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Dictionary of Semiotics

Dictionary of Semiotics by Bronwen Martin and Felizitas Ringham. No part of this publication may be reproduced or transmitted without permission in writing from the publishers. Sleeping beauty is reprinted from tim and Jenny wood, Favourite Fairy Tales (london, 1988)

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Dictionary of Semiotics

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Dictionary of Semiotics

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Dictionary of
Semiotics

Bronwen Martin
and
Felizitas Ringham

CASSELL
London and New York
Cassell
Wellington House, 125 Strand, London WC2R OBB
370 Lexington Avenue, New York, NY 10017-6550

First published 2000

© Bronwen Martin and Felizitas Ringham 2000

All rights reserved. No part of this publication may be reproduced or

transmitted in any form or by any means, electronic or mechanical,
including photocopying, recording or any information storage or
retrieval system, without permission in writing from the publishers.

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library.

ISBN 0-304-70635-3 (hardback)

0-304-70636-1 (paperback)

Library of Congress Cataloging-in-Publication Data

Martin, Bronwen.
Dictionary of semiotics / Bronwen Martin and Felizitas
Ringham.
p. cm.
Includes bibliographical references and index.
ISBN 0-304-70635-3. - ISBN 0-304-70636-1 (pbk.)
1. Semiotics Dictionaries. I. Ringham, Felizitas. II. Title.
P99.M357 1999
302.2-dc21 99-20285
CIP

Sleeping Beauty (pp. 145-7) is reprinted from Tim and Jenny Wood,
Favourite Fairy Tales (London, 1988) by permission of Conran
Octopus.

Typeset by BookEns Ltd., Royston, Herts.

Printed and bound in Great Britain by Biddies Ltd.,
Guildford and King's Lynn
Contents

Preface vii

How to Use This Dictionary ix

Introduction 1

Lexical Definitions 15

A Semiotic Analysis of Sleeping Beauty 143

Bibliography 168

Index 173
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Preface

In the mid-1980s, a professor came to Birkbeck College to give a lecture

on semiotics. He was an elderly, relatively short, unassuming gentle-
man who spoke French and who told us a simple story about a monkey
who wanted a banana and needed a stick to get it. The gentleman was
the Lithuanian Algirdas Julien Greimas, who introduced us that day —
in easy terms — to the semiotic project Semiotic theory, he informed his
audience, is not a branch of philosophy. Rather, it is a practical
reflection on discourse, any discourse, not just the verbal sentence.
Concerned with values and signification, it tries to unravel the meaning
hidden below the surface in an attempt to find sense in life. The
monkey and the banana served the purpose to illustrate Greimas's
models: keys to understanding how we produce meaning.
This was our first encounter with the founder of the European
branch of semiotics. In subsequent years, we were fortunate to meet a
number of the Paris semioticians and to attend some of their meetings.
Thus we were able to follow at close hand developments of the theory
which we have tried to expose in its fundamentals in this small volume.
Our enthusiasm for semiotics is shared by more and more people in
many different countries. Semiotics is in the air, one might say. It is no
longer restricted to literary investigations and academic establishments.
Marketing research, the media, law, even visual and gestural discourses
make use of the semiotic method. They, like us, believe that semiotics as
an analytical tool is shown to be helpful in probing effects of meaning,
finding possible answers and even forecasting responses. But more
than that the process of discovery - like that of the explorer in a
strange country — opens up the territory of a text, a discourse, to
adventures of deeper understanding and new ways of interpretation.

VII
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How to Use This Dictionary

Words or expressions/phrases set in italics are in most cases meant to

provide cross-references to related entries. The use of bold face is
restricted to emphasizing particular words in the context of an entry.
Underlining is used to highlight particular words in examples.

IX
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Introduction

As a literary theory, semiotics has increasingly gained ground in the last

two or three decades of the twentieth century. It is now usually included
in secondary education literature programmes and in surveys of critical
theory. Moreover, the concept has become part of media discourse with
regard to film and advertising in Europe and throughout the world. Yet
while theoretical research into the discipline has advanced - particularly
in France - to many the very term 'semiotics' has remained an enigma
and thus its appeal restricted. This book proposes to familiarize
researchers as well as university students and their teachers with the
semiotic approach. A brief outline of the aims of semiotic theory, its
history and working method is followed by a reference section providing
definitions of terms and models used in semiotic metalanguage, and
finally an example of semiotic analysis applied to a text.

