We can work on Roland Barthes—“Toys,” “Steak and Chips,” “The Brain of Einstein,” or “The New Citroën.”

Choose one of the following pages by Roland Barthes—“Toys,” “Steak and Chips,” “The Brain of Einstein,” or “The New Citroën.” Summarize Barthes’ argument in your own words, then apply it to a contemporary object, product, or trend you think functions as a modern myth.

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Roland Barthes, in his collection Mythologies, dissects everyday objects and phenomena to reveal the hidden “myths” they perpetuate – narratives that transform specific historical phenomena into timeless, naturalized truths. These myths, he argues, serve to make certain values, social structures, or ideologies seem inevitable and universal, often masking their arbitrary or bourgeois origins.

Barthes’ Argument in “The New Citroën”

In “The New Citroën,” Barthes analyzes the Citroën DS 19 not merely as an automobile but as a quasi-divine object, a perfect example of how a product transcends its function to become a modern myth. He describes the DS 19 as “like a great piece of clockwork,” “magic,” and even a “creature.”

Barthes argues that the DS 19’s design is central to its mythical status. Its smooth, seamless body, which appears to be molded from a single piece, conceals its complex internal mechanics, particularly the engine. This concealment is key: it makes the car seem effortless, perfect, and almost naturally occurring, rather than a product of human labor and industrial processes. The car is presented as an “absolute form,” an “art of the ideal,” embodying rationality, progress, and a certain French identity. The myth is that the car is a flawless, accessible, and even divine creation designed to perfectly serve humanity’s needs for speed and comfort, effortlessly solving problems without revealing the “dirty work” of its engineering or production. It becomes a symbol of a futuristic, idealized world.

Applying Barthes’ Argument to the Modern Myth of the Apple iPhone

A contemporary object that functions as a powerful modern myth, much like Barthes’ Citroën DS 19, is the Apple iPhone.

Like the DS 19, the iPhone has transcended its primary function as a communication device to become a multifaceted symbol deeply embedded in modern identity and aspiration.

  1. Transcendence of Function: The iPhone is no longer just a phone. It’s a personal assistant, a camera, a social portal, a wallet, a health tracker, a gaming console, and a status symbol. Its omnipresence in daily life transforms it into an almost indispensable extension of the self, much like Barthes describes the DS 19 becoming a natural, rather than manufactured, part of existence. The myth is that it is not merely a tool, but an enabler of an aspirational lifestyle, fostering creativity, connectivity, and productivity.

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  1. Aesthetic Perfection and Concealed Mechanics: The iPhone’s signature minimalist design, smooth surfaces, lack of visible screws, and seamless integration of hardware and software perfectly echo Barthes’ observations about the DS 19. The removal of physical buttons, the “bezel-less” displays, and the perfectly aligned cameras contribute to an aesthetic of effortlessness and sublime perfection. The “engine,” the complex circuitry, and the manufacturing process are entirely hidden beneath this sleek, polished exterior. This concealment fosters the myth that the iPhone simply is, rather than being made, and its functionality is a result of intrinsic magic rather than meticulous engineering and labor.

  2. Myth of Continuous Innovation and Progress: Each new iPhone model is unveiled with near-religious fervor at “Keynote” events. These presentations don’t just highlight new features; they frame the iPhone as a revolutionary leap forward, a solution to problems users didn’t even realize they had. This taps into the myth of unending technological progress and human betterment through consumption. The iPhone is presented as the pinnacle of human ingenuity, perpetually evolving towards an ever-more perfect state, inviting users to participate in this grand narrative of progress simply by upgrading.

  3. Universal Accessibility and Democratized Aspiration: Despite its premium price point, Apple’s marketing positions the iPhone as a device for “everyone,” integrating seamlessly into diverse aspects of daily life. It embodies a democratized sense of luxury and advanced technology. Owning an iPhone is not just about having a phone; it’s about belonging to a global community that values design, innovation, and a certain perceived standard of living. This mirrors how the DS 19, though advanced, became accessible to a broader French public, representing a future that was within reach.

  4. Hiding the “Dirty Work”: Just as the DS 19 hid its industrial origins, the iPhone’s pristine image masks the often less glamorous realities of its global supply chain, reliance on rare earth minerals, factory labor conditions, and significant environmental footprint from production to disposal. The myth of the perfect, seamless user experience allows consumers to overlook these complexities, focusing solely on the idealized image and the immediate gratification it provides.

In conclusion, the Apple iPhone, through its transcendent functionality, aesthetically perfect and concealed design, perpetuation of endless innovation, and widespread aspirational appeal, functions as a modern myth, embodying the very characteristics Barthes identified in the Citroën DS 19. It transforms a consumer product into a powerful cultural symbol, shaping our perceptions of progress, desire, and self in the digital age.

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