•”ð•’ð•Ąð•–ð•Ī 𝕙𝕚ð•Ī 𝕘𝕒ð•Ŧ𝕖. 𝕋𝕙𝕖 ð•Ī𝕖𝕝𝕗-ð•Ąð•Ģ𝕖ð•Ī𝕖𝕟𝕔𝕖 𝕠𝕗 ð•Ĩ𝕙𝕖 𝕙ð•Ķ𝕞𝕒𝕟 ð•Īð•Ķ𝕓𝕛𝕖𝕔ð•Ĩ 𝕚ð•Ī 𝕟𝕠 𝕝𝕠𝕟𝕘𝕖ð•Ģ ð•Ĩ𝕖𝕟𝕒𝕓𝕝𝕖; 𝕚𝕟ð•Īð•Ĩ𝕖𝕒𝕕 ð•Ĩ𝕙𝕖 ð•Īð•Ķ𝕓𝕛𝕖𝕔ð•Ĩ 𝕚ð•Ī ð•Ī𝕖𝕖𝕟 𝕒ð•Ī ð•Īð•Ķ𝕓𝕛𝕖𝕔ð•Ĩ ð•Ĩ𝕠 ð•Ĩ𝕙𝕖 ð•Īð•Ĩð•Ģð•Ķ𝕔ð•Ĩð•Ķð•Ģ𝕖 𝕒𝕟𝕕 𝕚ð•Ĩð•Ī ð•Ĩð•Ģ𝕒𝕟ð•Ī𝕗𝕠ð•Ģ𝕞𝕒ð•Ĩ𝕚𝕠𝕟ð•Ī.
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ℝ𝕠ð•Ī𝕒𝕝𝕚𝕟𝕕 ℂ𝕠ð•Ļ𝕒ð•Ģ𝕕 & 𝕁𝕠𝕙𝕟 𝔞𝕝𝕝𝕚ð•Ī

Claude Levi-Strauss

𝟭. 𝗜ð—ŧ𝘁ð—ŋð—žð—ąð˜‚ð—°ð˜ð—ķ𝗞ð—ŧ 𝘁𝗞 𝗟ÃĐ𝘃ð—ķ-ð—Ķ𝘁ð—ŋð—Ū𝘂𝘀𝘀'𝘀 ð—Ķ𝘁ð—ŋ𝘂𝗰𝘁𝘂ð—ŋð—Ūð—đð—ķ𝘀𝗚
Claude LÃĐvi-Strauss (1908–2009) was a French anthropologist who pioneered structural anthropology, often referred to simply as structuralism in the context of social sciences. Influenced by structural linguistics (e.g., Ferdinand de Saussure and Roman Jakobson), he applied similar principles to cultural phenomena such as myths, kinship systems, totemism, and rituals. At its core, structuralism posits that beneath the surface diversity of human cultures lie universal, invariant patterns generated by the innate structure of the human mind. These patterns are not random but follow logical rules, often based on binary oppositions (e.g., raw vs. cooked, nature vs. culture, male vs. female), which organize human thought and behavior in ways that transcend individual or cultural differences.

LÃĐvi-Strauss argued that the human mind functions like a language system, where meaning emerges not from isolated elements but from their relationships within a larger structure. Just as grammar underlies speech without speakers consciously thinking about it, cultural practices are shaped by deep, unconscious "infrastructures" that impose order on the world. This approach shifts the focus from individual agency or historical context to these hidden systems, revealing how humans are not the creators of culture but rather its products.

ðŸŪ. 𝗧ð—ĩð—ē ð—Ĩ𝗞ð—đð—ē 𝗞ð—ģ ð—Ļð—ŧ𝗰𝗞ð—ŧ𝘀𝗰ð—ķ𝗞𝘂𝘀 ð—Ķ𝘁ð—ŋ𝘂𝗰𝘁𝘂ð—ŋð—ē𝘀
A key tenet of LÃĐvi-Strauss's theory is that these structures are primarily unconscious. They operate below the level of awareness, governing how people perceive, categorize, and interact with the world without them realizing it. For instance, in his analysis of myths (as detailed in works like Mythologiques), LÃĐvi-Strauss demonstrated that seemingly disparate stories from different cultures are actually variations or "transformations" of the same underlying binary logic. A myth about cooking food in one society might transform into a story about marriage rules in another, but both resolve fundamental oppositions like chaos vs. order.

