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" "The eighteenth and nineteenth centuries abandoned the idea of spiritual or intellectual happiness in order to have this material happiness, consisting of a certain number of essential consumer goods. And hence, in the nineteenth century, happiness was linked to a well-being obtained by mechanical means, industrial means, production. The new thing that Saint-Just spoke about was that, in the past, happiness could appear as a very vague, very distant prospect for humanity, whereas now, people seemed to be within reach of the concrete, material possibility of attaining it. That was why happiness was to become an absolutely essential image for the nineteenth-century bourgeoisie, and for modern society. Happiness was attainable thanks to industrial development, and this image of happiness brought us fully into the consumer society.
Jacques Ellul (6 January 1912 – 19 May 1994) was a French philosopher, law professor, sociologist, lay theologian, and Christian anarchist.
Biography information from Wikiquote
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It seems to us that there are four great collective sociological assumptions in the modern world. By this we mean not only the Western world, but all the world that shares a modern technology and is structured into nations…. That man’s aim in life is happiness, that man is naturally good, that history develops in endless progress, and that everything is matter.
The other great psychological reflection of social reality is the myth. The myth expresses the deep inclinations of a society. Without it, the masses would not cling to a certain civilization, or its process of development and crisis. It is a vigorous impulse, strongly colored, irrational, and charged with all of man’s power to believe… In our society the two great fundamentals myths on which all other myths rest are Science and History. And based on them are the collective myths that are man’s principal orientations: the myth of Work, the myth of Happiness (which is not the same thing as presupposition of happiness), the myth of the Nation, the myth of Youth, the myth of Hero.
Propaganda is forced to build on those presuppositions and to express these myths, for without them nobody would listen to it. And in so building it must always go in the same direction as society; it can only reinforce society. A propaganda that stresses virtue over happiness and presents man’s future as one dominated by austerity and contemplation would have no audience at all. A propaganda that questions progress or work would arouse distain and reach nobody; it would immediately be branded as an ideology of the intellectuals, since most people feel that the serious things are material things because they are related to labor, and so on.
It is remarkable how the various presuppositions and aspects of myths complement each other, support each other, mutually defend each other: If the propagandist attacks the network at one point, all myths react to the attack. Propaganda must be based on current beliefs and symbols to reach man and w
First our desire for money is never satisfied. Our pursuit of money is infinite. We can never say: this is enough.... There is never any limit, since in order to set a limit or a stopping point, one would need self-control and wisdom. And if one had these at the outset, he would not have had such a passion for money.
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We are in the process of seeing the fulfillment of Edgar Allan Poe's prophecy in which the painter, impassioned by his mistress-model and also by his art, "did not want to see that the colors he spread on his canvas were taken from the cheeks of the woman seated beside him. And when several weeks had passed, and very little remained to be done, nothing but a stroke on the mouth and a glaze over the eye, the mistress’s spirit still flickered like the flame at the base of a lamp. Then he put on the final touch, put the glaze in place, and for a moment the painter stood in ecstasy before the work he had finished. But a moment later, he was struck with panic, and shouting with a piercing voice: ‘It is truly Life itself,’ he suddenly turned around to look at his mistress. She was dead." Nothing ever constrains us to face what is dying when we see it so alive in our images.