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Norman Brysons use of the anecdote about the contest between the Greek
painters is indicative both of the relationship of the study of ancient art and
the method of semiotics and of the functioning of semiotics more generally.
Brysons summoning of an ancient analogy for his argument is rather excep-
tional in semiotics studies:in contrast to iconology, the field of semiotics exists
quite happily without reference to, or reverence for, antiquity. Semiotics does
not require the legitimatisation Panofsky had sought by enlisting antiquity as
a passepartout,1 for the simple reason that it lacks any investment in a single,
irrefutable truth the search for which is at the heart of iconology.
More crucially, the anecdote throws into relief the problems that arise
from this disinvestment from truth for the study of ancient art and art more
generally. On the surface, Bryson employs the anecdote to argue that no
such thing as a natural attitude exists,2 a claim that is central to the turning
1
See above, pp. 1920.
2
Bryson 1983:1. 103
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104 Introducing semiotics
away from the concept of a single truth. But dig deeper and Plinys anecdote
highlights how the methodological framework of semiotics raises the stakes
for interpretation:we have only Plinys word for both the contest and the
pictures involved in it. Our relationship to a picture is therefore analogous
to that which exists between what Zeuxis thinks he sees a curtain and
what Parrhasius actually shows him the representation of a curtain.
For a semiotic approach to succeed, the relationships between the indi-
vidual sources of evidence need to be probed and evaluated with regard
to their hierarchies and their perception, unmasking in that process any
disguise of the type found in Plinys anecdote as exploited by Parrhasius.
In short, one needs to be familiar with conventions of communication and
patterns of display in order to interpret artworks.
1) What is semiotics?
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1) What is semiotics? 105
not interested in meaning as such, but in the processes of its creation, and in
the possibility of meaning more generally.3 The objective of semiotics is the
study of conventionally communicated systems such as languages, pictures,
or any other compilation of signs carrying content. In semiotics, these sys-
tems are studied with a view to the relationship of the object, thought, or
concept that is denoted by the sign (including both its generic idea and
the actual instance), the sign itself, and the connotations a recipient could
derive from the sign in its relationship with what it denotes, the object. In
the Pliny anecdote, the object would be a curtain covering a painting, the
sign would be the curtain painted by Parrhasius, and the denotations here
would be, on the part of Zeuxis, the expectation that his painting of the
grapes was better than the painting by Parrhasius covered by the curtain,
and, on the part of Parrhasius, his ability to deceive a fellow artist with his
ownart.
In semiotics, meaning is always derived from, and is relative to, this tri-
angulation of denoted object, sign, and connotation (fig.4.1). The primacy
of this triangulation furnishes semiotics with two characteristics. First, cul-
tural utterances no matter whether oral, textual, or visual are studied
not in isolation, but as embedded in reciprocal relationships of meaning
production. This focus on the production process replaces the focus on
the historical and social context of the artwork that is so central to icon-
ology. Second, and tied in with the focus on the processual, in semiotics
it is assumed that cultural utterances can be understood only from the
recipients perspective, not from that of the originator. The intentions of
the sender the speaker, author, painter, or sculptor are secondary; what
counts from a semiotic perspective is how what is sent is turned into mean-
ing by the listener, reader, or viewer.
In order to unpack this triangulation, semiotic analysis requires that
codified, connoted meanings be captured and interpreted by unravelling
the processes of denotation between object, sign, and recipients. In short,
3
Bal & Bryson 1991:175; Hatt & Klonk 2006:200.
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106 Introducing semiotics
Lvi-Strauss position finds its theoretical pendant in Martin Jays raid on this cen-
turys French gaze and image theories. Jays conclusion strengthens the impression
that, to date, not even the most sophisticated semiological models have managed
to refute the suspicion that their results could have been reached equally well by
means of established art-historical methods. This is because they do not actually
develop a new method, but merely apply new vocabulary.
Bredekamp 1998:7 (trans.:author)
4
Potts 2003:24.
5
Bal & Bryson 1991:175.
