B Rhetoric of the lmageROLAND BARTHES

ccording to an ancient etymology, Ihe word imageshould be linked to the root imitari. Thus we find ourselves immediately at theheart of the most important problem facing the semiology of images: can ana-logical representation (the "copy") produce true systems of signs and notmerely simple agglutinations of symbols? Is it possible to conceive of an ana-logical "code"(as opposed to a digital one)? We know that linguists refuse thestatus of language to all communication" by analogy-from the "language"of bees to the "language" of gesture-the moment such communications arenot doubly articulated, are not founded on a combinatory system of digitalunits as phonemes are. Nor are linguists the only ones to be suspicious as tothe linguistic nature of the image; general opinion too has a vague conceptionof the image as an area of resistance to meaning-this in the name of a certainmythical idea of Life: the image is re-presentatiory which is to say ultimatelyresurrection, and, as we know, the intelligible is reputed antipathetic to livedexperience. Thus from both sides the image is felt to be weak in respect ofmeaning: there are those who think that the image is an extremely rudimen-tary system in comparison with language and those who think that significa-tion cannot exhaust the image's ineffable richness. Now even-and above allif -the image is in a certain manner thelimit of meaning, it permits the con-sideration of a veritable ontology of the process of signification. How doesmeaning get into the image? Where does it end? And if it ends, what is therebeyond? Such are the questions that I wish to raise by submitting the image toa spectral analysis of the messages it may contain. We will start by making itconsiderably easier for ourselves: we will only study the advertising image.Why? Because in advertising the signification of the image is undoubtedlyintentional; the signifieds of the advertising message are formed a priori bycertain attributes of the product and these signifieds have to be transmitted asclearly 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,.

advertising these signs are full, forrthe advertising image is frank, or at

THn Tnnrn MEsslcrs

Here we have a Panzani advertisensome tomatoes, onions, peppers/ a :string bag, in yellows and greens coff" the different messages it contai

The image immediately yield:guistic; its supports are the captiorbeing inserted into the natural dispfrom which this message has been tlanguage; the only knowledge requing and French. In fact, this messagtsign Panzani gives not simplv the nan additional signified, that of "lutwofold (at least in this particularSince, 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, .rrvides a series of discontinuous sigrsigns are not linear), the idea that r'return from the market. A signifiedthat of the freshness of the prodr.preparation for which they are dtwhich lets the provisions spill outfirst sign requires only a knon'lcdgof the habits of a very widespreadself" is opposed to the hastv stocki"mechanical" civilization. A seconrsignifier is the bringing together oihues (yellow, green, red) of the postThis sign stands in a relation of rec'lrguistic message (the Italian assonaedge it draws upon is alreadv mcrknowledge (an Italian would barehmore probably than he would the ita familiarity with certain tourist ste(which is not to say that it is not erdifficulty in discovering at least trrIection of different objects transmitsone hand as though Panzani furnibalanced dish and on the other arequivalent to the natural producr

152

aql 'u8rs raqlo aql uI 1+I Sulpunorrns aJnpord l€rn1€u ar{} ol }uale^Inbaala^{ url aql ul al€rlua)uor aLIl qSnoql s€ rat{lo ar{l uo pue qslp paJuPI€qdgn;arec e ro; dressaoau Sutqldrana paqsluJn] ruezued q8noql se pu€q auoaql uo'eJrlras d.reurlnr plol e Jo eapr aql sllusue4 slcalqo ]uaraJtlp Jo uollral-loJ parJras aq+ 'lsJIJ aql u1 :su31s rar{lo oMl }s€al }€ 8ur'rarrocstp ur dllnrrgrpou sr arar{l '(acue18 lsrrJ ar{l lE realr d1a.rrlua lou sI trI leql des o} }ou sI t{rlqzrt)a8eurr aql aroldxa o1 Surnurluo3 'saddloarals lsrrnol ul€lral qlIM dlIreIIIurEJ €uo paseq'(raddad pue oleurol;o dlnrueryell ar{l plnom aq ueql dlqeqord a'rourou'aureu ar{l Jo uope}ouuo) arll a.trar.rad dlareq plnoM u€rpll ue) a8pal,raoml,,qruarg,, dgerryrads € sI lr lrelnr4red arour dpealp sr uodn s.t,rerp 1r a8pa-lrntornl aql pu€ Quazuarl aureu aql Jo aJueuosse ueIIelI aql) a8essaur rrlstnB-uq aql yo uBrs palouuof, ar{} rillm dcuepunpar Jo uoI}EIar e uI spuels u8rs srql'fr1nruatpq m{t€r ro ̂,{p11 sr parpu8rs slr jralsod aql yo (par'uaar8'.uo11ad) sanqpaJolorrrl ar{l pue taddad aql'oleurol aqt;o raqlaSol Sur8utrq aql sI ralJIuBISslr lluapr^a dlpnba ssal ro aJour sI u8rs puoras V 'uo4ezIIIAIJ ,,le)IueqJalu,,arour € ;o (srolera8uJar 'salrasard) dn Surpols ftseq aql o1 pasoddo sI ,,JIas-auo roJ punor€ Surddoqs,, araqm arnllnr pea.rdsapr.tr dran e Jo sllqer{ ar{l Jolred se palueldtur uos auros uI sI qJILI.&{ a8pa1,llou1 e dpo sarrnbar u8rs lsrr;srql pear o1 ,,'papedun,, 'a1qe1 aLI+ ra^o 1no lpds suorsr,rord ar{} slal qrlqm8eq uado-1eq aql sl rar;ru8rs sll 'pau4sap a"re daql qJIqM ro; uorle;edard)rlsaurop dle4uassa ar{l Io leql pue slrnpord aql to ssauqsar} aql Jo l€ql:sanl€A rrloqdna o.u.1 sarldrur Jlaslr qJIqM par;ru8rs V '+a>lreur aq+ wory urnlare sr paluasardar auals ar{l uI a^er{ a1!t }eqM }er{l eapl aq1 '(rcauq lou a're suSrsasaql se luel"rodurrun sI rapro agl) lsrlC 'su8rs snonulluo)slp Jo salras e sapll-ord de,r,relq8rerls a8eurr srql '(dplopraue 'lI ;o ged arc slaq€l aqt p uana)a8erur arnd aql r{llm Ual ar€ a,u 'a8essaut rrlsrnBurl aql aplse 3u41n4

'a8essaru auo se palunoJ aq IIIM 1r 'a8en8uel (uapr'rzvr) palep-Jrue Jo 1eq1 dlaureu.'u8rs prrddl a18urs e dpo arar{ a^eq a.u 'la.la.rrroq 'arurg'Ieuorlelouuor pue Ieuorlelouap :(a8eun relncrlred slq] uI 1see1 1e) ploJomlsnql q a8essaur orlsrn8url ar{J ,,&lJlu€4eil,, p leql 'paIJIuBIS Ieuoqlppe ue'a)ueuoss€ s1r dq 'os1e lnq urrlJ aql 'o aureu aqt dldurrs 1ou sarrr8 ruazua4 u8saql roJ'umop ua>lorq raqunJ aq JIaslI uer a8essaru s1r{}'lJEt uI 'tlJuarC pue 3ur-lrrm Jo a8pal.trool e sr 1r.raqdnap o1 parrnbar a8pal.ttoul dluo aql la8en8uelq)uarc aql Io l€LIl ueql rar{+o auou sI ua>lel uaaq seq aSessaru slq} qcrqM urorJapoJ aqJ ,,'awliqa tra,,'aua)s ar{l Jo uolllsodsrp lernleu ar{l olul pagasur Suraqasar{l /slaqel aqt pu€ 'leur8reru sr qrlqm 'uotldec aql are slroddns s1r lcrlsrn8-url sr aru€lsqns asoqm aSessaur 1srr1 e splard dlalerparuurr a8eurr aq1

