structuralism & semiotics

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Structuralism & Semiotics Henderson

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Structuralism & Semiotics. Henderson. Dudes to know:. Ferdinand deSaussure Claude Levi-Strauss Roland Barthes Jacques Lacan Michel Foucault Northrop Frye**. Context. - PowerPoint PPT Presentation

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Page 1: Structuralism & Semiotics

Structuralism & SemioticsStructuralism & Semiotics

HendersonHenderson

Page 2: Structuralism & Semiotics

Dudes to know:Dudes to know:Ferdinand deSaussureClaude Levi-StraussRoland BarthesJacques LacanMichel FoucaultNorthrop Frye**

Ferdinand deSaussureClaude Levi-StraussRoland BarthesJacques LacanMichel FoucaultNorthrop Frye**

Page 3: Structuralism & Semiotics

ContextContext

As a literary theory, developed in the 1950s and 1960s, adopted from theories other areas such as sociology, psychoanalysis, anthropology, etc. **All interrelated!**

Reactionary criticism, attempts to place literature into a system and assign value judgments to works.

As a literary theory, developed in the 1950s and 1960s, adopted from theories other areas such as sociology, psychoanalysis, anthropology, etc. **All interrelated!**

Reactionary criticism, attempts to place literature into a system and assign value judgments to works.

Page 4: Structuralism & Semiotics

Principles of StructuralismPrinciples of Structuralism

Meaning occurs through difference and SIGNS’ relationship to each other. Ex: woman vs. lady

Much of our imaginative world is structured in binary sets (opposites) which assign structure and meaning to signs. Ex: cruel vs. humane

Meaning occurs through difference and SIGNS’ relationship to each other. Ex: woman vs. lady

Much of our imaginative world is structured in binary sets (opposites) which assign structure and meaning to signs. Ex: cruel vs. humane

Page 5: Structuralism & Semiotics

Principles of StructuralismPrinciples of Structuralism

Forms the basis of SEMIOTICS, the study of signs.

Sign = union of SIGNIFIER and SIGNIFIED. Ex: c-a-t, fuzzy critter that goes “meow”

CODES provide signs with context - cultural context, literary context, etc.

Forms the basis of SEMIOTICS, the study of signs.

Sign = union of SIGNIFIER and SIGNIFIED. Ex: c-a-t, fuzzy critter that goes “meow”

CODES provide signs with context - cultural context, literary context, etc.

Page 6: Structuralism & Semiotics

Principles of StructuralismPrinciples of Structuralism

Emphasizes that humans create meaning. Structuralism, then, allows us to examine our relationships with literature, art, society, etc.

Our sense of self -- our consciousness -- exists in relation to outside collective influences. We are NOT self-contained!

Emphasizes that humans create meaning. Structuralism, then, allows us to examine our relationships with literature, art, society, etc.

Our sense of self -- our consciousness -- exists in relation to outside collective influences. We are NOT self-contained!

Page 7: Structuralism & Semiotics

Principles of StructuralismPrinciples of Structuralism

Reality is conventional; our perceptions of the world around us are bound up in conventions, codes, signs, etc. The “social construction of reality”.

Structuralism’s ultimate argument is this…

Reality is conventional; our perceptions of the world around us are bound up in conventions, codes, signs, etc. The “social construction of reality”.

Structuralism’s ultimate argument is this…

Page 8: Structuralism & Semiotics

There is a connection between our concept of reality, the self, society,

consciousness, and unconsciousness. They are all connected to each other

and are bound by the same laws, signs, and conventions.

There is a connection between our concept of reality, the self, society,

consciousness, and unconsciousness. They are all connected to each other

and are bound by the same laws, signs, and conventions.

Page 9: Structuralism & Semiotics

When reading a “text”:When reading a “text”:

Look for…Parallels in plotEchoes in structureReflections/repetitions in

character/motiveContrasts in situation/circumstancePatterns in language/imagery

Look for…Parallels in plotEchoes in structureReflections/repetitions in

character/motiveContrasts in situation/circumstancePatterns in language/imagery

Page 10: Structuralism & Semiotics

Barthes’ five “codes”Barthes’ five “codes”

Barthes identifies five codes which he says provide the underlying narrative structures for all literature.