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2) Semiotics:premises, positions, and problems 107
6
For post-structural semiotics, see below, pp. 1104.
7
For most of the twentieth century Saussures thoughts were only available in the form of a
volume published posthumously in 1916, compiled from lecture notes collected by his students
(Bally & Sechehaye 1916). A manuscript of his lectures, handwritten by Saussure himself, was
discovered in 1996 (Bouquet & Engler 2006). On Saussure, see Culler 1976. Saussure is rightly
regarded as one of the founders of structuralism, see Bal & Bryson 1991: 1915.
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108 Introducing semiotics
8
Hatt & Klonk 2006:203.
9
The referents prove the existence of the formal sign system only on the level of performance.
10
For Peirce, see Iversen 1988: 846, 8991; Misak 2004: esp. 126. For his influence on Edgar
Wind, see above, p. 35 n. 76.
11
Peirce 1977; Peirce, in:Innis 1985:123; Short 2004, with an overview of the various changes
Peirce devised for his own approach.
12
Hatt & Klonk 2006:210.
13
Bal & Bryson 1991:188.
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2) Semiotics:premises, positions, and problems 109
Dutch for a fourth, and so on. Peirce put considerable emphasis on the
mental image, the interpretant. In contrast to the Saussurean signified, this
interpretant does not constitute a concept but generated by the recipient
it defines the referent in a dynamic way:based on subjective perception, it
can change continuously. And this mutability also renders the relationship
between representamen and referent dynamic.14
Where Saussures model was differential, Peirce opted for a referen-
tial approach. In addition, he identified different classes of interpretants
and objects, continuing his triadic model. Signs can have three differ-
ent shapes: qualisign, sinsign, and legisign.15 Interpretants can be of three
different qualities: emotional-unmitigated, energetic-dynamic, and
logical-normal-final. Objects can take two different qualities: immediate
(internal to the sign) and dynamic (external to the sign). Based on this
organisation, the triad of representamen, interpretant, and object can gen-
erate three modes of meaning production. And with regard to the object
element of this triad, Peirce differentiates between three types: icon, index,
and symbol. He explains:16
An icon is a sign which would possess the character which renders it significant,
even though its object had no existence; such as a lead-pencil streak as representing
a geometric line. An index is a sign which would, at once, lose the character which
makes it a sign if its object were removed, but would not lose that character if there
were no interpretant. Such, for example, is a piece of mould with a bullet-hole in it
as a sign of a shot; for without the shot there would have been no hole; but there is
a hole there whether anybody has the sense to attribute a shot or not. Asymbol is a
sign which would lose the character which renders it a sign if there were no inter-
pretant. Such is any utterance of speech which signifies what it does only by virtue
of its being understood to have that signification.
With these types, Peirce accounts for differences in the way the sign is
related to the object. In contrast to Saussures static model, in Peirces model
the sign can be diversified, and it can be characterised by more than one of
the modal qualities:17 the icon refers to the object by a quality internal to
itself; the index is constituted by means of a connection to the object; and
the symbol links to the object through an acquired habit or rule that shapes
its interpretant.
14
Cf. Bryson 1983:79 who re-enacts this argument to vindicate Saussures approach.
15
Signs can also be referred to as tone, token, and type or potisign, actisign, and famisign.
16
Peirce, in:Innis 1985:910.
17
For a critical comparison of Saussure and Peirce see Iversen1988.
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110 Introducing semiotics
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2) Semiotics:premises, positions, and problems 111
24
Lvi-Strauss1963.
25
Barthes 1967; Barthes 1972. See Bal & Bryson 1991: 191. Another influence on Barthes work
is that of the Danish linguist Louis Hjelmslev (18991965): Hjelmslev 1953.
26
Barthes 1982; Bal & Bryson 1991:195. In its abandonment of realism, Barthes approach is
comparable to that of Nelson Goodman (190698):Goodman 1976:22532; see also Mitchell
1986:5474.
27
For Barthes engagement with Saussure and his semiotic approach more generally, see Barthes
1977b; for myth, see also Barthes 1972:13156.