'sureluo) 1r sa8essaur lualaurp aql ,,JJorur)s,, ol ,,ft1 sn 1a1 ,'punorSpeq par € uo suaar8 pue s-^a.o11ad ur '8eq 8urr1suado-;pq € uroJJ Sur8raua IIe 'urooJqsnur e 'sraddad 'suoluo 'saoleurol aluos'laqJes e'wr+e'e1sed yo splled auros :luauraslualpe Iuezued e a^€r{ a.tt aJaH

s:rDvssatrN a!IUHI:IHI

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'3ue7q pue IIIH :>lrol ma51 'qleag uaqd

ur leql aJns aq uef, a.tr 'su8rs surse pallrrusup4 aq ol aneq spar;ru8rs .,tq uoud u paurroJ are a8essaw 8ur'dpalqnopun sr a8etur ar{l Jo uoller'a8eurr 8ursr1ra,r.pe aq1 lpnls ,i1uo 11l1 Suqeu dq lrels IIIM aM 'urptuor .,o1 a8eur aql Su11t1tu{ns lq asre: oi raraql sl l€r{.u 'spua +l il puv Zpua llsaop rltoH 'uor1ecr1ru8rs yo ssa:o:d-uo) aql slturrad 1r 'Surueatu Jo ll'i,:'IIe a^oqe pue-ua^a .^4oN Ssaur{fu-ecrlru8rs rpql >lu1r.{+ or{.tr asor{t pup .-uarurpnJ l1aua,4xa ue sr a8eur aql;o lcadsa.r ur >l€a^r aq ol ]lal sr aFerpa^q ol rrpqledpue palndar sr alqrFdlalerurlp des o1 sr r{Jlq,t,r 'uoqelusurelJaf e Jo aweu aql ur s1{l -Burup:uo4daruoo an8err e spr{ ool uorurdo 1o1 se snonrdsns aq otr sauo ,{po aqtFlISIp ;o uralsds droleutqr.uor e uoaJ€ suorleJrununuoJ r{Jns luaurout a,,a?en8ue1,, aq1 urory-d8o1eue .iq .,aql asnJar slsrn8url leql n,rorD{ a.\1 a { ..-eue ue Jo anra)uo) o1 alqrssod 1r s1 ;lou pue su8rs yo suralsds anr arnt-Eu€ ueJ :sa8erur yo dSoloruras aql 3uaql le dlalerpaunur sallasrno purl a.\la8awt pto'vt aql 'dSolotudla luaoue

S

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1,54 THE RHETORIC OF THE IMAGE

composition of the image, evoking the memory of innumerable alimentarypaintings, sends us to an aesthetic signified: the"nature morte" or, as it is bet-ter expressed in other languages, the "still I'fe"3; the knowledge on which thissign depends is heavily cultural. It might be suggested that, in addition tothese four signs, there is a further in{ormation pointer, that which tells us thatthis is an advertisement and which arises both from the place of the image inthe magazine and from the emphasis of the labels (not to mention the cap-tion). This last in{ormation, however, is co-extensive with the scene; it eludessignification insofar as the advertising nature of the image is essentially func-tional: to utter something is not necessarily to declare t am speaking, except ina deliberately reflexive system such as literature.

Thus there are four signs for this image and we will assume that theyform a coherent whole (for they are all discontinuous), require a generally cul-tural knowledge, and refer back to signifieds each of which is global (forexample, Italianicity), imbued with euphoric values. After the linguistic mes-sage, then, we can see a second, iconic message. Is that the end? If all thesesigns are removed from the image, we are still left with a certain informa-tionai matter; deprived of all knowledge, I continue to "read" the image, to"understand" that it assembles in a common space a number of identifiable(nameable) objects, not merely shapes and colors. The signifieds of this thirdmessage are constituted by the real objects in the scene, the signifiers by thesesame objects photographed, for, given that the relation between thing signi-fied and image signifying in analogical representation is not "arbitrary" (as itis in language), it is no longer necessary to dose the relay with a third term inthe guise of the psychic image of the object. What defines the third message isprecisely that the relation between signified and signifier is quasi-tautological;no doubt the photograph involves a certain arrangement of the scene (fram-ing, reduction, flattening) but this transition is not a transformation (in the wava coding can be); we have here a loss of the equivalence characteristic of truesign systems and a statement of quasi-identity. In other words, the sign of thismessage is not drawn from an institutional stock, is not coded, and we arebrought up against the paradox (to which we will return) of a message withouta code.a This peculiarity can be seen again at the level of the knor,vledge invest-ed in the reading of the message; in order to "read" this last (or first) level ofthe 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 (childrenonly learn this at about the age of four) and what a tomato, a string-bag, apacket of pasta are, but it is a matter of an almost anthropological knowledge.This message corresponds, as it were, to the letter of the image and we canagree to call it the literal message, as opposed to the previous symbolic'message.

If our reading is satisfactory, the photograph analyzed offers us threemessages: a linguistic message, a coded iconic message, and a non-codediconic message. The linguistic message can be readily separated from theother two, but since the latter share the same (iconic) substance, to whatextent have we the right to separate them? It is certain that the distinction

between the two iconic messages ising: the viewer of the image recei'message and the cultural message,in reading corresponds to the funcThe distinction, however, has an oPallows the distinction in the lingui:though in reality no one is able Ie-xcept by recourse to the metalangrnits us to describe the structure oion and if this description paves tfirnage in society, we will take it tosider each type of message so as t(sight of our aim of understandinginter-relationship of the three mes:a "naive" analysis but a structuralbe modified a little by the inversimessage; of the two iconic messagtsecond: the literal message aPPearHence, knowing that a sYstem r.r'hin order to make them its signifierimmediately that the literal imageSuccessively, then, we shall look atand the connoted image.

THn LNcutsrIC MESSAGE

Is the linguistic message constant?around the image? In order to findnecessary to go back to partiallr-lstate of the image. From the mom,ing of text and image is frequent,from a structural point of vieu'. \1tion"? Does the image duPlicate cea phenomenon of redundancv or (image? The problem could be Posewith its passion for books with Piccentury that editions of La Fontaitauthors such as Menestrier rthcrbetween figure and discourse.- To'appears that the linguistic messagcaption, accompanying Press artlclshows that it is not verY accurate tsti l l , and more than ever. a cir i l izauing to be the full terms of the inf,presence of the linguistic messagtlength seem to be Pertinent (.r lo