When reading, attempt to place a work in the system of codes.

Barthes identifies five codes which he says provide the underlying narrative structures for all literature.

When reading, attempt to place a work in the system of codes.

Page 11: Structuralism & Semiotics

The codes are:The codes are:

1. Proairetic - provides indications of actions; “reality”. Ex: The ship sailed at noon.

2. Hermeneutic - poses questions or enigmas that provide narrative suspense and involve the reader. Ex: if the narration indicates a knock on the door, the reader asks herself, “Who is it?”

1. Proairetic - provides indications of actions; “reality”. Ex: The ship sailed at noon.

2. Hermeneutic - poses questions or enigmas that provide narrative suspense and involve the reader. Ex: if the narration indicates a knock on the door, the reader asks herself, “Who is it?”

Page 12: Structuralism & Semiotics

Codes continuedCodes continued

3. Cultural - contains references beyond the text which are considered common knowledge (allusions, metonymy). Ex: if a character is described as driving a hybrid car, there are certain cultural assumptions attached to that character.

3. Cultural - contains references beyond the text which are considered common knowledge (allusions, metonymy). Ex: if a character is described as driving a hybrid car, there are certain cultural assumptions attached to that character.

Page 13: Structuralism & Semiotics

Codes continuedCodes continued

4. Semic - linked to a theme on the character level, when a series of signs and ideas surround an individual.

5. Symbolic - linked to theme on a larger level. Consists of contrasts and pairings related to the most basic binary polarities - man/woman, good/evil, lost/recovered, etc. **

4. Semic - linked to a theme on the character level, when a series of signs and ideas surround an individual.

5. Symbolic - linked to theme on a larger level. Consists of contrasts and pairings related to the most basic binary polarities - man/woman, good/evil, lost/recovered, etc. **

Page 14: Structuralism & Semiotics

Frye’s fictional modesFrye’s fictional modes

MYTH - the hero is superior in kind to other men and the environment of other men; generally a story about a god

ROMANCE - the hero is superior in degree to other men; ordinary laws of nature are suspended; often has supernatural powers

MYTH - the hero is superior in kind to other men and the environment of other men; generally a story about a god

ROMANCE - the hero is superior in degree to other men; ordinary laws of nature are suspended; often has supernatural powers

Page 15: Structuralism & Semiotics

Fictional modes continuedFictional modes continued

HIGH MIMETIC - superior to men, but not to the environment; hero is a leader. (Often found in epic and tragedy.)

LOW MIMETIC - Jane Austen’s bread and butter. Everyday hero; appeals to our common sense of humanity. Romantic comedies.

HIGH MIMETIC - superior to men, but not to the environment; hero is a leader. (Often found in epic and tragedy.)

LOW MIMETIC - Jane Austen’s bread and butter. Everyday hero; appeals to our common sense of humanity. Romantic comedies.

Page 16: Structuralism & Semiotics

Fictional modes continuedFictional modes continued

IRONIC - hero is inferior to other men or his environment. Ben Stiller’s lifeline. Includes satire.

Apply these modes to tragedies and comedies. Thus, you can have a high mimetic tragedy (Macbeth) or a low mimetic comedy (Pride & Prejudice).

IRONIC - hero is inferior to other men or his environment. Ben Stiller’s lifeline. Includes satire.

Apply these modes to tragedies and comedies. Thus, you can have a high mimetic tragedy (Macbeth) or a low mimetic comedy (Pride & Prejudice).

