ENGL 1900 North Hennepin Community College Akoko Story Creative Writing Paper The assignment was for either a minimum of six pages, piece of fiction (inven

ENGL 1900 North Hennepin Community College Akoko Story Creative Writing Paper The assignment was for either a minimum of six pages, piece of fiction (invented story) or creative nonfiction (a story written from your life). B
Rhetoricof thelmage
advertising these signs are full, forr
the advertising image is frank, or at
ROLAND BARTHES
THn Tnnrn MEsslcrs
ccording to an ancient etymology, Ihe word image
should be linked to the root imitari. Thus we find ourselves immediately at the
heart of the most important problem facing the semiology of images: can analogical representation (the “copy”) produce true systems of signs and not
merely simple agglutinations of symbols? Is it possible to conceive of an analogical “code”(as opposed to a digital one)?We know that linguists refuse the
status of language to all communication” by analogy-from the “language”
of bees to the “language” of gesture-the moment such communications are
not doubly articulated, are not founded on a combinatory system of digital
units as phonemes are. Nor are linguists the only ones to be suspicious as to
the linguistic nature of the image; general opinion too has a vague conception
of the image as an area of resistance to meaning-this in the name of a certain
mythical idea of Life: the image is re-presentatiory which is to say ultimately
resurrection, and, as we know, the intelligible is reputed antipathetic to lived
experience. Thus from both sides the image is felt to be weak in respect of
meaning: there are those who think that the image is an extremely rudimentary system in comparison with language and those who think that signification cannot exhaust the image’s ineffable richness.Now even-and above all
if -the image is in a certain manner thelimit of meaning, it permits the consideration of a veritable ontology of the process of signification. How does
meaning get into the image? Where does it end? And if it ends, what is there
beyond?Such are the questions that I wish to raise by submitting the image to
a spectral analysis of the messagesit may contain. We will start by making it
considerably easier for ourselves:we will only study the advertising image.
Why? Because in advertising the signification of the image is undoubtedly
intentional; the signifieds of the advertising message are formed a priori by
certain attributes of the product and these signifieds have to be transmitted as
clearly as possible. If the image contains signs, we can be sure that in
From Image- Music – Text. Sei. and Trans. Stephen Heath. New York: Hill and Wang,
1,977.32-51,.
152
Here we have a Panzani advertisen
some tomatoes,onions, peppers/ a :
string bag, in yellows and greens c
off” the different messagesit contai
The image immediately yield:
guistic; its supports are the captior
being inserted into the natural disp
from which this messagehas been t
language;the only knowledge requ
ing and French.In fact, this messag
sign Panzani gives not simplv the n
an additional signified, that of “lu
twofold (at least in this particular
Since,however, we have here onlr’
ulated (written) language, it n’ill t’.
Putting aside the linguistic m
(even if the labels are part of it, .rr
vides a seriesof discontinuous sigr
signs are not linear), the idea that r’
return from the market. A signified
that of the freshness of the prodr
preparation for which they are dt
which lets the provisions spill out
first sign requires only a knon’lcdg
of the habits of a very widespread
self” is opposed to the hastv stocki
“mechanical” civilization. A secon
signifier is the bringing together oi
hues (yellow, green,red) of the post
This sign stands in a relation of rec’
guistic message(the Italian assona
edge it draws upon is alreadv mc
knowledge (an Italian would bareh
more probably than he would the it
a familiarity with certain tourist ste
(which is not to say that it is not er
difficulty in discovering at least trr
Iection of different objectstransmits
one hand as though Panzani furni
balanced dish and on the other a
equivalent to the natural producr
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a8uu
8
1,54
THE RHETORIC OF THE IMAGE
composition of the image, evoking the memory of innumerable alimentary
paintings, sends us to an aestheticsignified: the”nature morte” or, as it is better expressedin other languages,the “still I’fe”3; the knowledge on which this
sign depends is heavily cultural. It might be suggested that, in addition to
these four signs, there is a further in{ormation pointer, that which tells us that
this is an advertisement and which arises both from the place of the image in
the magazine and from the emphasis of the labels (not to mention the caption). This last in{ormation, however, is co-extensivewith the scene;it eludes
signification insofar as the advertising nature of the image is essentially functional: to utter something is not necessarilyto declare t am speaking,except in
a deliberately reflexive system such as literature.
