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The special uses of The special uses of indexicality and indexicality and

iconicity in iconicity in literatureliterature

Prof. Jørgen Dines Prof. Jørgen Dines JohansenJohansen

Presented in Prof. Dagmar Presented in Prof. Dagmar Schmauks’ seminarSchmauks’ seminar

Berlin 9.06.2008Berlin 9.06.2008

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Every sign is determined by its Every sign is determined by its object, either first, by partaking in object, either first, by partaking in the characters of the object, when I the characters of the object, when I call the sign an Icon; secondly, by call the sign an Icon; secondly, by being really and in its individual being really and in its individual existence connected with the existence connected with the individual object, when I call the sign individual object, when I call the sign an Index; thirdly, by more or less an Index; thirdly, by more or less approximate certainty that it will be approximate certainty that it will be interpreted as denoting the object, in interpreted as denoting the object, in consequence of a habit (which term I consequence of a habit (which term I use as including a natural use as including a natural disposition), when I call the sign a disposition), when I call the sign a Symbol. (4.531)Symbol. (4.531)

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o sIconic relationship between object and sign

o sIndexical relationship between object and sign

o s symbolic relationship between sign and object

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The value of an icon consists in its The value of an icon consists in its exhibiting the features of a state exhibiting the features of a state of things regarded as if it were of things regarded as if it were purely imaginary. The value of an purely imaginary. The value of an index is that it assures us of index is that it assures us of positive fact. The value of a positive fact. The value of a symbol is that it serves to make symbol is that it serves to make thought and conduct rational end thought and conduct rational end enables us to predict the future. enables us to predict the future. (4.448)(4.448)

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Three kinds of iconic signs:Three kinds of iconic signs:

images:images:have qualities in common with the have qualities in common with the objects they represent (a portrait objects they represent (a portrait painting)painting)

diagrams:diagrams:have proportions, structural features in have proportions, structural features in common with their objects (a blueprint, a common with their objects (a blueprint, a model of narrative structure)model of narrative structure)

metaphors:metaphors:represent a similarity in something elserepresent a similarity in something else (an oscilloscope)(an oscilloscope)

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H high

sL low

O old

Y young

M male

F female

HOM HOF

HOF

HYM HYF

HY F

LOM LOF

LOFLYM LYF

sex

age

status

(Maranda & Maranda 1971: 23)

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THE MAN SHOWING HIS EMPTY THE MAN SHOWING HIS EMPTY POCKETS ILLUSTRATES A VISUAL POCKETS ILLUSTRATES A VISUAL EXEMPLE OF THE RHETORICAL EXEMPLE OF THE RHETORICAL FIGURE SYNECHDOCHE, I.E. A FIGURE SYNECHDOCHE, I.E. A PARS PRO TOTOPARS PRO TOTO

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THIS IS CLEARLY A VISUAL THIS IS CLEARLY A VISUAL METAPHOR: THE WOLRD SEEN AS METAPHOR: THE WOLRD SEEN AS A FRIED EGG.A FRIED EGG.

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Since there are three types of Since there are three types of iconic signs, images, diagrams, iconic signs, images, diagrams, and metaphors, there should also and metaphors, there should also be three ways to iconize the text be three ways to iconize the text during reading. And indeed there during reading. And indeed there are. The three ways are:are. The three ways are:

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Imaginization:Imaginization:

The production of mental images The production of mental images triggered by what is represented in the triggered by what is represented in the literary text, i.e., imaginative literary text, i.e., imaginative iconization, or imaginizationiconization, or imaginization

Imaginization has to do with the use of Imaginization has to do with the use of imagination in linking the symbolic imagination in linking the symbolic signs of the text with iconic ones. In signs of the text with iconic ones. In fact some readers claim to experience fact some readers claim to experience reading, say a novel, like going to the reading, say a novel, like going to the cinema since the text becomes realized cinema since the text becomes realized as a movie on their internal screen.as a movie on their internal screen.

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Question?Question?

A difficult question is the level of A difficult question is the level of consciousness of imaginative consciousness of imaginative iconization. Obviously, this process may iconization. Obviously, this process may be fully conscious, the reader, using be fully conscious, the reader, using partly the text’s instructions, partly his partly the text’s instructions, partly his memories and fantasy, actually sees memories and fantasy, actually sees with the mind’s eye a character, a with the mind’s eye a character, a scene, a piece of action. However, the scene, a piece of action. However, the most different schools of psychology do most different schools of psychology do agree that most mental processes are agree that most mental processes are unconscious. unconscious.