Page 17: Structuralism & Semiotics

ArchetypesArchetypes

Definition: a symbol, usually an image, which recurs often enough in literature to be recognizable as an element of one’s literary experience as a whole (individually and collectively)

Definition: a symbol, usually an image, which recurs often enough in literature to be recognizable as an element of one’s literary experience as a whole (individually and collectively)

Page 18: Structuralism & Semiotics

Apocalyptic vs. DemonicApocalyptic vs. Demonic

Apocalyptic: archetypes that reflect ultimate human desire (roughly equated with our sense of heaven)

Demonic: archetypes that reflect everything that society rejects; a total inversion of the apocalyptic (roughly equated with our sense of hell)

Apocalyptic: archetypes that reflect ultimate human desire (roughly equated with our sense of heaven)

Demonic: archetypes that reflect everything that society rejects; a total inversion of the apocalyptic (roughly equated with our sense of hell)

Page 19: Structuralism & Semiotics

Archetypal formsArchetypal forms

Divine world = society of godsHuman world = society of menAnimal world = domesticated flocksVegetable world = gardenMineral world = cities, construction

Divine world = society of godsHuman world = society of menAnimal world = domesticated flocksVegetable world = gardenMineral world = cities, construction

Page 20: Structuralism & Semiotics

Apocalyptic imagery: divineApocalyptic imagery: divine

• One God• All ultimate unity• Idealized world• Magic• Emphasis on heavenly bodies

** Mythical AND analogical

• One God• All ultimate unity• Idealized world• Magic• Emphasis on heavenly bodies

** Mythical AND analogical

Page 21: Structuralism & Semiotics

Apocalyptic imagery: humanApocalyptic imagery: humanOne manChrist (though he operates in a divine

context as well)3 types of fulfillment: individual, social,

and sexualPhilosopher-kingsSexual symbolism - two bodies become oneChaste people, like Sir Galahad

One manChrist (though he operates in a divine

context as well)3 types of fulfillment: individual, social,

and sexualPhilosopher-kingsSexual symbolism - two bodies become oneChaste people, like Sir Galahad

Page 22: Structuralism & Semiotics

Apocalyptic imagery: animalApocalyptic imagery: animal

One flockKing as shepherdBirds (esp. doves)Horses and hounds (romance)Unicorn (emblem of virgins)Ass

One flockKing as shepherdBirds (esp. doves)Horses and hounds (romance)Unicorn (emblem of virgins)Ass

Page 23: Structuralism & Semiotics

Apocalyptic imagery: veggieApocalyptic imagery: veggie

One Tree (of Life)Fruit and leaves on a tree = bread and

wine (communion)Flowers (esp. flowers)Enchanted forests of Shakespeare’s

comedies, Robin Hood, etc.

One Tree (of Life)Fruit and leaves on a tree = bread and

wine (communion)Flowers (esp. flowers)Enchanted forests of Shakespeare’s

comedies, Robin Hood, etc.

Page 24: Structuralism & Semiotics

Apocalyptic imagery: mineralApocalyptic imagery: mineral

One Building, Temple, or StoneCity = “house of many mansions”Geometrical and architectural imagesStairways, ladders, even Rapunzel’s

hair

One Building, Temple, or StoneCity = “house of many mansions”Geometrical and architectural imagesStairways, ladders, even Rapunzel’s

hair

Page 25: Structuralism & Semiotics

Demonic imagery: divineDemonic imagery: divine

Perversions of apocalyptic imagery are called MODULATIONS.

Vast, menacing powers of natureFateSense of human remoteness and

futility

Perversions of apocalyptic imagery are called MODULATIONS.

Vast, menacing powers of natureFateSense of human remoteness and

futility

Page 26: Structuralism & Semiotics

Demonic imagery: humanDemonic imagery: human

Ego runs rampantPerversion of the 3 areas of

fulfillment in apocalyptic imageryLoyalty to a tyrant diminishes the

individualSacrificial victim, scapegoatMob violence blends the first 2

Ego runs rampantPerversion of the 3 areas of

fulfillment in apocalyptic imageryLoyalty to a tyrant diminishes the

individualSacrificial victim, scapegoatMob violence blends the first 2

Page 27: Structuralism & Semiotics

Demonic imagery: animalDemonic imagery: animal

Monsters, beasts of preyWolf, traditional enemy of sheepTigerVultureSerpentDragon (soooo contextual)

Monsters, beasts of preyWolf, traditional enemy of sheepTigerVultureSerpentDragon (soooo contextual)