pqolS alSurs e asrrdulor dpo deu 1xa1 3uo1 e) luauluad aq ol uraas t{}3ua1slr rou uorqrsod slr raqllau .ro; 'slunor leql a8essau rrlsrn8url aql 1o aruasa.rdaql dldurrs sr 1r /]rEJ uI 'arnlrnrls I€uolleturotq aql Jo surrel IInJ aqtr aq o1 Surn-urluoJ qraads pue Surlr;rur ,'3ur1rr,l,t Jo uoIlezIIIAIJ e tala uer{l arour pu€ /llllsare a,tt-a8erur aql Jo uoqezrlrlr) € Jo )lel ol aleJnJ)e dra,r lou sI lI leql sMoLISqrlqM 'uoolleq dr.4s ruroc'anSoprp urlrJ'alrlue ssard Surduedurorre 'uorldec'a1l1l se :a8etur dra,r.a ur luasard paapur sr a8essaru rrlsrnBurl aq] leql sreaddelr 'suorleJrunluluoJ ssew Jo Ia^al aL{} 1e '.{epo1 l'asJnoJslp pue aln8r; uaaMlaqsuorlElal aql qlIM sa^lasuraql pauJaJuo) oq]\^ ralrlsaualN s€ qJns sJoLIlnEslr pue (palerlsnp aq lou ppor{s salqal spureluoc eT Jo suolllpa leql drnluarqluaalq8ra aql ul aiqe^laruo)ur se.rt il) sa.rnlrrd qll.tt sTooq ro; uotssed sll qll,rtporrad le)rssplr aql spre8a; se dllerrrolsrq pasod aq plnoJ uralqord aq1 ;a8eruraLIl o] uo4eurroJul LISaTJ e ppp lxal ar{l saop .ro ,{ruepunpar Jo uouaurouaqd edq lxal aql u1 ua.lr8 suorleurroJur arll Jo ur€ual alerqdnp a8eurr aql saocl z,,uoll-erlsnilr,, Jo arnlrnrls Surd;ru8rs ar{l sl ler{M '.llall Jo lurod lerryonrls e urorJparpnls alllll uaaq a^eLI ol suraas Jr q8noql '1uanba.r; sr a8etur pue lxaq ;o 8ur->iurl aql />looq ar{l 1o aruereadd€ aq} Jo luaruour aql uorC 'a8erur ar{l Jo a}e+srrtlderSolrrd Jo uos e ol 'sallalros alerall1ll dle4red ol >lreq oB o1 d.ressaraussallqnop sr 1r 'sp.ro.ra lnoqllm ua,l.r8 sa8eurl pul, ol rapro uI 2a8ewr aq+ punor€Jo 'rapun 'ur Jalleur Ienlxal sde,,ra.1e aJaLIl sI aluelsuoJ a8essaru rrlsrn8url aql s1

:TDVSSSIAtr JITSInSNIf aHI

'a8erur palouuo) aLIl pu€'a8eur palouap aq; 'a8essalu rqsrn8url aqtr le >lool lleqs aaa'uaq1 'dla,Lrssarcng'papuuoJ a8etur crloqtu^,{s aql pue papuap st a8etut pra}Il aq+ }eg1 dlalerparuurr.,ies deru a,l,r e'uorl€louuoJ to rualsds e sr s.raryru8rs sll ruaq+ a>leuJ ol Japro uItua;sds Jaqloue ;o su8rs aLIl Ja^o sa>Iel qJn{.ta uralsds e 1eq1 Sur,ttou>I 'aJuaH'a8essaru ,,rr1oqw.,{s,, at11 go l.toddns aql se sreadde aBessatu Ieralrl aql :puorasaq] uo palurrdtur JJos aruos ur sr lsrrJ aq1 'sa8essaur JIuoJI o,ta,] aql Jo 1a8€ssauIeralrl aql pue a8essatu iernllnr aql Jo uorsra^ur aql dq atllll e parJrpou aq11r.rr sa8essau arp Jo rapJo aql n'uorldr.rrsap Iern+Jnrls e ]nq stsdleue ,ptreu,,eJou sr uorlsanb ur sr leqm leql ua^r3 'sa8essaur aaJrll aql;o drqsuorlelar-JalulIeurJ aql 'a8etur aql to arnl)nrls Ilera^o aql Sulpuelsrapun Jo urle rno ;o lq8rs8urso1 lnoqlr.r,r 'dlrleraua8 s1r ut 11 aroldxa ol se os a8essatu yo ad,{1 LIJea Japrs-uoJal ol sm{l sr .ltou Tse} aqJ 'par;4snf aq ol ll aTe} IIIM a.,r.r 'dlanos ur a8eturaql Jo alor ar{l Jo uollpueldxa ue ro; de.tr aql sa,ted uorldt.rrsap sILI} JI pue uol-qs€J luaJaqor pue aldturs e ur a8etur atl] Jo arnlJn4s ar{l aqlrJsap ol sn slru-rad uoqrurlsp aql g '(uorlrur;ap e;o a8en8ueplaur aq] ol asrno)ar dq ldarxaSurueau slr urorJ ,prow,, aql aleredas o] alqe sI auo ou l14ear ur q8noqluarra) paryu8rs e pue rar;ru8rs e;o u8rs rrlsrn8url ar{l ur uorlJul}slp aq} s,\lolleqJIqM ler{} ol snoSoleue dlrpr1err leuotle.rado ue sel{'Ja^amor{'uollJullsrp aLII'(a.raq uraouor rno) a8eurr sseur aql Jo uo4JunJ aql o1 spuodsa.rroc Surpea.r uruorsn;uo) srql lpql ralpl uaas aq tlM 1r pue'a8essaul lprnllnr aql pue aBesseulerydarrad aql aw!4 awas a41 pua auo t, sanlarar a8etur aql Jo ra.ltarl aql :8ur-pear dreurp;o ur dlsnoaueluods aperu lou sr sa8essaur JIuoJI oml ar{l uaamlaq

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uor+Jurlsrp ar{} lelll ur€lral sl ll culeqm ol 'a)ue+sqns (rruorr) allrps ,aql urorJ paleredas dppea.r aq up.'papoJ-uou e pue 'a8essaru fruo)taarql sn srago pazdpue qderSolo'

crloqruds snorrrard aL{} ol pasorld(uer a,r,t pue a8eurr aql to rallal aql'a8payntou4 pcrSolodo.rqlue lsoru I pe '3eq-3ur,4s e 'oleruol e ler{.\\ pupua"rppqr) sr a8erur ue IeLIM .\.\ou)l Ll'uorldacrad rno qllm dn punoq aFp;to la^al (rsr1y ro) ]s€l sR{l ,,p€ar,, ol .-lsalur a8pa1,,r,rou>1 ar{l Jo {a,ral a!1 }r4noqlnz a8ussaw e yo (u-rn1ar IIr-\\ a.\lalu a.\ pup /papoJ lou sr ,1:o1s 1eusrql 1o u8rs aql 'sproM raqlo u1 i1r1uenJ+ Jo JrlsrJalJerer{c aruale,r.rnbc aqde,rt aql ur) uo4atu"tolsirrlt e lou sr ur.-ue;1) auaJs ar{l yo truarua8uerrp urr1pcr8o1o1ne1-rsenb sr ;ar;ru€rs pup p.sr a8essatu prnp aq+ saurJap leq.\\ l-ur urral prn{l e L{II,lt delar alil asop o1r se) ,,drer1rqre,, +ou sr uorleluasa:d,-ru8rs Surql uaamlaq uorlelar aql lprasaqt lq srarlu8rs ar{l /auaJs aql ur sprn{+ sryl;o spar;ru81s ar{I 'srolor palqerJrluapr Jo laqunu e alpds uor.uo1 'a8eurr aql ,,peaJ,, ol anurluor I ,,-Eurroru ure+ral e qll^{ ual IIqs alEasoql Jle JI Zpua aqt leql s1 'aBessar.r-satu crlsrn8url aLIl JaUV 'sanlp.\ lrcroy) pqo13 sr qJrqM Jo Llrea sparlrl1nr dle.raua8 e arrnba;'(snonurluo:rdaql leqr aurnsse IIrM aM pue a8eu

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ur ldarxa '3ut4aads rar 7 a"repap o1 -ip-run1 dlerluassa sr a8eurr aql Jo arnlrsapnla +r laua)s aql qll.tr alrsualxa-o.-der aqt uorluaru o1 1ou) slaqpl aqlur a8erur aql yo aceld a{l worJ {toe :lPql sn sllal r{}rl^^ l€Lll 'lalurori u()rtpol uoqrppe ur '+eql pa1sa83ns aq lqsn{l rlrrqM uo a8pal.r,touT aLIl 1.,,alrl Il-laq q ll se 'ro ,,aLrcw atr\au ,, aql :par{;eluaurrle alqeJaurnulrr ;o,rrourau

1,56 rHE RHETORTC OF THE rMAGE

signified, thanks to connotation, and it is this signified which is put in relationwith the image). What are the functions of the linguistic message with regardto the (twofold) iconic message? There appear to be two: anchorage and relny.