What is semiotics? What does semiotics mean?

The term semiotics is derived from the Greek word semeton denoting
'sign'. Already in the seventeenth century, the philosopher John Locke
referred to semtottfea, which he defined as 'the Doctrine of Signs, [...]; the
business whereof, is to consider the Nature of Signs, the Mind makes
use of for the understanding of Things, or conveying its Knowledge to
others'.1
In modern usage the concept semiotics refers to a theory of
signification. There are different branches of semiotics under this
heading. There is an American branch, for instance, strongly influenced
by C. S. Peirce, which focuses on logic and meaning and has become
central in linguistics linked to philosophy. Much of Peirce's work is
devoted to the development of sign categories such as making a
distinction between icon, index and symbol.2 This approach differs
considerably from European semiotics, represented by the Paris School
(Ecole de Paris) founded by A. J. Greimas. The Paris School is concerned
primarily with the relationship between signs, and with the manner in
which they produce meaning within a given text or discourse.

1
Dictionary of Importance is attached not only to the elaboration of theories but also
semiotics to their application as methodological tools for textual analysis.
Compared to Peirce, the Paris School thus takes a more wide-reaching
approach and, in the final analysis, is of greater practical use. The
present dictionary is concerned entirely with the theories and practice
of this School.
Semiotics according to the Paris School posits the existence of
universal structures that underlie and give rise to meaning. These
structures are susceptible to representation in the shape of models
which - conversely - can also be applied to any signifying object to
decode and interpret its effects of meaning. Being concerned with
structures, however, does not mean that semiotics is synonymous with
structuralism, a theory concerned solely with the perception and
description of structures. Neither is it simply a sign system; it should
not be confused with semiology. Nor is it confined to the theories of
Roland Barthes. Semiotics, in fact, has a much wider aim: the theory
purports to explore the generation of signification, any signification, not
only that of the written word, meaning in all its guises and to its full
extent. Semiotics thus covers all disciplines and signifying systems as
well as social practices and signifying procedures.

Semiotics and the Ecole de Paris: a brief history

In 1985, when speaking about the development of semiotic theory,
Greimas said: 'My theoretical genius, if I can so call it, was a form of
"bricolage". I took a little Levi-Strauss and added some Propp ...' He
also said that as a linguist, he was more inspired by Dumezil and Levi-
Strauss than by other linguists, 'with the exception of Saussure and
Hjelmslev of course'.3
It all started at the beginning of the twentieth century with the Swiss
linguist Ferdinand de Saussure, who was the first to apply scientific
theory to the study of language and to relate this science to social
psychology. It was he who introduced the term semiologie, which he
defined as forming a link between linguistics and psychology.
Saussure viewed language as a social phenomenon. His great
contribution to its study was the discovery that meaning does not
reside in individual words but in a complex system of relationships or
structures. His motto was: 'II n'y a de sens que dans la difference.' He
pointed out that language structures could be explored by describing

2
them in their current form (synchronically) or historically (diachron- Introduction
ically). Saussure is perhaps best known for having divided the
phenomenon of language into langue (abstract language system,
language as structured system of signs) and parole (the individual
utterances, or speech, making use of the abstract system). In his study
of language, however, Saussure went even further. He applied the
structure principle to the individual sign or word. The linguistic sign,
according to him, is characterized by the relationship of its two
components: the 'sound-image' or material substance which he named
signi/iant (signifier) and its 'concept' or sigm/ie (signified).
If Saussure and his revolutionary findings4 paved the way for
structuralism and semiotics, the same can be said for the Dane Louis
Hjelmslev and the Linguistic Circle of Copenhagen. Even without any
immediate link to the Swiss linguist, Hjelmslev's theoretical approach
was very close to that of Saussure, whose work he can be said to have
continued. In his Prolegomena to a Theory of language (1943) he
formalized language, dividing the phenomenon into 'system' and
'process'. Hjelmslev also refined the Saussurian definition of the two
aspects of the language-sign by recognizing two fundamental levels or
planes of language, one of 'expression' and one of 'content'. Each one
of these, he believed, was possessed of a 'substance' and a 'form'.
Hjelmslev's contribution to linguistics included his theory of the
semiotic function which he defined as existing between the twin
aspects of the signifying act - between signifier and signified (according
to Saussure) or between expression and content (according to
Hjelmslev). Finally, Hjelmslev extended his semiological studies to
incorporate non-verbal language systems such as traffic lights or the
chimes of Big Ben.
Like Hjelmslev, the anthropologist Claude Levi-Strauss found a new
territory to which he applied a linguistic-structuralist approach. Levi-
Strauss set out to identify the constituent parts of cultural behaviour,
which he studied as if it were a language phenomenon. Searching for
the semantic structure (the 'language system' or langue) that underpins
culture, his concern focused on 'myths'. He analysed myths from
different cultures and discovered a number of recurrent elements —
which he called 'mythemes' (as compared to 'phonemes' or 'mor-
phemes' in linguistics) - and functions that seemed to operate like the
components of universal signifying structures.5
At the same time an earlier study by the Russian folklorist Vladimir

