2. POLITICAL ONTOLOGY OF WORDS

Why do humour has such power with words? Does humour has its power as metalingitics or is it because of its play with words. Humour is form of language, rather than play with language (Raskin 1985). Outermost level of humor is in dealing with words. The value of the internal structure of humour, the real power of humour, power of words, is in its metalogic, logic toward ranks of words, the established order of words in the modality. To be clear, the modality that is understood as logic of colloquium, in current ranks of words, within its unanticipated language. Logic itself could play with ranks, but, as such, it is part of the metalogic. Innermost level of humour is therefore nothing other than language, an original perfect language (Paulos, 2013). Positioned within metalogic, with use of right words. Should we say, humour is extension and sarcasm is expression. Extensive use of figures of speech distinguishes humour as metalanguage (Fahnestock, 2005). Humour is political and, therefore, original language that creates by speaking, uses by producing, it is the highest style, by speaking unassumed, uses the words used all the time. It changes ranks of words, words that create the words, words that correspondent to words, as in metalanguage, and its creativity is original although it uses the same words, because of political value of words that are structured in ranks. Thus linguistics has political value due to its creativity, ability of words to change and create meaning. Political value of language is in its logic, or precisely in the structural linguistics. Every creativity of language is political in its label. Political here has its linguistic interpretation. Capability of creating reality that is expressed. Capability of creating reality by words that are structural within political ontology and its semantics (Simons 1985). Power of words lies withing their use, and consequently within their value. Political subject has ability to change the reality by speaking, so the words are by itself realities that exists in relation to the subject and reality. Words are always politically original, words are therefore, in true language always realities, realities of multiplied speakers. Should words be sometimes realities and reality sometimes changeable? Answer of rhetorics is yes, in endeavor. We live in poetic society. Everything is possible when playing words. Subject exists in metaspeech, speech that is well pronounced to the perceptive literature. In the terms of metalanguage there are no differences between creativity of speaker and creativity of receptor, creativity is equal therefore perceptive. Difference lies in terms of metalogic, necessary to distinguish quality of speaker to listener, speaker to speaker, as we do in logic. In original language there is no difference, without creativity, perception would not be creative, without creativity of perception creativity would not be perceived as creative, product of words would be disposable. There is reciprocity, within passive speaker lies creativity that is equal to the perceived creativity. And correspondence, within active speaker are realities. Sign correspondent to metasign, metasigns correspondent to reality. Should we speculate on superspeech, we will find that superspeech is a part of metaspeech, output of metalogic, with desire to speak always and to speak in all modes. Speak always and speak everything, speak when speaking is pointless, speak for the speaking sake. Someone would speak something, everyone will speak everything. Superspeaker will talk for the society, because in metaspeech there is no difference between the unit and the whole, because there is no difference between twos, the expression of one subject is expression of the other, the expression of the subject is perfect and delegated to the whole. In fact, no one can speak originally, original language would imply total expression, that is expression of everything for the first time. Thus, creator, or as we named it speaker, seeks out innovation moving towards perfect language.

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