These structures are "invariant" – meaning they are hardwired into the human brain, universal across all societies, whether "primitive" or "civilized." LÃĐvi-Strauss drew from cognitive science and neurology to argue that the mind's structuring activity is a biological given, akin to Kantian categories but more relational and oppositional. Importantly, individuals do not invent these structures; they are imposed upon them, shaping thought and action in ways that "escape their gaze" – that is, remain invisible to conscious reflection.

ðŸŊ. 𝗧ð—ĩð—ē 𝗛𝘂𝗚ð—Ūð—ŧ ð—Ķ𝘂ð—Ŋ𝗷ð—ē𝗰𝘁 ð—Ū𝘀 𝗖𝗞ð—ŧ𝘀𝘁ð—ŋ𝘂𝗰𝘁ð—ēð—ą ð—Ūð—ŧð—ą 𝗗ð—ē𝗰ð—ēð—ŧ𝘁ð—ēð—ŋð—ēð—ą
The statement highlights how structuralism undermines the traditional notion of the "human subject" – the self-aware, unified individual often idealized in Western philosophy (e.g., Descartes' cogito or Husserl's phenomenological subject). According to LÃĐvi-Strauss, the subject is not homogeneous (uniform and self-contained) nor in control of itself. Instead, it is "constructed by a structure" – the unconscious mental framework that organizes experience.

This decentering of the subject means that what we perceive as personal identity or free will is actually an effect of deeper systems. For example, in kinship studies, people believe they choose marriage partners based on individual preferences, but LÃĐvi-Strauss showed these choices follow unconscious rules of exchange and alliance that maintain social equilibrium. The individual is thus a node in a network of relations, not an autonomous origin of meaning. Cultural factors, especially language and symbolic systems, pre-structure thought, leaving little room for genuine individuality. As one analysis puts it, the way we think is "set in place already by cultural factors," rendering the subject passive rather than active.

Furthermore, since these structures are unconscious, their "very existence escapes his gaze." The subject cannot fully introspect or grasp the forces shaping it, much like a speaker uses grammar intuitively without analyzing its rules. This echoes psychoanalytic influences (LÃĐvi-Strauss compared his work to Freud's unconscious), where the psyche is divided, with hidden layers driving behavior.

𝟰. 𝗧ð—ĩð—ē ð—Ļð—ŧ𝘁ð—ēð—ŧð—Ūð—Ŋð—đð—ē ð—Ąð—Ū𝘁𝘂ð—ŋð—ē 𝗞ð—ģ ð—Ķð—ēð—đð—ģ-ð—Ģð—ŋð—ē𝘀ð—ēð—ŧ𝗰ð—ē
"Self-presence" refers to the philosophical idea of the subject's immediate, transparent access to itself – a direct, unmediated self-awareness where the "I" is fully present and coincident with its own consciousness. LÃĐvi-Strauss's structuralism renders this untenable. If core aspects of the mind (the structuring principles) are unconscious, then the subject cannot achieve complete self-transparency. Parts of the self remain opaque, operating independently of conscious will.

This critique aligns with LÃĐvi-Strauss's broader attack on humanism and subject-centered philosophies like phenomenology and existentialism. He famously spoke of the "dissolution of man," arguing that focusing on the conscious "I" obscures the true drivers of human phenomena – the impersonal, universal structures of the mind. The subject is fragmented, not whole, because it is riddled with binary tensions and oppositions that it did not choose and cannot fully resolve consciously.


ðŸą. 𝗧ð—ĩð—ē ð—Ķ𝘂ð—Ŋ𝗷ð—ē𝗰𝘁 ð—Ū𝘀 "ð—Ķ𝘂ð—Ŋ𝗷ð—ē𝗰𝘁 𝘁𝗞 𝘁ð—ĩð—ē ð—Ķ𝘁ð—ŋ𝘂𝗰𝘁𝘂ð—ŋð—ē ð—Ūð—ŧð—ą 𝗜𝘁𝘀 𝗧ð—ŋð—Ūð—ŧ𝘀ð—ģ𝗞ð—ŋ𝗚ð—Ū𝘁ð—ķ𝗞ð—ŧ𝘀"
Finally, the statement plays on the dual meaning of "subject": both the human self and the state of being subjected (subordinated) to something external. In structuralism, the subject is "subject to the structure" – dominated by it rather than mastering it. Cultural and mental life involves constant "transformations" of these structures, as seen in how myths evolve or kinship rules adapt, but always within the bounds of the underlying logic. The individual participates in these transformations unwittingly, as a vehicle for the structure's expression.