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They gradually began to talk more They gradually began to talk more frequently of matters outside their love, frequently of matters outside their love, and in the letters that Emma wrote him and in the letters that Emma wrote him she spoke of flowers, poetry, the moon she spoke of flowers, poetry, the moon and the stars, naïve resources of a and the stars, naïve resources of a waning passion striving to keep itself waning passion striving to keep itself alive by all external aids. She was alive by all external aids. She was constantly promising herself a profound constantly promising herself a profound happiness on her next trip; then she happiness on her next trip; then she confessed to herself that she had felt confessed to herself that she had felt nothing extraordinary. This nothing extraordinary. This disappointment quickly gave way to a disappointment quickly gave way to a new hope, and Emma returned to him new hope, and Emma returned to him more avid and enflamed that before. She more avid and enflamed that before. She undressed brutally, ripping off the thin undressed brutally, ripping off the thin laces of her corset so violently that they laces of her corset so violently that they would whistle round her hips like a would whistle round her hips like a gliding snake. gliding snake.

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She went on tiptoe, barefooted, to see She went on tiptoe, barefooted, to see once more that the door was locked, once more that the door was locked, then with one movement, she would let then with one movement, she would let her clothes fall at once to the ground; her clothes fall at once to the ground; — then, pale and serious, without a — then, pale and serious, without a word, she would throw herself against word, she would throw herself against his breast with a long shudder.his breast with a long shudder.Yet there was upon that brow covered Yet there was upon that brow covered with cold drops, on those stammering with cold drops, on those stammering lips, in those wild eyes, in the grip of lips, in those wild eyes, in the grip of those arms, something strange, vague those arms, something strange, vague and sinister that seemed to Léon to be and sinister that seemed to Léon to be subtly gliding between them to force subtly gliding between them to force them apart. (Flaubert 1965: 205, trans. them apart. (Flaubert 1965: 205, trans. E. Marx Aveling, rev. by P. de Man)E. Marx Aveling, rev. by P. de Man)

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FRANCES O’CONNOR AS MME. BOVARYFRANCES O’CONNOR AS MME. BOVARY

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JEAN RENOIR’S VERSION WITH VALENTINE TESSIER AS MME. JEAN RENOIR’S VERSION WITH VALENTINE TESSIER AS MME. BOVARYBOVARY

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Each impersonation or illustration Each impersonation or illustration may count as an iconic may count as an iconic exemplification of Mme. Bovary as exemplification of Mme. Bovary as she is described in the textshe is described in the text

however, they also exemplify, for however, they also exemplify, for instance the looks of the models, instance the looks of the models, the visions of the actresses and the visions of the actresses and those of the directorthose of the director

and without being told very few and without being told very few would immediately state that the would immediately state that the female figure is a Mme. Bovary female figure is a Mme. Bovary impersonationimpersonation

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Diagrammatization:Diagrammatization: The structuring of what is represented as a network of The structuring of what is represented as a network of relationshipsrelationships

sender object sender object receiverreceiver

helperhelper subject subject opponentopponent

DIAGRAMMATIZATION IS PROBABLY THE MOST IMPORTANT DIAGRAMMATIZATION IS PROBABLY THE MOST IMPORTANT AND USEFUL INTELLECTUAL TOOL. A TOOL THAT MAKES IT AND USEFUL INTELLECTUAL TOOL. A TOOL THAT MAKES IT POSSIBLE TO STRUCTURE OUR LIFEWORLDPOSSIBLE TO STRUCTURE OUR LIFEWORLD

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text

type

signified world

dynamical world

Interpreter

addressee

dynamical interpretant

immediate interpretant

addresser

utterer

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Allegorization:Allegorization:

The relationships of the universe The relationships of the universe represented in the text to other represented in the text to other conceptual structures, i.e., conceptual structures, i.e., allegorization. allegorization.