3
Dictionary of Propp appeared in English translation.6 Close analysis of one hundred
semiotics fairy-tales had led him to establish an analogy between language
structure and the organization of narrative. He identified thirty-one
functions or fundamental components that formed the basis of any tale.
A function in this sense is a unit of the 'narrative language', such as 'a
difficult task is proposed to the hero' (25) or 'the villain is punished
(30). The thirty-one functions, moreover, were distributed amongst
seven spheres of action such as (1) villain, (2) donor, (3) helper, and so
on. The narrative taxonomy developed by Propp, as well as his model,
is still held to be valid by researchers today.
Such was the groundbase that inspired Greimas to compose the
founding work of what was to become semiotics: Semantique structurale
(Paris: Larousse, 1966). This seminal text contained the axiomatic base
of a scientific theory, anticipated hypotheses for subsequent research
and provided samples of semiotic practice, demonstrating its value as a
tool for discovery. Nonetheless, this 'ouvrage fondateur' was only the
beginning. It marked the starting point of a scientific project which is
still today in the process of developing. Over many years, Greimas and
a group of researchers dedicated themselves in weekly meetings to
elaborating, testing, changing and refining a theory of signification. The
meetings took place at the Ecole des Hautes Etudes in Paris, to which
Greimas had been appointed. It was there that the Paris School of
Semiotics originated.
The development of semiotic theory took place in several phases.
The first stage focused, within the context of structuralist thought, on
the problematics of semantics as demonstrated by the very title of
Greimas's Semantique structurale. Saussure's notion of meaning
resulting from relationships had inspired Greimas to analyse and
define specific kinds of difference. He first identified the distinctive
traits of oppositions in the event producing a typology. Oppositive
properties were then categorized to be used as working concepts in the
elaboration of a rudimentary signifying structure. At the same time, the
encounter with Propp's work encouraged Greimas to apply linguistic
models to narrative. In an attempt to formulate better the elements of
narrativity, he discovered that what Propp had called 'function' was in
fact a verb plus actants, in other words, a complete sentence. He also
found that it was possible to reduce Propp's seven spheres of action to
three pairs of binary opposition (subject/object; sender/receiver;
helper/opponent) that would describe any narrative structure.

4
The theoretical advances made during this first stage of develop- Introduction
ment concerned two apparently heterogeneous areas: on the one hand
the search for an elementary structure of meaning comprising the
logical classification of paradigmatic differences; and on the other,
formulating a theory of narrativity which streamlined Propp's syntag-
matic model into the components of a narrative grammar. During the
second phase of semiotic research, in the 1970s, attempts were made to
find a synthesis between these different fields in order to define a
consistent general theory of the generation of meaning.
Concentrating on the surface structures of narrative, semioticians
discovered that function, as represented by an action verb, was
overdetermined by modalities: two virtualizing (wanting, having to)
and two actualizing (knowing how to, being able to). When this
discovery was pushed to its extremes, it emerged that the entire
narrative grammar was in fact composed merely of modalities plus
content, that is, semantics. This allowed for powerful models to be
constructed. Moreover, these models could also be applied to social
practices, behaviour patterns, etc. Narrativity was no longer seen to be
the exclusive property of written texts. From now on it was perceived as
underlying all discourse and accounting for the organization of the
world.
Research during this period also showed that Propp's formula of the
tale could be broken down into important sequences which together
reflected the stages of all human action. The sequences - manipulation,
action, sanction - were condensed into what came to be known as the
canonical narrative schema. This was found to be applicable not only to
stories but to a great variety of texts (legal, culinary, journalistic, etc.)
and, in the end, to something as basic as man's quest for the meaning of
life.
While work on the surface level of narrative structures progressed,
essential findings on the abstract or deep level of signification yielded
the link needed to perfect semiotic theory. Greimas proposed a visual
representation of the elementary structure of meaning: the semiotic
square. This is the logical expression of any semantic category showing
all possible relationships that define it, i.e. opposition, contradiction
and implication. It was discovered, however, that apart from illustrating
opposing relationships, this square also portrays the operations they
generate. In fact, it allows to retrace a process in progress or the
trajectory of a subject performing acts of transformation. In other