As will be seen more clearly in a moment, all images are polysemous;they imply, underlying their signifiers, a "floating chain" of signifieds, thereader able to choose some and ignore others. Polysemy poses a question ofmeaning and this question always comes through as a dysfunction, even ifthis dysfunction is recuperated by society as a tragic (silent, God provides nopossibility of choosing between signs) or a poetic (the panic "shudder ofmeaning" of the Ancient Greeks) game; in the cinema itself, traumaticimages are bound up with an uncertainty (an anxiety) concerning the mean-ing of objects or attitudes. Hence in every society various techniques aredeveloped intended to fix the floating chain of signifieds in such a way as tocounter the terror of uncertain signs; the linguistic message is one of thesetechniques. At the level of the literal message, the text replies-in a more orless direct, more or less partial manner - to the question: what is lf ? The texthelps to identify purely and simply the elements of the scene and the sceneitself; it is a matter of a denoted description of the image (a descriptionwhich is often incomplete) or, in Hjelmslev's terminology, of an operation (asopposed to connotation).e The denominative function corresponds exactly toan anchorage of all the possible (denoted) meanings of the object by recourseto a nomenclature. Shown a plateful of something (in an Amieur advertise-ment), I may hesitate in identifying the forms and masses; the caption (" riceand tuna fish zuith mushrooms") helps me to choose the correct leoel of percep-tion, permits me to focus not simply my gaze but also my understanding.When it comes to the "symbolic message," the linguistic message no longerguides identification but interpretation, constituting a kind of vise whichholds the connoted meanings from proliferating, whether towards exces-sively individual regions (it limits, that is to say, the projective power of theimage) or towards dysphoric values. An advertisement (for d'Arcy pre-serves) shows a few fruits scattered around a ladder; the caption (" as if fromyour oTrin garden") banishes one possible signified (parsimony, the paucity ofthe harvest) because of its unpleasantness and orientates the readingtowards a more flattering signified (the natural and personal character offruit from a private garden); it acts here as a counter-taboo, combatting thedisagreeable myth of the artificial usually associated with preserves. Ofcourse, elsewhere than in advertising, the anchorage may be ideological andindeed this is its principal function; the text directs the reader through thesignifieds of the image, causing him to avoid some and receive others; bymeans of an often subtle dispatching, It remote-controls him towards a mean-ing chosen in advance. In all these cases of anchorage, language clearly hasa function of elucidation, but this elucidation is selective, a metalanguageapplied not to the totality of the iconic message but only to certain of itssigns. The text is indeed the creator's (and hence society's) right of inspec-tion over the image; anchorage is a control, bearing a responsibility-in theface of the projective power of pictures-for the use of the message. With

respect to the liberty of the signifie<sii'e valuelo and we can see that it i:ogy of a society are above all inves

Anchorage is the most frequenlcommonly found in Press Photogr;relay is less common (at least as farseen particularly in cartoons and ccof dialogue) and image stand in a cthe same way as the images, are fralunity of the message is realized atdote, the diegesis (which is amPletreated as an autonomous sYstem:r)text becomes very important in filnelucidation but really does advanceof messages, meanings that are notthe two functions of the linguistirwhole, but the dominance of the cgeneral economy of a work. Wheninformation is more costly, requirir(the system of language); when it hit is the image which detains the iranalogical, the inJormation is thenfor "quick" reading the diegesis isgathering the attributive informattyped status of the characters); the 'are made to coincide so that the hrof verbal "descriPtions" which areless "laborious" sYstem.

Tnr DnNouD IMAGE

We have seen that in the image Proliteral message and the sYmbolic n(at least in advertising) a literal im;image were to be achieved, it u'oulbe completed bY a third-svmboli'literal message cannot be substantspeak, a message bY eviction' conthe signs of connotation are ment;ally to remove them for thev can ircase of the "still life comPosition"to a plenitude of virtualities: it is ;ings. Then again (and there is no cit is a sufficient message, since it Iidentification of the scene represelshort to the first degree of intel

plnoM Jap€ar aql q)rqM .ttolaq) dlrrqr8qlalur 1o aar8ap lsrl; aql ol uor{sur spuodsanoc a8etur aql Jo JaIFI ar{l 1pa+uasarda,r auars eql Jo uol+€rlJpuaplaql Jo la^al aql le SuluPalu auo lseal le s€q lI aruls 'aBessaut lual)IJJns e sI lI'(pres uaaq 1sn[ seq leqm q]lM uol]rlper]uo) ou sI araql pue) ure8e uaql 's8ur-uealu aql 11e Jo IInJ Surueaur Jo aruasqe ue sr lI :saqrlenlrll;o apnlruald e o1spuodsarroc dlerryeu alels aAIl)IAa srql '(,,uorlrsodruoc aJII IIps,, aql Jo aseJaql uI se 'a8eurr aql Jo aloq.M aql aleu8a.rdurl u€J daql .ro1 uraql a^oura,r o1 dle-nlJe alqrssod aq lou plnoM lr) palalap dgeluaw are uollelouuor;o su8rs aqluaqm a8eurr aql uI Ual sr leqM dq pa1n14suo) 'uotlJtla dq a8essaur e '1eadsol os 'lle Io lsrrJ sl ll 'leuorlela.r ,,{1uo lnq leque}sqns aq louuel a8essar.u 1era11ar{l Jo srr+srralJereqr aql snqJ'a8essaru-rrToqurds-p.4q} e dq paplduroc aqpue llanreu yo u8rs ar{l ulof .{lalerparuurr plnoM lI 'palalq)€ aq ol areM a8eurt,p^reu,, d1e1o1 e 1r ua^g 'aqe1s a.rnd e ur a8erur IeralII € (Sursqra'rpe ur 1sea1 1e)JalunoJua Jalau a.ta 11euor1e.rado sr a8essatu oqoqruds ar{l pue a8essatu 1e.ra1r1aql uaa,t,r+aq uorlrurlsrp ar{}'8ul)€ads dl.radold aSeurr aql ur +eql uaas aleq aM

