Signs, Symbols and Semiotics

Signs/Symbols Exercises

Analyze the following texts with these prompts:

1. Denotative: Describe directly what you see/hear? (eg think about composition, choice of words, font, layout, image/sound quality...)

2. Connotative: What does the denotative level evoke? What does it make you think/feel? (eg certain color schemes might evoke particular emotions, closeness/distance from subjects, intertextual associations)

3. Myth: What larger stories does this text feed into? (eg national identity, ideologies)

Try not to make judgments on whether you "like" texts, or think that they are "good or bad", but rather to think about the various signifiers that make up the text and how they might be employed by an audience to create signification (i.e. meaning).

A really high level reading would take into account the different meanings created by various audiences and the way in which the context in which a text was found might affect its meaning.

Paris Match

Myth Today

In the second half of the book Barthes addresses the question of "What is a myth, today?" with the analysis of ideas such as: myth as a type of speech, and myth on the wings of politics.

The front cover of the Paris Match magazine that Barthes analyzes.

Following on from the first section, Barthes justifies and explains his choices and analysis. He calls upon the concepts of semiology developed by Ferdinand de Saussure at the turn of the century. Saussure described the connections between an object (the signified) and its linguistic representation (such as a word, the signifier) and how the two are connected. For example, the object and properties of 'a walnut tree' are joined by the sounds or letters that signify 'walnut tree' to give us the sign for 'walnut tree', a set of sounds and written letters that, although they are only arbitrarily connected to a walnut tree, come to mean the 'walnut tree' to us.

Working with this structure Barthes continues to show his idea of a myth as a further sign, with its roots in language, but to which something has been added. So with a word (or other linguistic unit) the meaning (apprehended content) and the sound come together to make a sign. To make a myth, the sign itself is used as a signifier, and a new meaning is added, which is the signified. But according to Barthes- this is not added arbitrarily. Although we are not necessarily aware of it, modern myths are created with a reason. As in the example of the red wine, mythologies are formed to perpetuate an idea of society that adheres to the current ideologies of the ruling class and its media.

Barthes demonstrates this theory with the example of a front cover from Paris Match, showing a young black soldier in French uniform saluting. The signifier: a saluting soldier, cannot offer us further factual information of the young man's life. But it has been chosen by the magazine to symbolise more than the young man; the picture, in combination with the signifieds of Frenchness, militariness, and relative ethnic difference, gives us a message about France and its citizens. The picture does not explicitly demonstrate 'that France is a great empire, that all her sons, without any colour discrimination, faithfully serve under her flag,' etc.,^[4] but the combination of the signifier and signified perpetuates the myth of imperial devotion, success and thus; a property of 'significance' for the picture.

“I am at the barber’s, and copy of Paris-Match is offered to me. On the cover, a young Negro in a French uniform is saluting, with his eyes uplifted, probably fixed on a fold of the tricolour. All this is the meaning of the picture. But whether naively or not, I see very well what it signifies to me : that France is a great Empire, that all her sons, without any colour discrimination, faithfully serve under the flag, and that there is no better answer to the detractors of an alleged colonialism than the zeal shown by this Negro in serving his so-called oppressors ...”

http://en.wikipedia.org/wiki/Mythologies_%28book%29

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