5
Dictionary of words: the semiotic square not only represents underlying categories of
semiotics opposition but also gives account of surface structures of narrative
syntax. At the end of the 1970s, all the semiotic findings of the previous
two decades were published in an authoritative work by Greimas and
Joseph Courtes: Semiotique, dictionnaire raisonne de la theorie du langage
(Paris: Hachette, 1979).
The Dictionnaire appeared to be evidence of semiotic theory having
consolidated: its working concepts were defined seemingly once and
for all, its models ready to be applied. This was not so, however.
Research continued. The major preoccupation during the years
following the publication of the Dictionnaire concerned the discursive
level of meaning. This level relates to the figurative and enunciative
surface of an utterance which gives expression to, and is supported by,
the underlying semio-narrative structures. During the 1980s and
1990s, efforts concentrated in particular on aspectualities, that is, the
spatial, temporal and actorial organization of texts. Concern with
aspectual problematics also lead to renewed investigation of systems of
valuation. How does a being, an object, a time or a place assume value?
And to whom? The last few semiotic seminars at the Ecole des Hautes
Etudes were devoted to the study of Truth', 'Beauty', 'Good and Evil'
and how these classic values function in language. It was discovered
that the system of valuation for each one of them operated along
different aspectual lines. Morality, for instance, seemed to fall within the
categories of 'excess' and 'insufficiency', while the study of aesthetics
revealed the aspects of being accomplished (perfect) or unaccom-
plished, unfinished (imperfect) as determining factors. This discovery
was all the more important as the aspectual categories concerned were
not oppositive or binary but gradual. It was not a question of 'either or'
but of 'more or less'.
While the new findings added to semiotic knowledge, they also
challenged earlier notions including the logical bases of the elementary
structure of signification. In 1983, Greimas wrote an article, 'Le Savoir
et le Croire: un seul univers cognitif, in which he presented for the first
time a semiotic square based on gradual transformation and not on
contradiction and oppositive stages.7 In 1986, the second volume of
Semiotique, dictionnaire raisonne de la theorie du langage was published.
It reflects both the large numbers of contributors now engaged in
research and a science still in the process of being defined.
In his final years Greimas's semiotic concern focused on 'passions'

6
and the thymic sphere. No longer describing passions in terms of Introduction
modal structures, he and his colleagues now embarked on re-
interpreting them in aspectual terms and specific discursive sequences.
Simultaneously, attempts were made to define deep-level aspectualties
which concern specific valorizations.
Greimas died in 1992. We have only given a very brief outline of his
semiotic investigations, and of what in Paris is called basic semiotic
theory. The work is by no means completed and research is still in
progress. Future findings, however, or even changes if necessary, will
not be able to alter the description of the scientific project Greimas set
for himself and for us, that is, the study of semiotics, defined as a
'theorie de la signification. Son souci premier sera d'expliciter, sous
forme d'une construction conceptuelle, les conditions de la saisie et de
la production de sens [.. .].'8

Semiotics as a tool for analysis

What, then, is the semiotic approach? How does it work? Semiotics
takes as its fundamental premise that there can be no meaning without
difference. There can be no 'up' without 'down', no 'hot' without 'cold',
no 'good' without 'evil'. As Greimas says,
We perceive differences and thanks to that perception, the world
'takes shape' in front of us, and for our purposes.
There are four basic principles on which the semiotic analysis of texts is
based:
1. Meaning is not inherent in objects, objects do not signify by
themselves. Meaning, rather, is constructed by what is known as a
competent observer, i.e. by a subject capable of 'giving form' to
objects. To give an example: confronted with an implement from a
different culture, say African or Asian, we would probably be
incapable of grasping its significance. However, left alone with it, we
will give it a meaning that is based on what knowledge we have and
what will suit our purpose.