Thus there are four signs for this image and we will assume that they
form a coherentwhole (for they are all discontinuous),require a generally cultural knowledge, and refer back to signifieds each of which is global (for
example, Italianicity),imbued with euphoric values. After the linguistic message,then, we can see a second, iconic message.Is that the end? If all these
signs are removed from the image, we are still left with a certain informationai matter; deprived of all knowledge, I continue to “read” the image, to
“understand” that it assemblesin a common spacea number of identifiable
(nameable)objects,not merely shapesand colors. The signifieds of this third
messageare constituted by the real objects in the scene,the signifiers by these
same objects photographed, for, given that the relation between thing signified and image signifying in analogical representation is not “arbitrary” (as it
is in language),it is no longer necessaryto dose the relay with a third term in
the guise of the psychic image of the object. What defines the third messageis
precisely that the relation between signified and signifier is quasi-tautological;
no doubt the photograph involves a certain arrangement of the scene (framing, reduction, flattening) but this transition is not a transformation(in the wav
a coding can be); we have here a loss of the equivalencecharacteristicof true
sign systems and a statement of quasi-identity. In other words, the sign of this
message is not drawn from an institutional stock, is not coded, and we are
without
brought up against the paradox (to which we will return) of a message
a code.aThis peculiarity can be seen again at the level of the knor,vledge invested in the reading of the message;in order to “read” this last (or first) level of
the image, all that is needed is the knowledge bound up with our perception.
That knowledge is not nil, for we need to know what an image is (children
only learn this at about the age of four) and what a tomato, a string-bag, a
packet of pasta are, but it is a matter of an almost anthropological knowledge.
This messagecorresponds,as it were, to the letter of the image and we can
agree to call it the literal message, as opposed to the previous symbolic
‘message.
If our reading is satisfactory, the photograph analyzed offers us three
messages:a linguistic message,a coded iconic message,and a non-coded
iconic message.The linguistic message can be readily separated from the
other two, but since the latter share the same (iconic) substance, to what
extent have we the right to separate them? It is certain that the distinction
betweenthe two iconic messagesis
ing: the viewer of the image recei
messageand the cultural message
in reading correspondsto the func
The distinction, however, has an oP
allows the distinction in the lingui:
though in reality no one is able I
e-xceptby recourseto the metalang
rnits us to describe the structure o
ion and if this description paves tf
irnage in society,we will take it to
sider each type of messageso as t(
sight of our aim of understanding
inter-relationship of the three mes
a “naive” analysisbut a structural
be modified a little by the inversi
message;of the two iconic messag
second:the literal messageaPPea
Hence, knowing that a sYstem r.r’h
in order to make them its signifier
immediately that the literal image
Successively,then, we shall look at
and the connoted image.
THn LNcutsrIC MESSAGE
Is the linguistic messageconstant?
around the image?In order to find
necessaryto go back to partiallrstate of the image. From the mom,
ing of text and image is frequent,
from a structural point of vieu’. 1
tion”? Does the image duPlicatece
a phenomenon of redundancv or (
image?The problem could be Pose
with its passionfor books with Pic
century that editions of La Fontait
authors such as Menestrier rthcr
betweenfigure and discourse.-To
appears that the linguistic messag
caption, accompanyingPressartlc
shows that it is not verY accuratet
still, and more than ever.a cir iliza
uing to be the full terms of the inf,
presenceof the linguistic messag
length seem to be Pertinent (.r lo
99I
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slr rou uorqrsodslr raqllau .ro; ‘slunor leql a8essau rrlsrn8url aql 1o aruasa.rd
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8
1,56
rHE RHETORTCOF THE rMAGE
signified, thanks to connotation, and it is this signified which is put in relation
with the image). What are the functions of the linguistic messagewith regard
to the (twofold) iconic message?There appear to be two: anchorageand relny.
As will be seen more clearly in a moment, all images are polysemous;
they imply, underlying their signifiers, a “floating chain” of signifieds, the
reader able to choose some and ignore others. Polysemy poses a question of
meaning and this question always comes through as a dysfunction, even if
this dysfunction is recuperated by society as a tragic (silent, God provides no
possibility of choosing between signs) or a poetic (the panic “shudder of
meaning” of the Ancient Greeks) game; in the cinema itself, traumatic
images are bound up with an uncertainty (an anxiety) concerning the meaning of objects or attitudes. Hence in every society various techniques are
developed intended to fix the floating chain of signifieds in such a way as to
counter the terror of uncertain signs; the linguistic messageis one of these
techniques.At the level of the literal message,the text replies-in a more or
less direct, more or less partial manner – to the question: what is lf ? The text
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