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Paul writes to the Galatians: Paul writes to the Galatians: For it is written that Abraham had two For it is written that Abraham had two sons, the one by a bondmaid, the other sons, the one by a bondmaid, the other by a free woman. by a free woman. But he But he whowho waswas of the bondwoman was of the bondwoman was born after the flesh; but he of the born after the flesh; but he of the freewoman freewoman waswas by promise. by promise. Which things are an allegory: for these Which things are an allegory: for these are the two covenants; the one from the are the two covenants; the one from the mount Sinai, which gendereth to mount Sinai, which gendereth to bondage, which is Agar. bondage, which is Agar. For this Agar is mount Sinai in Arabia, For this Agar is mount Sinai in Arabia, and answereth to Jerusalem which now and answereth to Jerusalem which now is, and is in bondage with her children.is, and is in bondage with her children.But Jerusalem which is above is free, But Jerusalem which is above is free, which is the mother of us all. (4,22-26)which is the mother of us all. (4,22-26)

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THUS, THERE ARE TRANSCATEOGRICAL THUS, THERE ARE TRANSCATEOGRICAL LINKINGS OF DIFFERENT DOMAINS, LINKINGS OF DIFFERENT DOMAINS, PERSONS, I.E., MOTHERS AND SONS, PERSONS, I.E., MOTHERS AND SONS, LOCATIONS, LANDSCAPE AND CITY, AND LOCATIONS, LANDSCAPE AND CITY, AND CONTRACTUAL RELATIONSHIPS CONTRACTUAL RELATIONSHIPS BETWEEN MAN AND A SUPREME BEING. BETWEEN MAN AND A SUPREME BEING. BUT THIS IS NOT THE WHOLE POINT. BUT THIS IS NOT THE WHOLE POINT. THE CURRENT INTEREST OF THIS THE CURRENT INTEREST OF THIS ALLEGORY IS; ACCORDING TO PAUL, ALLEGORY IS; ACCORDING TO PAUL, THAT THE GALATIAN BROTHERS ARE, THAT THE GALATIAN BROTHERS ARE, LIKE ISAAC, THE CHILDREN OF PROMISE, LIKE ISAAC, THE CHILDREN OF PROMISE, AND THAT THEY SHOULD STAND FAST IN AND THAT THEY SHOULD STAND FAST IN THEIR CHRISTIAN FREEDOM AND NOT THEIR CHRISTIAN FREEDOM AND NOT “ENTANGLE AGAIN WITH THE YOKE OF “ENTANGLE AGAIN WITH THE YOKE OF BONDAGE.” THUS, AN APPLICATION IS BONDAGE.” THUS, AN APPLICATION IS ADDED THAT ITSELF ADDS ANOTHER ADDED THAT ITSELF ADDS ANOTHER ANALOGY TO THE SEMANTIC TISSUE, ANALOGY TO THE SEMANTIC TISSUE, NAMELY, AS ISHMAEL IS TO ISAAC SO NAMELY, AS ISHMAEL IS TO ISAAC SO ARE THE GENTILES TO THE GALATIANS.ARE THE GENTILES TO THE GALATIANS.

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Indexicality in literature:Indexicality in literature:

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knowledge by acqaintanceknowledge by acqaintancebeing a being a witnesswitness to something to something

relating from memory to others what has relating from memory to others what has been perceived been perceived

knowledge by descriptionknowledge by description

tracking descriptions back to the tracking descriptions back to the testimonies on which they supposed to testimonies on which they supposed to

restrest

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being a witness tobeing a witness to the creatures the creatures of one’s own imaginationof one’s own imagination

Putting into language that which is Putting into language that which is imaginedimagined

Knowing an imaginary world by Knowing an imaginary world by descriptiondescription

tracking this description back to tracking this description back to the imaginations of one or more the imaginations of one or more

individual mind(s)individual mind(s)

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IN WRITING LITERATURE, IN WRITING LITERATURE, HOWEVER, NO CLEARCUT PHASES: HOWEVER, NO CLEARCUT PHASES: IT IS NOT THE CASE THAT A WRITER IT IS NOT THE CASE THAT A WRITER HAS IMAGINARY VISUAL OR OTHER HAS IMAGINARY VISUAL OR OTHER REPRESENTATATION THAT HE/SHE REPRESENTATATION THAT HE/SHE TRANSLATES INTO LANGUAGE. THIS TRANSLATES INTO LANGUAGE. THIS MAY CERTAINLY BE THE CASE, IT MAY CERTAINLY BE THE CASE, IT MAY ALSO BE THE CASE, HOWEVER, MAY ALSO BE THE CASE, HOWEVER, THAT WORDS AND PHRASES IN THAT WORDS AND PHRASES IN DIFFERENT WAYS INFLUENCES AND DIFFERENT WAYS INFLUENCES AND DETERMINE WHAT BECOMES THE DETERMINE WHAT BECOMES THE LITERARY TEXTLITERARY TEXT