2. Semiotics views the text, any text, as an autonomous unit, that is,
one that is internally coherent. Rather than starting with ideas/
meanings external to the text and showing how they are reflected
within it, an approach that is still widely adopted in the academic

7
Dictionary of world, semiotic analysis begins with a study of the actual language
semiotics and structures of the text, showing how meanings are constructed
and, of course, at the same time what these meanings are. Semiotic
analysis becomes, then, a discovery method and is clearly an
invaluable tool for all those engaged in original research.

3. Semiotics posits that story structure or narrativity underlies all

discourse, not just what is commonly known as a story. For
instance, it underlies political, sociological and legal discourse. One
can even go as far as to say that narrativity underlies our very
concept of truth: recent studies in the field of legal discourse, for
example, have shown that those witnesses in a law court whose
account conforms most closely to archetypal story patterns are
those whose version is most likely to be believed.

4. Semiotics posits the notion of levels of meaning: it is, for instance,

the deep abstract level that generates the surface levels. A text must,
therefore, be studied at these different levels of depth and not just at
the surface level as is the case with traditional linguistics.
Keeping in mind these principles, semiotic analysis is aided further by
schemas or models whose application contributes to decoding the
meaning of texts. We will give a brief survey of the most important of
these and explain how they relate to different textual levels.

The discursive level

The discursive level is a surface level of meaning or level of
manifestation. Here we examine the specific words - or grammatical
items/structures that are visible on the surface of the text. Most
grammar teaching - and indeed textual analysis - has hitherto been
concerned exclusively with this level. Key elements on this level are:

The figurative component: by this we mean all the elements in the text
that refer to the external physical world. They are known as figures.
Figurative reality, then, is that reality that can be apprehended by the
five senses - vision, smell, hearing, taste and touch. It can be contrasted
with the inner world of the conceptual abstract, that is the third and
deep level of meaning.
To explore the figurative component we start with examining the
vocabulary. We try to extract the most important lexical (semantic)

8
fields. This is done by grouping together words that have a meaning in Introduction
common or a common denominator. These groupings are called
'isotopies' (isotopies in French). The lists of isotopies can then be
interpreted: How are they distributed in the text? Which is/are the
dominant one/s? Can we extract oppositions at this level? This kind of
interpretation will already give us an indication of what will be the
significant themes.

Grammatical/syntactic features: the use of the active or passive voice, for

example, or procedures like nominalization and cohesive markers
throw light on the organization of a text and thus reveal textual
strategies of manipulation.

The enunciative component: this relates to traces of the speaker/author

and the listener/reader in the text. What image does the utterance
construct of either of them? Investigation of pronouns, of the narrative
voice (personalized or depersonalized), of forms of speech (direct/
indirect), for instance, indicate signifying intentionaliry. Most important
in this respect is also the modality of a statement, categorical, for
example, in the case of news reporting, or tentative on the part of a
pupil, etc.

The narrative level

This level is more general and more abstract than the discursive level. It
is the level of story grammar or surface narrative syntax, a structure
that, according to the Paris School, underpins all discourse, be it
scientific, sociological, artistic, etc.
Semiotic analysis of this level of meaning makes use of two
fundamental narrative models: (1) the actantial narrative schema and
(2) the canonical narrative schema. These models jointly articulate the
structure of the quest or, to be more precise, the global narrative
programme of the quest. They can be applied to an extract, for
example, a single paragraph or to a whole text.
We will first look at the actantial narrative schema. This schema
presents six key narrative functions (actantial roles) which together
account for all possible relationships within a story and indeed within
the sphere of human action in general:

9
Dictionary of Sender Object Receiver
semiotics

Helper Subject Opponent

The schema is a simplification of Propp's seven 'spheres of action' or

roles elaborated from a study of the Russian folk-tale - such as those of
hero, villain, helper, etc. The diagram depicts the following relationships:

1. Subject/object
This is the most fundamental relationship: there can be no subject
without an object and vice versa. A subject goes in quest of an object.
The object of the quest could be concrete - a person or thing - or
abstract, such as knowledge, truth or love.
There is usually more than one subject and more than one quest in,
for example, a novel or a newspaper article.