This view has profound implications: it challenges notions of personal freedom, suggesting humans are constrained by innate mental architectures. While empowering in revealing universal human unity (no "superior" minds), it also decenters the individual, portraying them as part of a larger symbolic order. Post-structuralists like Jacques Derrida and Jacques Lacan built on this, further emphasizing the subject's instability, but LÃĐvi-Strauss laid the groundwork by prioritizing structure over subjectivity.

In summary, LÃĐvi-Strauss's structuralism reveals the human subject as a construct of unconscious, universal mental structures – fragmented, unaware, and subordinated – dismantling illusions of control and self-presence in favor of a systemic, relational understanding of humanity.

#Subject #Subjectivity #Semiotics #Structuralism #LeviStrauss #rosalindcoward #johnellis

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Book: The Dialogic Imagination: Four Essays (1981) Author: M. M. Bakhtin Translated by: Caryl Emerson & Michael Holquist Edited: Michael Holquist Austin & London: University of Texas Press "The Dialogic Imagination: Four Essays" by Mikhail Bakhtin is already considered a classic not only from the perspective of literary genre but also as an important work on the philosophy of language. The present book contains the four essays: 1. Epic and Novel, 2. From the Prehistory of Novelistic Discourse, 3. Forms of Time and of the Chronotope in the Novel, 4. Discourse in the Novel and an Introduction and Glossary by the editor. The essays are a commentary on the  historical development of novel form and how it is different from the other literary form. His argument is that as the novel form is different from the other literary forms, we need a different type of stylistic and poetic analysis and dogmas for that in order to truly evaluate the Novel. He tries ...

