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SIGNS AND THINGS 81 1 2 3 4 5 6 7 8222 9 10 1 2 3 4 5 6 7 8 9 20 1222 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7222 These would be the successive phases of the image: 1. It is the reflection of a basic reality. 2. It masks and perverts a basic reality. 3. It masks the absence of a basic reality. 4. It bears no relation to any reality whatever: it is its own pure simulacrum. (Baudrillard 1988, 170) Baudrillard argues that when speech and writing were created, signs were invented to point to material or social reality, but the bond between signifier and signified became eroded. As advertising, propaganda and commodification set in, the sign began to hide ‘basic reality’. In the postmodern age of ‘hyper-reality’ in which what are only illusions in the media of communication seem very real, signs hide the absence of reality and only pretend to mean something. For Baudrillard, simulacra – the signs that characterize late capitalism – come in three forms: counterfeit (imitation) – when there was still a direct link between signifiers and their signifieds; production (illusion) – when there was an indirect link between signifier and signified; and simulation (fake) – when signifiers came to stand in relation only to other signifiers and not in relation to any fixed external reality. It is hardly surprising that Douglas Kellner has criticized Baudrillard as a ‘semiological idealist’ who ignores the materiality of sign production. Baudrillard’s claim that the Gulf War never happened is certainly provocative (Baudrillard 1995). Such perspectives, of course, beg the fundamental question, ‘What is “real”’ The semiotic stance which problematizes reality and emphasizes mediation and convention is sometimes criticized as extreme ‘cultural relativism’ by realists – such critics often object to an apparent sidelining of referential concerns such as ‘accuracy’ (e.g. Gombrich 1982, 188, 279, 286). However, even philosophical realists would accept that much of our knowledge of the world is indirect; we experience many things primarily (or even solely) as they are represented to us within our media and communication technologies. Since representations cannot be identical copies of what they represent, they can never be neutral and transparent but are instead constitutive of reality. As Judith Butler puts it, we need to
82 SEMIOTICS: THE BASICS ask, ‘What does transparency keep obscure’ (Butler 1999, xix). Semiotics helps us to not to take representations for granted as reflections of reality, enabling us to take them apart and consider whose realities they represent. As the linguist Edward Sapir famously remarked, ‘all grammars leak’ (Sapir 1921, 38). Those who would learn from <strong>semiotics</strong> should search for structural leaks, seams and scaffolding as signs of the making of any representation, and also for what has been denied, hidden or excluded so that the text may seem to tell ‘the whole truth’.
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viii CONTENTS Iconic mode 40 Indexi
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PREFACE xv 1 2 3 4 5 6 7 8222 9 10
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INTRODUCTION 3 1 2 3 4 5 6 7 8222 9
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INTRODUCTION 5 1 2 3 4 5 6 7 8222 9
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INTRODUCTION 7 1 2 3 4 5 6 7 8222 9
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14 SEMIOTICS: THE BASICS THE SAUSSU
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CODES 149 1 2 3 4 5 6 7 8222 9 10 1
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176 SEMIOTICS: THE BASICS FIGURE 6.
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196 SEMIOTICS: THE BASICS structure
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198 SEMIOTICS: THE BASICS Intertext
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PROSPECT AND RETROSPECT 213 1 2 3 4
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228 APPENDIX Brøndal, Viggo See Co
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230 APPENDIX Jakobson, Roman (1896-
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232 APPENDIX (1893-1971). Together
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234 APPENDIX Saussure, Lévi-Straus
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236 GOING FURTHER The main works of
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238 GOING FURTHER LANGUAGE, WRITING
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240 GOING FURTHER Thibault 1997, Do
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GLOSSARY 245 1 2 3 4 5 6 7 8222 9 1
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BIBLIOGRAPHY 267 1 2 3 4 5 6 7 8222
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INDEX 295 1 2 3 4 5 6 7 8222 9 10 1
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INDEX 299 1 2 3 4 5 6 7 8222 9 10 1
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INDEX 307 1 2 3 4 5 6 7 8222 9 10 1
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