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Within the stories aboutWithin the stories about Sherlock Sherlock Holmes Holmes

it is true that SH lived init is true that SH lived in Baker Baker StreetStreet

it is false that SH was a family manit is false that SH was a family man

in the actual world, of that time: in the actual world, of that time: it is true that Baker Street existed it is true that Baker Street existed in London, in London, but no. 221B did notbut no. 221B did not

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HENCE FICTIONAL LITERARY TEXTS HENCE FICTIONAL LITERARY TEXTS ARE CHARACTERIZED BY MIXING ARE CHARACTERIZED BY MIXING INDICES RELATING TO FICTIONAL INDICES RELATING TO FICTIONAL AND HISTORICAL ENTITIES – OBS!: AND HISTORICAL ENTITIES – OBS!: THERE ARE TRUE AND FALSE THERE ARE TRUE AND FALSE STATEMENTS ABOUT FICTIONAL STATEMENTS ABOUT FICTIONAL WORLDS, BUT IT IS ACCIDENTAL WORLDS, BUT IT IS ACCIDENTAL WHETHER THEY ARE VALID WITHIN WHETHER THEY ARE VALID WITHIN OUR LIFEWORLDOUR LIFEWORLD

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Asymmetry between a given Asymmetry between a given fictional world and our lifeworld fictional world and our lifeworld means that we need to import means that we need to import knowledge from the latter in order knowledge from the latter in order to understand the formerto understand the former

Marie-Laure Ryan: The principle of Marie-Laure Ryan: The principle of minimal departureminimal departure

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Iconicity in literature:Iconicity in literature:

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The chain of verbs Veni, vidi, vici The chain of verbs Veni, vidi, vici informs us about the order of Caesar's informs us about the order of Caesar's deeds because the sequence of co-deeds because the sequence of co-ordinate preterites is used to ordinate preterites is used to reproduce the succession of reported reproduce the succession of reported occurrences. The temporal order of occurrences. The temporal order of speech events tends to mirror the speech events tends to mirror the order of narrated events in time or in order of narrated events in time or in rank. (Jakobson 1971 [1960]: II, 350).rank. (Jakobson 1971 [1960]: II, 350).In spite of its "naturalness" it is In spite of its "naturalness" it is certainly not the only way in which certainly not the only way in which Caesar's arrival, inspection, and victory Caesar's arrival, inspection, and victory may be expressed, even using the may be expressed, even using the same vocabulary, he might have said:same vocabulary, he might have said:vici ut vidi cum venissemvici ut vidi cum venissemvici veniendo postquam vidivici veniendo postquam vidivici veniens postquam vidivici veniens postquam vidi

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THESE THREE EXAMPLES ARE THESE THREE EXAMPLES ARE DIFFERENT FROM THE ACTUAL DIFFERENT FROM THE ACTUAL DICTUM, BECAUSE THEY ARE DICTUM, BECAUSE THEY ARE ANALYTICAL. THEY USE ANALYTICAL. THEY USE RELATIONAL WORDS (UT, RELATIONAL WORDS (UT, POSTQUAM) AND VERB TENSES TO POSTQUAM) AND VERB TENSES TO EXPLAIN THE RELATIONSHIP EXPLAIN THE RELATIONSHIP BETWEEN CAESAR'S THREE DEEDS, BETWEEN CAESAR'S THREE DEEDS, WHEREAS “VENI, VIDI, VICI” WHEREAS “VENI, VIDI, VICI” DISPLAYS OR MIMES THE DISPLAYS OR MIMES THE TEMPORAL AND CAUSAL ORDER.TEMPORAL AND CAUSAL ORDER.