"āŠ§ુāŠģāŠ•ી āŠĪાāŠ°ી āŠŪાāŠŊા āŠēાāŠ—ી": āŠāŠ• āŠ…āŠĩāŠēોāŠ•āŠĻ

āŠŦિāŠē્āŠŪ “ āŠ§ુāŠģāŠ•ી āŠĪાāŠ°ી āŠŪાāŠŊા āŠēાāŠ—ી ” āŠ°ાāŠ āŠĩા āŠļāŠŪાāŠœāŠĻી āŠāŠ• āŠŊુāŠĩāŠĪી , āŠ§ુāŠģāŠ•ી , āŠĻી āŠĩાāŠĪ āŠ•āŠ°ે āŠ›ે . āŠ† āŠŦિāŠē્āŠŪ ‘ āŠ°ાāŠ  ’ āŠĩિāŠļ્āŠĪાāŠ° āŠĪāŠ°ીāŠ•ે āŠ“āŠģāŠ–āŠĪા āŠ›ોāŠŸાāŠ‰āŠĶેāŠŠુāŠ° , āŠŠાāŠĩીāŠœેāŠĪāŠŠુāŠ° , āŠĻāŠļāŠĩાāŠĄી , āŠŽોāŠĄેāŠēી , āŠĩāŠ—ેāŠ°ે āŠœેāŠĩા āŠ—ાāŠŪāŠĄાંāŠ“āŠŪાં āŠ–ૂāŠŽ āŠļāŠŦāŠģ āŠĨāŠ‡ āŠđāŠĪી . āŠ† āŠĩિāŠļ્āŠĪાāŠ°āŠĻા āŠļિāŠĻેāŠŪાāŠ˜āŠ°ોāŠŪાં , āŠœ્āŠŊાં āŠŦિāŠē્āŠŪ āŠŦāŠ•્āŠĪ āŠĪ્āŠ°āŠĢ āŠĶિāŠĩāŠļ āŠšાāŠēāŠĪી , āŠ† āŠŦિāŠē્āŠŪ āŠŪāŠđિāŠĻાāŠ“ āŠļુāŠ§ી āŠšાāŠēી . āŠŠāŠ°ંāŠĪુ , āŠŪાāŠ°ા āŠ•ેāŠŸāŠēાāŠ• āŠŪાāŠđિāŠĪીāŠĶાāŠĪાāŠ“āŠĻા āŠŪāŠĪ āŠ…āŠĻુāŠļાāŠ° āŠ† āŠŦિāŠē્āŠŪ āŠ°ાāŠ āŠĩા āŠļāŠŪાāŠœ āŠĩિāŠ·ે āŠĻ āŠđāŠĪી . āŠĪો āŠŠāŠ›ી āŠ† āŠŦિāŠē્āŠŪ āŠ•ેāŠŸāŠēાāŠ• āŠšોāŠ•્āŠ•āŠļ āŠĩિāŠļ્āŠĪાāŠ°ોāŠŪાં āŠœ āŠ†āŠŸāŠēી āŠļāŠŦāŠģ āŠ•ેāŠŪ āŠĨāŠ‡ ? āŠŠ્āŠ°āŠļ્āŠĪુāŠĪ āŠŠેāŠŠāŠ° āŠāŠĻા āŠ•ેāŠŸāŠēાāŠ• āŠ•ાāŠ°āŠĢો āŠĩિāŠ·ે āŠĩાāŠĪ āŠ•āŠ°āŠķે , āŠ…āŠĻે āŠŦિāŠē્āŠŪāŠŪાં ‘ āŠ°ાāŠ āŠĩા ’ āŠ“āŠģāŠ– āŠ•āŠˆ āŠ°ીāŠĪે āŠ‰āŠ­ી āŠ•āŠ°āŠĩાāŠŪાં āŠ†āŠĩી āŠ›ે āŠĪેāŠĻા āŠĩિāŠ·ે āŠĩાāŠĪ āŠ•āŠ°āŠķે . āŠļાāŠŪાāŠœીāŠ• āŠ°ીāŠĪે āŠŠāŠ›ાāŠĪ āŠĩāŠ°્āŠ—āŠĻી āŠ‰āŠŠāŠēા āŠĩāŠ°્āŠ— āŠĪāŠ°āŠŦāŠĻી āŠ—āŠĪિ āŠœે āŠŦિāŠē્āŠŪāŠĻી āŠŪુāŠ–્āŠŊ āŠ•āŠĨાāŠĻો āŠ—āŠ°્āŠ­ીāŠĪાāŠ°્āŠĨ āŠ›ે , āŠœે āŠŦિāŠē્āŠŪāŠĻું āŠ…āŠĻ્āŠŊ āŠŠાāŠļુ āŠ°āŠœુ āŠ•āŠ°ે āŠ›ે . āŠĪāŠĶુāŠŠāŠ°ાંāŠĪ , āŠ†āŠŠāŠĢે āŠŦિāŠē્āŠŪ āŠ…āŠĻે āŠļāŠŪાāŠœāŠŪાં āŠŠ્āŠ°āŠļ્āŠĨાāŠŠિāŠĪ āŠŪાāŠēીāŠ•્āŠĩāŠ°્āŠ— āŠ…āŠĻે āŠŠીāŠĄીāŠĪāŠĩāŠ°્āŠ— āŠĩāŠš્āŠšેāŠĻા āŠŠાāŠ°āŠļ્āŠŠāŠ°િāŠ• āŠļંāŠŽંāŠ§ોāŠĻે āŠŠāŠĢ āŠœોāŠˆāŠķું . ***                 āŠŪાāŠĢāŠļ āŠļāŠđુāŠĨી āŠŠāŠđેāŠēા āŠāŠ• āŠŪાāŠĢāŠļ āŠ›ે , āŠ§āŠ°્āŠŪ , āŠœાāŠĪિ , āŠĩંāŠķ , āŠŽāŠ§ું āŠœ āŠĪેāŠĻી āŠŪાāŠĻāŠĩāŠĪા āŠ…āŠĻે āŠŪાāŠĻāŠĩāŠ§āŠ°્āŠŪ āŠļાāŠŪે āŠ—ૌāŠĢ āŠ›ે . āŠ†āŠĩો āŠļāŠ°āŠļ āŠļંāŠĶેāŠķો āŠ°āŠœુ āŠ•āŠ°āŠĪી...