fl5VWI CAIONIICI AHI

'uralsds,,snoIJoqel,, ssale oq des ol sr leql 'a8etut aql ol palsnJlua arp qr1{,lt ,,suo4dtrtsap,, I€qra^ }oruoparoq aql pa.reds aq deru rapeer palrrnq aql l€r{l os aplJuroJ ol ap€ur area8essatu alrsrnJsrp aql pue a8essaur l11soc aql 1(s.rape.reqr aq1 yo snle1s paddl-oarals aql) rapro rrqeurBrpe;ed e Jo suoq€urrofw a^Ilnqlrg€ aql Surraqle8a8eurr aql /lxa+ aql o+ ile a^oqe paurJuor sr srsa8arp ar{} Sulppar ,,4trnb,, toypapualur sdrrls cruroc ureual ut;tlarzel,, uaql sI uoll€urJotul aql 'leJlSoleu€Suraq a8erur aql'pu€ a8reqc leuoqeruroJur ar{} sup1ap r{rlqm a8eurr aq+ sI +I'(1orluor'a8eloqrue) anlel alnlllsqns e ser{ }r uar{M 1(a8en8uel;o tualsds aq1)apor plr8rp e ;o Surureal ar{l saop lr se Sur.rrnba.r d11soo arotu sI uoqeurrofulaql delar Jo anle^ orla8arp ar{l seq lxal aq} uaqM '>lrom e ;o dtuouooa leraua8aql roJ acuanbasuoc Jo sr raqlo aql ro auo aql Jo aJueunuop ar{} lnq /aloqmJruof,r auo aql q lsya-oJ ueJ aSessar.u rrlsrnSurl ar{l Jo suorlJunJ o1\{l ar{]'dlsnornq6 'gas1r aSeurr aLIl q punoJ aq ol lou arc leql s8uruearu'sa8essaur;oacuanbas aql ur 'lno 3ur11as dq uorlre arll aJue^pe saop dlear lnq uoqeplJnlase dldurrs lou suorlcunt anSoprp araqm 'tullt uI luel.rodur dra,l satuoraq lxal-de1ar qql 'a8erur paxrJ ar{l uI arpr apqr14 '(rrualsds snoruouoln€ uu se palear}aq lsnu srsa8arp ar{l leql uoqerurl3uor aldue sr qcn1.r,r.) srsaBarp ar{} 'alop-Jaue aql 'd.ro1s aql to leql '1a,1.a1 ;aq8rq € le pazll€ar sr a8essaur aql 1o dlrunaql pue uBeluds yeraua8 aJour e;o sluaur8er; are'sa8erut aql se derr,t arues ar{luI 'sproM aql ldlqsuollela,r d.reluauralduroc e uI puels a8erul pue (anSoprp 1oqJleus e uago lsotu) lxal ala11 'sdrrls rltuor pu€ suoolreJ ur lpelncrlred uaasaq ue) 11 1(pau.raruor sr a8erur paxlJ aql s€ r€J se 1sea1 le) uoururor ssay sr delarJo uoqounJ aql 'sluaruasrualpe pue sqderSoloqd ssard uI punoJ dluotutuorsr pue aBessatu crlsrnSurl aql Jo uollrun; luanba.r; lsoru ar{l sr aBe.roqcuy

'palsanur IIe a^oqe a.re dlarcos e yo d3o-loapr pu€ dlrleroru ar{l leql le^al slql le sI }I ler{l aas ueJ e.ll pup .ianl€A aols-satdat e sm{l seq lxal aq+ 'a8etur aql Jo spalJlu8rs aql ;o d1.raqr1 er{l o} lradsar

lgL a&aul aqq lo )poprlv :SgHJ1IVg'8

HIIM 'a8essaru aqt Jo asn aqt roaql ur-dlrtrqrsuodsa.r e Surreaq ,-oadsur 1o qq8r.r (s,d1anos a:uaqslr Jo ureuar o1 dpo 1nq a8essaa8en8ueplatu e ,anrltalas sr uorlseq dpeap a8enSuel ,a8eroq:ue-ueaur e spJe^lol rurq sloJluo)_al.dq lsraqlo aAraJaJ pue aruos pro.aq1 q8norql rapear aql s1rrrrl, t\ipue porSoloapr aq deru a8eroq,.ulJO 'sanJasard qlrznr palerrosse .iaql Su4leqtuor'ooqel-raluno_r p :to Jal)€reqJ leuosrad pup IprntriSurpea.r aql saleluarro pup ss<rryo llrcned aq1 duor.urs.red) parlru:wo{ 11 sa,,) uotldee aql lrapppl p r,-atd /icty,p .ro;) luauasrJro.\pp 1aq1 ;o raaaod azrrlcaford aq1 ,.ies ol-saJxa spJemo+ Jaglaqm,Burlp:.-r:riJlrl,ra asrl Jo puq e 3ur1n1r1su...ra8uol ou a8essaur orlsrn8url aql 'Surpuelsrapun du osle lnq azp:-dacnd lo paal pauor aryl asoor1-1 !)acu,,) uorldeJ aql lsassetu pup sru.r-asrlJanpe xnalwv ue ur) Burql.rurasJnocar dq tcafoo aq1 ;o s8urue.-ruo1 dlqcexa spuodsar.ror uorl)unJ <r.\se) uo4ntado ue;o ,,{3o1our..ural : .\uor;drrcsap e) a8ewr aql ;o uorljauaJs aql pue auaJs aLIl Jo slua|'U.-rllxal ar{J i7! s! Wqm:uorlsanb aq1 ..,1ro aloru e ur-sar1da.r lxel aql .a:ptasaql Jo auo sr a8esseur rrlsrnSurlo1 se dea.l e qJns ur spar;ru8rs 1o urra,re sanbruqJal snorJ€A .,{larros _r,.t;-ueaur aql SuruJaouoc (dlarxue ue,Jrl€urneJ+ ?laslr €uaurJ ar{l ur :.rJo rappnqs,, crued aq1) rrlaod e :tou sapr,ro.rd po3 ,1uaps) or8erl e setr uala 'uo4ourys.r{p e se q8no:ql s;o uorlsanb e sasod duras,i1o.1 s:aqaq+ 'spar;ru8rs

Jo ,,ureqr Bur1eog,. rlsnoruasdlod a,re sa8eurr IIe /luauo'frupt pue aSantpuu:o&q aq o1 :ea.J

pre8a; g1r.u a8essaur oqsrn€ur1 aqt l,uo4elal ur 1nd sr qrlr{.t,r par;n€rs srq;

158 THE RHETORIC OF THE IMAGE

perceive only lines, forms, and colors), but this intelligibility remains virtualby reason of its very poverty, for everyone from a real society always dispos-es of a knowledge superior to the merely anthropological and perceives morethan just the letter. Since it is both evictive and sufficient, it will be understoodthat from an aesthetic point of view the denoted image can appear as a kindof Edenic state of the image; cieared utopianically of its connotations, theimage would become radically objective, ot in the last analysis, innocent.

