Charles Sanders Peirce (1931), argues “we think only in signs” .Signs take the form of words, images, sounds, odours, flavours, acts or objects, but such things have no intrinsic meaning and become signs only when we invest them with meaning. Anything can be a sign as long as someone interprets it as signifying something, referring to or standing for something other than itself. We interpret things as signs largely consciously by relating them to familiar systems of conventions. It is this meaningful use of signs which is at the heart of the concerns of semiotics. Three types of signs:
Icon/ iconic: a mode in which the signifier is perceived as resembling or imitating the signified ( recognizably looking, sounding, feeling, tasting or smelling like it. Being similar in possessing some of its qualities.Index/ Indexical: a mode in which the signifier is not arbitrary but is directly connected in some way physically or causally to the signified, this link can be observed or inferred. Symbol/ Symbolic: a mode in which the signifier does not resemble the signified but which is fundamentally arbitrary or purely conventional, so that the relationship must be learnt.
Roland Barthes (1967) In semiotics, denotation and connotation are terms describing the relationship between the signifier and its signified, and an analytic distinction is made between two types of signifieds: a denotative signified and a connotative signified. Meaning includes both denotation and connotation. Noted, Saussure's model of the sign focused on denotation at the expense of connotation and it was left to subsequent theorists (notably Barthes himself) to offer an account of this important dimension of meaning. Barthes (1977) argued that in photography connotation can be (analytically) distinguished from denotation. Suggested that narrative works with five different codes and the enigma code works to keep up setting problems or puzzles for the audience. His action code (a look, significant word, movement) is based on our cultural and stereotypical understanding of actions that act as a shorthand to advancing the narrative.
John Fiske (1982) Denotation is what is photographed, connotation is how it is photographed”. Link to Barthes’ editing at stage of production we discussed. Related to connotation is what Roland Barthes (1977) refers to as myth. For Barthes myths were the dominant ideologies of our time. The 1st and 2nd orders of signification called denotation and connotation combine to produce ideology - which has been described as a third order of signification by Fiske and Hartley (1982).
Icon/ iconic: a mode in which the signifier is perceived as resembling or imitating the signified ( recognizably looking, sounding, feeling, tasting or smelling like it. Being similar in possessing some of its qualities.Index/ Indexical: a mode in which the signifier is not arbitrary but is directly connected in some way physically or causally to the signified, this link can be observed or inferred. Symbol/ Symbolic: a mode in which the signifier does not resemble the signified but which is fundamentally arbitrary or purely conventional, so that the relationship must be learnt.
Roland Barthes (1967) In semiotics, denotation and connotation are terms describing the relationship between the signifier and its signified, and an analytic distinction is made between two types of signifieds: a denotative signified and a connotative signified. Meaning includes both denotation and connotation. Noted, Saussure's model of the sign focused on denotation at the expense of connotation and it was left to subsequent theorists (notably Barthes himself) to offer an account of this important dimension of meaning. Barthes (1977) argued that in photography connotation can be (analytically) distinguished from denotation. Suggested that narrative works with five different codes and the enigma code works to keep up setting problems or puzzles for the audience. His action code (a look, significant word, movement) is based on our cultural and stereotypical understanding of actions that act as a shorthand to advancing the narrative.
John Fiske (1982) Denotation is what is photographed, connotation is how it is photographed”. Link to Barthes’ editing at stage of production we discussed. Related to connotation is what Roland Barthes (1977) refers to as myth. For Barthes myths were the dominant ideologies of our time. The 1st and 2nd orders of signification called denotation and connotation combine to produce ideology - which has been described as a third order of signification by Fiske and Hartley (1982).
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