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Interesting is also the option to Interesting is also the option to use another vocabulary. Caesar use another vocabulary. Caesar might have said:might have said:

perrexi, circumspexi, superaviperrexi, circumspexi, superavi

““veni, vidi, vici” combines mimetic veni, vidi, vici” combines mimetic with systemic iconicity whilewith systemic iconicity while

““perrexi, circumspexi, superavi” perrexi, circumspexi, superavi” only possesses mimetic iconicityonly possesses mimetic iconicity

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mimetic iconicity concerns the mimetic iconicity concerns the relationship between text and the relationship between text and the course of events or states of course of events or states of affairsaffairs

systemic iconicity concerns the systemic iconicity concerns the relationship between the parts relationship between the parts that make up the textthat make up the text

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What is it men in women do require?–What is it men in women do require?–The lineaments of gratified desire.The lineaments of gratified desire.What is it women do in men require?–What is it women do in men require?–The lineaments of gratified desire. The lineaments of gratified desire.

(Blake 1971: 167)(Blake 1971: 167)

men : women :: women : menmen : women :: women : men or or

menmen : : : : womenwomen

women men women men

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Allegorization in Allegorization in literature:literature:

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Pray, why do you look askance at Pray, why do you look askance at me, my Thracian filly, and shun me me, my Thracian filly, and shun me so resolutely as though I knew so resolutely as though I knew nothing of my art? I would have nothing of my art? I would have you to know I could bridle you you to know I could bridle you right well and take rein and ride right well and take rein and ride you about the turning-post of the you about the turning-post of the course. But instead you graze in course. But instead you graze in the meadows and frisk and frolic the meadows and frisk and frolic to your heart's content; for you to your heart's content; for you have no clever breaker to ride have no clever breaker to ride you. (Anachreon 84 in you. (Anachreon 84 in Lyra graecaLyra graeca 1944: 181)1944: 181)

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FINISFINIS

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Russell’s distinction between:Russell’s distinction between:

knowledge by acqaintance (sense knowledge by acqaintance (sense data, perception)data, perception)

andand

knowledge by description (indirect knowledge by description (indirect representation by means of representation by means of secondary sign systems)secondary sign systems)

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in writing literature, however, no in writing literature, however, no clearcut phases: it is not the case clearcut phases: it is not the case that a writer has imaginary visual that a writer has imaginary visual or other representatation that or other representatation that he/she translates into language. he/she translates into language. This may certainly be the case, it This may certainly be the case, it may also be the case, however, may also be the case, however, that words and phrases in that words and phrases in different ways influences and different ways influences and determine what becomes the determine what becomes the literary textliterary text

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In In The first preludeThe first prelude, the mental , the mental recreation of the place is made[…]recreation of the place is made[…]

The second preludeThe second prelude consists of asking for consists of asking for an intimate apprehension of […]an intimate apprehension of […]

The first point The first point is to see with the is to see with the imagination […]imagination […]

The second point: The second point: To hear with the To hear with the imagina ti on […]imagina ti on […]

Third:Third: Also with the imagination to smell Also with the imagination to smell […][…]

Fourth:Fourth: In similar imaginative manner, to In similar imaginative manner, to taste […]taste […]

Fifth:Fifth: With the sense of touch to feel […] With the sense of touch to feel […]

(Saint Ignatius 1548/1997: 23-4)(Saint Ignatius 1548/1997: 23-4)

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"Oh, I've had such a curious dream!" said "Oh, I've had such a curious dream!" said Alice. And she told her sister, as well as Alice. And she told her sister, as well as she could remember them, all these she could remember them, all these strange adventures of hers that you have strange adventures of hers that you have just been reading about; [ . . .]just been reading about; [ . . .]But her sister sat still just as she left her, But her sister sat still just as she left her, leaning her head on her hand, watching leaning her head on her hand, watching the setting sun, and thinking of little Alice the setting sun, and thinking of little Alice herself and all her wonderful Adventures, herself and all her wonderful Adventures, till she too began dreaming after a till she too began dreaming after a fashion, and this was her dream: —fashion, and this was her dream: —First, she dreamed about little Alice First, she dreamed about little Alice herself: […] and still as she listened, or herself: […] and still as she listened, or seemed to listen, the whole place around seemed to listen, the whole place around her became alive with the strange her became alive with the strange creatures of her little sisters dream.creatures of her little sisters dream.The long grass rustled as the White Rabbit The long grass rustled as the White Rabbit hurried by […]. (Car roll 1865/1971: 98)hurried by […]. (Car roll 1865/1971: 98)