This utopian character of denotation is considerably reinforced by theparadox already mentioned, that the photograph (in its literal state), by virtueof its absoluteiy analogical nature, seems to constitute a message without acode. Here, however, structurai analysis must differentiate, for of all the kindsof image only the photograph is able to transmit the (literal) hrformationwithout forming it by means of cliscontinuous signs and ruies of transforma-tion. The photograph, message rvithout a code, must thus be opposed to thedrawing which, even rvhen denotecl, is a cclcJed message. The coded nature ofthe drawing can be seen at three lel'els. Firstiv to reproduce an object or ascene in a dra.,ving requires a set of rule-goz,ented transpositions; there is noessential nature of the pictorial copv and the codes of transpositiorr are his-torical (notably those concerning perspective). Secondly, the operation of thedrawing (the codir-rg) immediately necessitates a certain division between thesignificant and the insignificant: the drawing does not reproduce euerything(often it reproduces very little), u'ithout its ceasing, however, to be a strongmessage; whereas the photograph, aithough it can choose its subject, its pointof view and its angle, cannot intervene n:itlin the object (except by trickeffects). In other words, the denotation of the clrawing is less pure than thatof the photograph, for there is no drawing without styie. Finally, iike allcodes, the drawing demands an apprenticeship (Sausslrre attributed a greatimportance to this semiological fact). Does the coding of the denoted messagehave consequences for the connoted message? It is certain that the coding ofthe literal prepares and facilitates comotation since it at once establishes acertain discontinuity in the image: the "execution" of a drawing itself consti-tutes a connotation. But at the same time, insofar as the clrawing displays itscoding, the relationship between the two messages is profoundly modified: itis no longer the relationship between a nature and a culture (as with the pho-tograph) but that between two cultures; the "ethic" of the drawing is not thesame as that of the photograph.

In the photograph-at least at the ievel of the literal message-the rela-tionship of signifieds to signifiers is not one of "transformation" but of"recording," and the absence of a code clearly reinforces the myth of photo-graphic "naturainess": the scene is there, captured mechanically, not humanly(the mechanical is here a guarantee of objectivity). Man's interventions in thephotograph (framing, distance, lighting, focus, speed) all effectively belong tothe plane of connotation; it is as though in the beginning (even if utopian)there were a brute photograph (frontal and clear) on which man would thenlay out, with the aid o{ various techniques, the signs drawn from a culturalcode. Only the opposition of the cultural code and the naturai non-code can,

it seems, account for the specific chiassessment of the anthropological rThe tvpe of consciousness the photc.tented, since it establishes not a corpvhich any coPY could Provoke) b\Vhat we have is a new sPace-time c'anteriority, the photograph being a:,tow and the there-then It is thus at tsage without code that the real ujuriderstood: its unreality is that of texperienced as i l lusion, is in no rt arocier of the photograPhic image muirts-been-there, Jot in every photo

",rid".,." of this is how it was, givin2

rvhich we are sheltered. This kind oprobably diminishes the projectiveical tests resort to photographs n'hili1v defeats the lt's rre. If these remarbe related to a pure spectatorial, conmore "magical" fictional consciouslThis would lend authoritY to the r:photograph is not a simple differen'can no longer be seen as animatedway before a being-there of the thithere can be a historY of the cinemaarts of fiction, whereas the Photc(despite the evolution of the technart) and represent a"flat" anthropdefinitively unsurpassable, humanilory messages without a code' l{enceterm of the great familY of imagesin{ormational economies'

At all events, the denoted imalany code (the case with the adver'the general structure of the iconit(returning to this question after '1isimage naturalizes the sYmboiic meconnotation, which is extremelv cttre Panzani poster is full of "svmb'tograph, insofar as the literal mc-sthere of obiects: nature seems spontA pseudo-truth is surreptitiouslv sly semantic systems; the absenctbecause it seems to found in naturran important historical parador: tlof information (and notablv of in

Io sueaur ar{l sapl^ord lI arour aq}'(sa8eurr ;o dlqelou pue) uorlerurotul JouorsnJJrp aql sdola,Lap dSolouqoal arour ar{l :xopered lerlro}slq luelrodrur uelqnop lnor{}lm sI sIqJ 'arnllnr;o su8rs aql arnleu uI punoJ o} suraas lI asneJaqa8essaur aq+ sazrleq)allalulslp apor Jo aruasqe aq1 lsualsls r4ueruas d1-uado 1o dlrprrcn aldurs arll roJ palnt4sqns dlsnorqrlda.rrns sI qln4-opnasd y'paluasa.rdar auars aql aonpo.rd o1 dlsnoaueluods suraas arnl€u :spafqo lo a'Larll-7utaq letnleu Jo pur1 e 'luanr;;ns st a8essaru I€JalII aql s€ relosul 'qder8o1-oqd aql ur suleruar ssalar{lauou araLll ,,'sloqruds,, yo 11ry st ralsod uazuacl a.qlq8noqllv'3utst1.ranpe ur dllenadsa 'asuap d1ar.ua.rlxa sI qrlqm'uollelouuo)Jo aJrJrue )queuras ar{} slua)ouur 1r'a8essaru rqoquds aql sazll€Jnleu a8eurtpalouap aq1 :(a8essau prn{l ar{} }o uolssnrsrp rage uollsanb srql o} Sururnla;)aur1ap o1 urBaq uEJ a,l,r r{r1{,ta. a8essaur rruorl ar{l Jo arnlJn4s le;aua8 aqlur alor lerrads e sdeld '(qderSoloqd Sursrllanpe aql qllrvr aseJ ar{l) apoc duedldrur 1ou saop ll rlrirlm ol lualxa ar{l ol'ageurr palouap aql'slua^a IIe lV

'sanuouoJa IeuolleruJotulJo uorlelnur alrsrrap e o1 spuodsarroJ Jr lsa8erur yo dprue; 1ea;8 aql to rural(pa,r.o-rdtur) lsel ar{l trou sr qderSoloqd aql a)uaH 'apu a flollltm sa8assaw ['rc|-slLI sll ur aurrl +srrJ oql .ro; Sut;alunorua dltueurnq'alqessedrnsun dlanqrur;appue ,taeu dlalnlosqe aruo l€ '1re; letrSolodo.rqlue ,,]r-II , e luasarda.r pue (uelqde.rSoloqd aql Jo suorllque pu€ sanbruqcal aqt to uoqnlo^a ar{+ alrdsap)drolsrq apnla asuas auros uI uec qde.rSoloqd aql searaqm 'uollrlt Jo slJesnor.tald aql qlIM >learq Iear duu lnoqlyvi'euraulJ aq+ 1o drolsrq € aq uec araql,rtoq ureldxa plnom uorssruro q)Tr{,la 13uql aql p atatlq-8uraq e atolaq f,emsan? ata4q-uaaq-Bunarq aql :sqderSoloqd paleurrue sp uaas aq ra8uol ou u€DrulrC 'uo4rsoddo pcrper e 1nq aar8ap to aruaraJJlp aldurrs € +ou sI qde.rSoioqdpue urlrt uaaMlaq uor+)u4srp ar{l l€r{l ,{,\aIA aql o1 dlr;oqlne pual plnom sIt{J'spuadap a3le1 pue lq *lU q)IqM uo ssausnolrsuoJ Ieuoq)I; ,,1ecr8eru,, arour'arrrloaford aJoru ar{l ol }ou pue ssausnolJsuoc'1etrolelrads a.rnd e ol pal€lar aqlsnu qderSoloqd aql 'lrarroJ IIe le are $lr€urar asaql JI 'aw s,l! aql slea;ap dp-sea os sam su1l aql :(s8ura,terp asn dueru apq.tr sqde.rSoloqd ol +rosar slsal IerI-Soloqcdsd .vra1 d.ra,L) a8eurr aql ;o la.ra.od a,trlcaford aql saqsruIrurp dlqeqord(atatlq-uaaq-Butaa4) wnuqtynba le,rodurel Jo puDI sltlJ 'parallaqs are a,r,t. qrlqmr,uo,r; dlrlear e 'alcelrur snonerd e dq 'sn SurnrB 'sam il moq st stt4l Jo a)uapllaSurd;adn1s sdea,r,1e aql sl araql qderSoloqd d.ra,l,a uI roJ 'ata4q-uaaq-3u1-aaq a:qt Jo leql dlrpal s1r 1(palegap aq lsnur a8eurr orqderSoloqd arll 'o ralre-reqc leor8eur aql ol se surrelc) acuasatd e derr.t ou uI sI'uolsnll se pacuar'radxaranau sr qde€o1oqd aql roJ 'ltou-ata4 aql Jo leql sr dlrlea.run sll :poo+srapundlny aq ue; qde.rSoloqd aql 1o rtylaatun luat aqr teqt apo) lnoqty* a8es-saur ro a8essaur palouap srql Jo la^al aLI+ ]€ snql s ll'uaql-a,Laq| aql pue mou-anq aql uaaMlaq uoqcunfuor prrSolp ue Suraq qderSoloqd aql dllrolraluelerodural pue drerpaurtur lerleds :dro8aleo arurl-a;eds Mau € sI aleq ar't l€t{M'atatlq-uaaq-3utau1 s+r Jo ssauareMe ue ]nq (a4o,Lo.rd ppoo ddoc due qcrq,tr)3urq1 aql 1o ata4y-8uraq aql Jo ssausnolJsuor € lou seqsqqelsa lI a)uls'paluap-arardun d1n.4 paapur sr sanlolur qderSoloqd ar{l ssausnolrsuo) Jo adfi aq1drolsrq s,ueur ur sluasarda.r lI uollnlolar prrSolodo,rqlue aq+ Jo luarussassPaql .ta.oll€ pue qder8oloqd aql Jo ral)ereq) rryrads aql roJ lunoJr€ 'sutaas 1r