Page 28: Structuralism & Semiotics

Demonic imagery: veggieDemonic imagery: veggie

Sinister forestHeath (recall Macbeth)Waste landScaffold (as a modulation of the tree

of life)

Sinister forestHeath (recall Macbeth)Waste landScaffold (as a modulation of the tree

of life)

Page 29: Structuralism & Semiotics

Demonic imagery: mineralDemonic imagery: mineral

Waste land (again)Cities of sin and destruction (Babel,

Reno, etc.)Images of perverted work

(instruments of torture or war)Sinister spirals (maelstrom)

Waste land (again)Cities of sin and destruction (Babel,

Reno, etc.)Images of perverted work

(instruments of torture or war)Sinister spirals (maelstrom)

Page 30: Structuralism & Semiotics

Archetypes and CyclesArchetypes and Cycles

Images fall into cyclical movements.1. Divine = death/rebirth2. Fire-world = heavenly bodies3. Human = dreaming/waking4. Animal = life/death5. Veggie = natural cycles (seasons)6. Mineral = golden ages, etc.7. Water cycles

Images fall into cyclical movements.1. Divine = death/rebirth2. Fire-world = heavenly bodies3. Human = dreaming/waking4. Animal = life/death5. Veggie = natural cycles (seasons)6. Mineral = golden ages, etc.7. Water cycles

Page 31: Structuralism & Semiotics

Cycles and GenresCycles and Genres

4 Mythoi: generic plotsThese 4 mythoi can be seen as aspects

of a single unifying myth, which corresponds this way…Agon - conflictPathos - catastropheSparagmos - anarchyAnagnorisis - recognition/triumph

4 Mythoi: generic plotsThese 4 mythoi can be seen as aspects

of a single unifying myth, which corresponds this way…Agon - conflictPathos - catastropheSparagmos - anarchyAnagnorisis - recognition/triumph

Page 32: Structuralism & Semiotics

Mythos of Spring: ComedyMythos of Spring: Comedy

Young man wants young woman.Resisted by some opposition.Twist enables the hero to have his

will.Appearance/adoption of a new society

or social order.Often paternal figures provide

opposition.

Young man wants young woman.Resisted by some opposition.Twist enables the hero to have his

will.Appearance/adoption of a new society

or social order.Often paternal figures provide

opposition.

Page 33: Structuralism & Semiotics

Mythos of Summer: RomanceMythos of Summer: Romance

Quest/adventurePerilous journey, crucial struggle,

exaltation of the hero. (Notice how the 3-part structure parallels that of comedy.)

Archetype: dragon-killing, leviathanCan be applied to ExodusConnected to fertility rites

Quest/adventurePerilous journey, crucial struggle,

exaltation of the hero. (Notice how the 3-part structure parallels that of comedy.)

Archetype: dragon-killing, leviathanCan be applied to ExodusConnected to fertility rites

Page 34: Structuralism & Semiotics

Mythos of Autumn: TragedyMythos of Autumn: Tragedy

Tragedy actually moves cyclicallyHero is on top of the wheel of

fortune; when he declines, his subordinates do his living for him. In some tragedies (Adam), the hero creates new life after the fall.

Sense of natural law and justiceBinary structure instead of tertiary

Tragedy actually moves cyclicallyHero is on top of the wheel of

fortune; when he declines, his subordinates do his living for him. In some tragedies (Adam), the hero creates new life after the fall.

Sense of natural law and justiceBinary structure instead of tertiary

Page 35: Structuralism & Semiotics

Mythos of Winter: Irony/SatireMythos of Winter: Irony/Satire

Remember that irony is “realistic”; we are supposed to look down on characters and events from a higher position.

Satire is militant irony: wit founded on a sense of the absurd, and an object of attack

Remember that irony is “realistic”; we are supposed to look down on characters and events from a higher position.

Satire is militant irony: wit founded on a sense of the absurd, and an object of attack

Page 36: Structuralism & Semiotics

Wheeee! You’re done!Wheeee! You’re done!