FUNKCIJA METAFORE V MARXOVI TEORIJI

Metaphor is supposed to be a pictoresque expression of reality. The analysis concentrates on the object of metaphor, i. e., upon the astonishing fact that a woman can be mixed up with flowers. It is supposed that the expression ,being a rose' has to be translated as ,being beautiful'. Many theoreticians treat metaphor as an artistic figure, unimportant for the cognitive and informative function of language. Metaphor could not be taken as ,true', because nobody could be so naïve. In fact, metaphor should be treated seriously. It is, indeed, a form of aesthetic function, and as such involves not only the truth of the signified object. Aesthetic function turns attention from the signified to the mode of signifying (Plato). It is a way of self-relating and self-explaining language which turns the recipient's attention to the sign itself (Mukarovsky). In the theoretical discourse, metaphor is not just a colloquial cosmetic and façade decoration. It is a form of self-reflection and self-explaining which diverts the recipient from the object of theory to the theory itself. Marx's metaphors have been treated as part of his personal style. Some of his categories have been revealed as metaphors (Silva). But it has not been sufficiently stressed that Marx most often uses metaphors as a way of revealing the functions of theory which develop »der Welt aus den Prinzipien der Welt neue Prinzipien«. His metaphor: »... man muß diese versteinerte Verhältnisse dadurch zum Tanzen zwingen, daß man ihnen ihre eigne Melodie vorsingt...« is analysed and it is demonstrated that Marx does not use pictoresque expressions instead of clear and strict formulations just for the sake of art, or even because of lack of theoretical solutions, but as a means of theoretical self-reflection and self-referral. Metaphor is the .truth' of the method: concrete abstraction which makes visible the potentials of theory as a material force, being more than just an accurate reflection of objects.Metafora naj bi pomenila slikovit izraz stvarnosti. Analiza se osredotoča na predmet metafore, tj. na presenetljivo dejstvo, da lahko ženske pomešamo z rožami. Predpostavka je, da je potrebno izraz »biti roža« prevesti v »biti krasen«. Mnogi teoretiki obravnavajo metaforo kot umetniško podobo, ki je brez pomena za spoznavno in informativno funkcijo jezika. Metafore ne moremo sprejeti kot »resnične«, saj ni nihče tako naiven. V resnici moramo metaforo jemati resno. Je oblika estetske funkcije in kot taka ne zadeva le resnice o označevanem predmetu. Estetska funkcija odtegne pozornost z označenega na način označevanja (Platon). Je način samonanašanja in samorazla-ganja jezika, ki usmeri sprejemnikovo pozornost na sam znak (Mukarovsky). V teoretskem diskurzu metafora ni le pogovorna kozmetika in dekoracija. Je oblika samo-refleksije in samorazlage, ki odvrne prejemnika od predmeta teorije k teoriji sami. Marxove metafore so obravnavali kot del njegovega osebnega sloga. Nekatere od njegovih kategorij so bile razkrite kot metafore (Silva). Vendar pa ni bilo dovolj poudarjeno, da Marx najpogosteje uporablja metafore kot način razkrivanja funkcij teorije, ki razvija »der Welt aus der Prinzipien der Welt neue Prinzipien«. Raziskali bomo njegovo metaforo: »... man muß diese versteinerte Verhältnisse dadurch zum Tanzen zwingen, daß man ihnen ihre eigne Melodie vorsingt...«, in pokazali, da Marx slikovitih izrazov ne uporablja namesto jasnih in strogih le zaradi njih samih, ali celo zaradi pomanjkanja teoretskih rešitev, marveč kot sredstva za teoretsko samo-refleksijo in avtoreferenco. Metafora je »resnica« metode: je konkretna abstrakcija, ki naredi vidne možnosti teorije kot materialne sile ter je več kot le zvesti odsev predmetov