69I a&aul a4q lo ryop4[ :SEHruvs 8

'ueJ apoJ-uou JeJnleu aql pup afJeJnllnJ e urory ul\llJp su8rs rrliuaql-plno,l,t ueur qrrqu uo (re..r1-r(uerdoln 1 uana) Burtrur8aq aql ,o1 8uo1aq dlanqcaga 1p (paads ;snaLIl ul suorluanralur s,uetrr; .(.i1r.r11dperunq 1ou dlprrueqJollr peJnlt-o1oqd;o ql,{ru aql sar.ro;rrrar i1.;rJo lnq ,,uorJeurJoJsueJl,, Jo aurr-e1ar aq1-a8essaur Ieralrl aql Jo i

aql lou sr Sur.rae;p ar{l Jo ,,rrLit-. .. -oqd aql qig.u se) arnllnr p Lrlrr, .rrrlr :partrporu {lpunoyo;d sr saFes.,rrslr s,{eldsrp Bur,ue.rp oLll sp rplLr_11-rlsuol;1as1r Bur,rte.rp p ,o ,,uorln-\ p sar{srlqe}sa aJUO le lr aJurs Lro::i;o Surpoc aql +eql ureJra) s1 tl .a:r a8essaur palouap aqtr 1o Bur;.ro.-.ri;1lear8 e palnqrJile arnssne5) ,,-irr1...-11e a{ll ,.{11eurg .a1d1s lnorly rr :,rrleLF uelll arnd ssay sr Bur,uer1. ;ri1ipr4_dq ldacxa) ;rafqo aq1 rrri;:.,:lurod s1g 'lta{qns s}r asool{) Llpr lr Li:3uor1s e aq oi ,Jala.l,ror{ €ursu.r-. .13un11/itaaa arnpo.rda;r JoLr saop ;-u: \aql uaa-4qaq uorsr^rp urelJaf p salplaLI+ to uorlerado aql dipuora5 .{...u1-snl aJe uorlrsodsue.rl Jo sapor .rl{lou sI aJaLIl lsuorlrsodsueJl /rJtl.r.r.:.,.\ e ro lrafqo ue arnpordar o1 ,.i11srr_1Jo aJnlpu papoJ aLJJ .a8essaur

l.rrpr.r-_ aql o1 pasoddo aq snql lsnLll ,ap()-i r-eLuJoJsueJ+ Jo saplJ pue su8rs sn,,niLlorJeurJofu (leralq) aqJ llusLrrrrj !)spurT ar{+ IIe Jo roJ,a;er1uaray.1rp 1:nr,iP lnor{lrM a8essour e a}nlr}slrol r)l sanl;r,r .,{q ,(a1e1s

1era1r1 s1r ur) rlrieriotaq1 ,{q paJJoJurar dlqe"raprstror .r u, 'lualouut ,srsdJeue lseJ arll rrlro ..rt-J1 'suorlelouuoJ sJr yo d11etnrer.1o1lrulT e se readde upr a8eur palou.rfnoolsrapun aq III.4{ lr ,}uarfrJ]ns

Pup .l rloru solraJJad pue 1etr8o1ocio.n11ur, ., -sodsrp sderurlu dlanos leal p LuorJ alr( 'PnllI^ surEulal &lllql3lll"l1.,, srrlt 'rq

160 rHE RHETORTC OF THE rMAGE

masking the constructed meaning under the appearance of the givenmeaning.

Runtonrc oF THE IuecE

It was seen that the signs of the third message (the "symbolic" message, cul-tural or connoted) were discontinuous. Even when the signifier seems toextend over the whole image, it is nonetheless a sign separated from the oth-ers: the "composition" carries an aesthetic signified, in much the same way asintonation although suprasegmental is a separate signifier in language. Thuswe are here dealing with a normal system whose signs are drawn from a cul-tural code (even if the linking together of the elements of the sign appearsmore or less analogical). What gives this system its originality is that the num-ber of readings of the same lexical unit or lexia (of the same image) variesaccording to individuals. In the Panzani advertisement analyzed, four conno-tative signs have been identified; probably there are others (the net bag, lorexample, can signify the miraculous draught of fishes, plenty, etc.). The vari-ation in readings is not, however, anarchic; it depends on the different kindsof knowledge-practical, national, cultural, aesthetic-invested in the imageand these can be classified, brought into a typology. It is as though the imagepresented itself to the reading of several different people who can perfectlywell co-exist in a single individual: the one lexia mobilizes different lexicons.What is a lexicon? A portion of the symbolic plane (of language) which corre-sponds to a body of practices and techniques.l2 This is the case for the differentreadings of the image: each sign corresponds to a body of "attitudes" - tourism,housekeeping, knowledge of art - certainty of which may obviously be lack-ing in this or that individual. There is a plurality and a co-existence of lexiconsin one and the same person, the number and identity of these lexicons form-ing in some sort a person's idiolect.l3 The image, in its connotation, is thus con-stituted by an architecture of signs drawn from a variable depth of lexicons(of idiolects); each lexicory no matter how "deep," still being coded, if, as isthought today, the psyche itself is articulated like a language; indeed, the fur-ther one "descends" into the psychic depths of an individual, the more rari-fied and the more classifiable the signs become-what could be moresystematic than the readings of Rorschach tests? The variability of readings,therefore, is no threat to the "langu age" of the image if it be admitted that thatlanguage is composed of idiolects, lexicons and sub-codes. The image is pen-etrated through and through by the system of meaning, in exactly the sameway as man is articulated to the very depths of his being in distinct languages.The language of the image is not merely the totality of utterances emitted (forexample at the level of the combiner of the signs or creator of the message), itis also the totality of utterances received:14 the language must include the"surprises" of meaning.

