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Structuralism & SemioticsStructuralism & Semiotics
HendersonHenderson
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Dudes to know:Dudes to know:Ferdinand deSaussureClaude Levi-StraussRoland BarthesJacques LacanMichel FoucaultNorthrop Frye**
Ferdinand deSaussureClaude Levi-StraussRoland BarthesJacques LacanMichel FoucaultNorthrop Frye**
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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.
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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
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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.
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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!
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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…
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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.
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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
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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.
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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?”
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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.
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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. **
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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
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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.
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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).
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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)
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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)
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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
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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
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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
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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
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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.
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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
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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
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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
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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)
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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)
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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)
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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
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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
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Mythos of Spring: ComedyMythos of Spring: ComedyYoung 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.Plot line is generally CONSERVATIVE
(society returns to what is “right”)
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.Plot line is generally CONSERVATIVE
(society returns to what is “right”)
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Mythos of Summer: RomanceMythos of Summer: RomanceQuest/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 ritesGenerally ANARCHISTIC (no societal
resolution; create one’s own society)
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 ritesGenerally ANARCHISTIC (no societal
resolution; create one’s own society)
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Mythos of Autumn: TragedyMythos of Autumn: TragedyTragedy 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 tertiaryGenerally RADICAL (changes in
society must be made, and at great cost)
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 tertiaryGenerally RADICAL (changes in
society must be made, and at great cost)
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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
Generally LIBERAL (political change is a myth; accept acceptance)
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
Generally LIBERAL (political change is a myth; accept acceptance)
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Wheeee! You’re done!Wheeee! You’re done!