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D uring those surrealistic events which took place on the streets of Paris in May '68, one of the most popular slogans or so the legend has it was: L'imagination aupouvoir. Empower the imagination. What I will attempt in this essay could be called an archaeology of that slogan. My hope is that as I proceed from the most obvious to the least obvious strata underlying (and thus preceding) the slogan, its socio-historical and socio-anthropological preconditions will become visible. This visibility that is my ultimate hope may allow us to reflect more adequately than in most of the current literature on that hazy period of (social) postmodernity and (artistic) postmodernism that succeeded social modernity and artistic responses to it not just chron-
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