Another difficulty in analyzing connotation is that there is no particularanalytical language corresponding to the particularity of its signifieds-howare the signifieds of connotation to be named? For one of them we ventured

the term ltalianicity, but the othersordinary language (culinary prePlrtn'hich has to take charge of thenspecialized. This is a difficultv for tlnature: as a seme of connotation, "pthe denoted sense; the signifier ofcondensation of the produce) is likrties, of the purest idea of plentl'' Thtlor it is always caught uP in a conithat of verbal discourse), orientedlanguage; the seme "PlentY," on theoff from any syntagm, dePrived of ;theatrical state of meaning, or, bettesvntagm), to an exqosed meaning.would therefore require a sPecialbarisms ol the Italianlclly kind as btof connotatiory the suffix -icity deriItalianicity is not Italy, it is the condItalian, from spaghetti to painting.if needs be barbarouslY-the namirsis of their form will be rendered e,ciative fields, in paradigmatic artaccording to certain defined paths ctain semic axes:16 Italianicity beloniside Frenchicity, Germanicitv oraxes-which may eventuallv be ilonly be possible once a massive inbeen carried out, an inventor-" noimage but also of those of other sulnifiers dependent on the differerobjects, modes of behaviour) it hosignifieds are to be found in the rrtures (which is why semiologv ca:framework). This common domairideology, which cannot but be sinSIwhat signifiers of connotation it nr

To the general ideologr', thalwhich are specified according to thcalled connotators and the set of cr--rras the signifying aspect of ideololstance (here articulated sound, the:essarily by their form; it is even Pform, cotrrrrron for instance to clrearic of the image (that is to sar', theto the extent that it is subject to tlfor example, from Phonatorv con

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L9L a?nwlaqttortroqqd:Sf HIUVg g

L62 rHE RHETORTC OF rHE rMAGE

"figures" are never more than formal relations of elements. This rhetoriccould only be established on the basis of a quite considerable inventory, but itis possibie nor,rr to foresee that one will find in it some of the figures formerlyidentified by the Ancients and the Classics:18 the tomato, for example, signi-fies ltalianicify by metonymy and in another advertisement the seguence ofthree scenes (coffee in beans, coffee in powder, coffee sipped in the cup)releases a certain logical relationship in the same way as an asyndeton. It isprobable indeed that among the metabolas (or figures of the substitution ofone signifier for anotherle), it is metonymy which furnishes the image withthe greatest number of its connotators, and that among the parataxes (or syn-tagmatic figures), it is asyndeton which predominates.

The most important thing, however, at least for the moment, is not toinventorize the connotators but to understand that in the total image theyconstitute discontinuous or better still scattered traits. The connotators do notfill the whole of the lexia, reading them does not exhaust it. In other words(and this would be a valid proposition for semiology in general), not all theelements of the lexia can be transformed into connotators; there alwaysremaining in the discourse a certain denotation without which, precisely, thediscourse would not be possible. Which brings us back to the second messageor denoted image. ln the Panzanl advertisement, the Mediterranean vegeta-bles, the color, the composition, the very profusion rise up as so many scat-tered blocks, at once isolated and mounted in a general scene which has itsown space and, as was seen, its "meaning": they are " set" in a syntagm whichis not theirs and which is that of the denotation. This last proposition is importantfor it permits us to found (retroactively) the structural distinction between thesecond or literal message and the third or symbolic message and to give amore exact description of the naturalizing function of the denotation withrespect to the connotation. We can now understand that it is precisely the syn-tagm of the denoted message which "naturalizes" the system of the connoted message.Or again: connotation is only system, can only be defined in paradigmaticterms; iconic denotation is only syntagm, associates elements without anysystem: the discontinuous connotators are connected, actualized, "spoken"through the syntagm of the denotation, the discontinuous world of symbolsplunges into the story of the denoted scene as though into a lustral bath ofinnocence.

It can thus be seen that in the total system of the image the structuralfunctions are polarized: on the one hand there is a sort of paradigmatic con-densation at the level of the connotators (that is, broadly speaking, of thesymbols), which are strong signs, scattered, "reified"; on the other a syntag-matic'flow'at the level of the denotation-it will not be forgotten that thesyntagm is always very close to speech, and it is indeed the iconic "discourse"which naturalizes its symbols. Without wishing to infer too quickly from theimage to semiology in general, one can nevertheless venture that the world oftotal meaning is torn internally (structurally) between the system as cultureand the syntagm as nature: the works of mass communications all combine,through diverse and diversely successful dialectics, the fascination of a

nature, that of story, diegesis, svnn'ithdrawn into a few discontinurshelter of their living speech.

NOTES

L The descr ip l iot r of the photograplr r -metalanguage. The reader is asked to refcr t

2. Bt typtca! . igr l ts meatr t the . igrr , ' : . rstance: the r.erbal sign, the iconic sign, thc g

3. In French, the expression nnttrrt rr,'such as a skull, in certain pictures.

4. Cf. "The photographic message,' aiand Trans. Stephen Heath. New York: lli l l .r

5. "Na:ive" analvsis is an enutneratirrrrrelation of these elements !y r.irtue of the ':ra structure: if one term changes, so also .l(r t

6. Cf. R. Barthes, El1nrcnts de sirrlo,i..-Seniology, London 1967 & Nerv York 1965. ;

7. Menestrier, L'Art des erablinres, 1t-S-l8. lmages without words can certainlr

the absence of rarords ahr.ays covers an ent{9. El1rnents de shniologie, pp. 131-1 ltr.::10. This can be seen clearlv in the p..1;.1.

to t l re lext and nhere, consequctr t lv t r r . .rn,hich rt'ants to communicate that in suri-. .rin powder fom and thai it will thus irt' ;.:rproposition, a tin of colfee nitir a chrir .r("locked in") is taken litelalll '(a n'ell-krtr'.'.:is read first and the text {rorn n hich tirc i;:r.:,of one signified among others. The rt'pre-.:.i z : + i n n n t t h p r l e s c a u p' ^ ' ' ^ " _ " " _ _ b -

11. Cf. Claude Bremoncl, "Le mes'.r:.12. Cf . A. J. Gtei rnas, " l -es phir . r ! r r l

Lexicologle, 1., 1959, p. 63.13. Cf . El1ments de sdnioiogie, p ')5 ::.r14 . l n t he Saussu r ran pe rspc . t i \ L - : '

drarr n f rom the language-sr r tc ln { . rn. l : r :notion of langua ge llnn g uel, espec ial I r i:. ::-abstraction" of the messages emittetl .;,:.; '

15. Fornt in the precise sense gir en r: !.3q -1 l l ) , as t he [ u r t c t i ona l o rga t r i za t t , t t : : i '

16. A. J. Grei tnas, Cours ie - i . , ' : . , ' : : . .Sup6rieure de Saint-Cloud).

17. Cf. Ernile Benveniste, 'Rem.rr.rr:. renne' , La Psrlchanalyse 1,1956, pp. 3- 16 i:t:::Paris 1966, Chapter 7; translatecl as li, r .

18. C-lassical rhetoric needs to be rt:lrprogress); it will then perhaps bc possir'.. :fiers of connotation, valic1 for articul.rtr.i -.(Aider6moire)', ComnttLnicntiotis .16. 1'r.

19. We prefer here to er.ade Iako5..':me ton \ m \ bv i t s o r i g i n i . a f i 8u r . ' r \ L ' : : rthe signifier, that is as a metaphor.

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