28
Barthes 1977a:337.
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112 Introducing semiotics
And yet there are also disadvantages. Barthes approach presumes that the
relationship of signifier and signified is stable, with each signifier denoting
a specific signified. While this position works fairly well for advertisements
and other types of allegorical imagery, it lacks the flexibility that is needed
to account for more complex visual representations.29
A way around this limitation is offered by an analytical framework
already prefigured in Saussures differentiation of langue and parole, and
also applied by Barthes.30 At the core of this framework is a differentiation
between paradigmatic and syntagmatic forms of meaning production.
These forms are applied to the visual as follows:the paradigmatic is used
to define the specificity of a picture in relation to other representations of a
similar kind; the syntagmatic is appropriated for the study of the relation-
ship of the individual signs constituting the picture. When analysis follows
these two axes, looking also for where they intersect, complex representa-
tions can be more easily tackled.
The application of shifting analytical frameworks puts emphasis on the
different meanings of an artefact. In his 1970 book, S/Z Barthes explored
this aspect further, introducing five codes tasked with characterising types
of signifiersignified relationship.31 Mieke Bal and Norman Bryson describe
the codes as follows:32
The proairetic code for Barthes is a series of models of action that help readers place
details in plot sequences:because we have stereotyped models of falling in love,
or kidnapping or undertaking a perilous mission, we can tentatively place and
organize the details we encounter as we read. In a way this is a narrative version of
an iconographic code. The hermeneutic code presupposes an enigma and induces
us into seeking out details that can contribute to its solution. Although this code
may seem less relevant for visual art, we claim that there is a hermeneutic code at
work for the viewer, precisely when an images subject is hard to make out. The
semic code inserts cultural stereotypes, background information that the viewer
brings in to make sense of figures in the image in terms of class, gender, ethnicity,
age and the like. With the help of the symbolic code, the viewer brings in sym-
bolic interpretation to read certain elements, e.g. love, hostility, loneliness, or,
for that matter, theatricality, vanitas, or self-referentiality. Finally, the referential
code brings in cultural knowledge, such as the identity of the sitter for a portrait,
the program of an artistic movement, or the social status of the figures represented.
Together, these (and other) codes produce a narrative, a satisfying interpretation
29
Held & Schneider 2007:3667.
30
Barthes 1977b:5860.
31
Barthes 1975:1820,2613.
32
Bal & Bryson 1991:203.
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2) Semiotics:premises, positions, and problems 113
of the image in which every detail receives a place. The narrative is emphatically
produced by the reader to deal with the image; it produces the story through the
processing of a strange image into a familiar mind-set.
33
Derridas assessment of structuralism was a milestone in this respect:Derrida1976.
34
Culler 1982. For Heidegger, see above, pp. 314.
35
Bryson 1983:85.
36
Derrida1976.
37
Eco coined the phrase opera aperta, the open work of art:Eco1989.
38
Derrida 1987:113. Cf. Bal & Bryson 1991:1923.
39
See above, pp. 213.
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114 Introducing semiotics
tool. By turning its interest almost solely to the signified, however, this form
of post-structuralist semiotics also propagates a position that markedly
destabilises the scaffolding for such correctives, a paradox that presents a
considerable challenge for any form of deconstructivist semiotic approach.
40
Michel Foucault (192684), who methodologically operated between structuralism and
post-structuralist deconstruction, is generally taken as the most prominent representative of
discourse analysis (for example Foucault1970).
41
This notion of framing is adopted from Erving Goffmans (192282) sociological model of
Frame Analysis (Goffman 1974). Most prominently, Mieke Bal has adopted it for semiotic
analysis (Bal 2002:13373; see also Bal & Bryson 1991:17781).
42
Further areas of interest: the semiotics of the aesthetic as presented by the works of Hubert
Damisch (1928) and Louis Marin (193192); see Damisch 1996 on the Judgement of Paris;
Marin 1980; Marin 1981; Damisch 2005. Marxist takes on semiotic analysis are another
important shaper of visual culture studies and emphasise the role of ideology and social and
power hierarchies. Marxism, with its concept of historical materialism, explores the connections
and relationships of socio-political shifts and changes to cultural conditions, not least art. One of
the merits of Marxist theorems is that they put emphasis on the social processes of production,
use, and perception and thus facilitate semiotics investment in exploring the context of the
artwork as expressed in the notion of the open work. In the semiotic appropriation of Marxism,
this context then can become a frame, based on the notion of a pluralist and mobile system
of meaning within which the artwork operates and which is open enough to account for, for
example, non-elite forms of reception. See Hatt & Klonk 2006: 12041.
43
Bann 1970:esp.1338.
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2) Semiotics:premises, positions, and problems 115
44
Nth 1990:4056.
45
For reception theory, see Iser 1978. For reception aesthetics, see Kemp1998.
46
Mulvey 1975; Mulvey 1989: esp. 1426.
47
Lacan 1977: 17; Lacan 1981. Mieke Bal and Norman Bryson have argued that psychoanalysis
embodies a semiotic model because it explores the links between the unconscious and its
expression (Bal & Bryson 1991: 1956). For a critique of (Lacanian) psychoanalysis that
focuses on visual art see Jay 1993: 493542; for Freud see Wollheim 1991. For an overview of
psychoanalytical approaches in the field of art history see Hatt & Klonk 2006: 17499.
48
Bal 1991; Hatt & Klonk 2006:21415.
49
Bal & Bryson 1991:2026. Bakhtin 1981. On Bakhtin see Hirschkop & Sheperd 1989;
Holquist1990.
50
Bal & Bryson 1991:2045.
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116 Introducing semiotics
Bals own theory of literary narrative,51 which shapes a model based on the
assumption that multiple readings for any one image are possible, with poten-
tial randomness kept in check by the thresholds generated by the codes in
operation.
In all this, two characteristics of semiotics are of particular relevance for
the field of art history: its investment in the recipient and its interest in
context, or, better, in the framework of the artwork.52 With regard to the
former, semiotics is concerned with acts of individual and collective symboli-
sation. That concern can extend not just to the viewer, but also to the artist,
who produces the syntax of signs on the surface of the artwork as a viewer
and for other viewers. With regard to the latter, semiotics in its Peircean mani-
festation has the flexibility to be able to map and contrast the dimensions of
an artwork and the conditions of its perception. The meaning of the artefact is
therefore approached as non-fixed, dependent on the discourses within which
the artwork is included and with its contextual framework contributing to
the content thus generated.
Two criticisms have been raised against the applicability of semiotics in
art history. The first criticism notes that the method was originally devel-
oped for the study of texts, and asks, in particular, whether the relations of
pictures to their signified are necessarily arbitrary to the same extent as are
those of textual signifier and signified.53 Even though individual strands of
semiotics might make allowances for the visual and implement modifications
in order to capture the particular qualities of visual artefacts, the analytical
parameters of the method are inevitably biased towards the textual and thus,
even if modified, unable to account for visual phenomena.
The second criticism is directed at the a-historicity of semiotics, which, it
charges, renders the method useless for the study of art in a historical per-
spective. This criticism is primarily directed against the Saussurean form
of semiotics, with its interest in the systemic aspect of cultural signage as
represented by langue, which is located outside the historical dimension as it
is represented by parole. But the criticism is also relevant for post-structuralist
versions of semiotics, which can take the form of image-immanent seman-
tics,54 an exercise that involves simply describing the self-referentiality of
pictures without the backing of any external factors; in effect we then have a
semiotic circle, which also operates outside the parameters of history
51
Bal1997.
52
Bal puts forward a plea for the notion of framework instead of context: Bal 2002: 135; see
also below, pp. 1589 n. 27.
53
Hatt & Klonk 2006:208.
54
Held & Schneider 2007:370, 37280.
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2) Semiotics:premises, positions, and problems 117
55
See above, p. 91 n. 14.
56
See above, pp. 45.
57
Bal & Bryson 1991:17980. For an example for iterative art-historical writing, see Clark2006.
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