2. Helper/opponent
The subject could be helped or hindered in its quest. Again these actantial
positions could be held by objects or internal qualities as well as by
people. Money or courage could be my helper and laziness my opponent.
A variant of the opponent is the anti-subject. An anti-subject is a
subject who, to achieve its goal, obstructs the quest of another subject.
The subject/anti-subject relationship characterizes all fiction and most
newspaper articles or TV broadcasts: it is, of course, the hero/villain
scenario.

3. Sender/receiver
The sender is an actant (person/idea) that motivates an act or causes
something to happen. In other words, the sender provokes action,
causes someone to act. The sender transmits to the receiver the desire
to act (youloir jaire) or the necessity to act (devoir jaire). We call the
desire or obligation to act 'modalities'. What is known as a contract is
established between sender and receiver. The receiver, when in
possession of one (or both) of the relevant modalities, is transformed
into a subject ready to embark on a quest.

10
We will now look at the canonical narrative schema. This presents in Introduction
detail the different stages of any quest.

Contract/Manipulation Competence Performance Sanction

Qualifying test Decisive test Glorifying test
Persuasive doing Strengthening The primary The subject's
of sender of desire event where performance
Acquisition of a Acquisition of a the object of is recognized
wanting-to-do or being-able-to-do value is at (praise/blame,
having-to-do and/or knowing- stake success/failure)
how-to-do

The contract
The sender motivates the action, communicating the modalities of
desire or obligation to the receiver. A contract is established, the
receiver becomes a subject and embarks on the quest. The contract is
followed by three tests:

1. The qualifying test

The subject must acquire the necessary competence to perform the
planned action or mission. The desire or obligation to act is in itself not
sufficient. The subject must also possess the ability to act (pouvoir/aire)
and/or the knowledge/skills (savoir/aire) to carry it out. For example, if
your intention is to shoot somebody, you first need to acquire a gun.
The gun functions as your helper providing you with the necessary
ability to act. However, you must also know how to shoot, otherwise
the gun is useless. The being-able-to-do and the knowing-how-to-do are
also known as modalities.

2. The decisive test

This represents the principal event or action for which the subject has
been preparing, where the object of the quest is at stake. In adventure
stories or newspaper articles, the decisive test frequendy takes the form
of a confrontation or conflict between a subject and an anti-subject.

11
Dictionary of 3. The glorifying test
semiotics
This is the stage at which the outcome of the event is revealed. The
decisive test has either succeeded or failed, the subject is acclaimed or
punished. In other words, it is the point at which the performance of the
subject is interpreted and evaluated by what is known as the sender-
adjudicator. The sender-adjudicator judges whether the performance is
in accordance with the original set of values (ideology or mandate)
instituted by the initial sender. To distinguish the two senders we call the
first one the mandating sender and the second the sender-adjudicator.
These roles are not necessarily played by the same actor or person.

When applying these fundamental narrative models to texts, it is

important to be aware of several points:

— Each individual text exploits these schemas in its own way. It is

highly significant which stages of the quest are explicit, or
manifested in the text and which are implicit. The media, for
instance, tend to foreground the stage of performance (decisive test)
and the stage of sanction (glorifying test).
— Correlations can be made with the discursive level: Figurative
elements that have emerged as dominant isotopies or determining
oppositions may, on the narrative level, take the positions of object
or subject of a quest.
— Not all stories or quests are completed. A quest may be aborted
through the successful intervention of an anti-subject: if you set out
to sail around the world and your boat capsizes, your quest is rather
abruptly terminated.

The deep or abstract level

After analysing the narrative level of meaning, the next stage is to
examine the deep level, sometimes also known as the thematic level.
This is the level of abstract or conceptual syntax where the fundamental
values which generate a text are articulated. These values can be
presented in the form of a semiotic square.
The semiotic square is a visual presentation of the elementary
structure of meaning. Articulating the relationships of contrariety
(opposition), contradiction and implication, it is the logical expression
of any semantic category.

12
S1 s2 Introduction
(life) (death)

-s2 -S1
(non-dwath) non-life)

(1) SI and S2 are in a relation of opposition or contrariety (one term

presupposes the other).

(2) SI and —SI are in a relation of contradiction: —SI negates SI. S2

and — S2 are also in a relation of contradiction: — S2 negates S2.

(3) —SI and S2 are in a relation of implication: —SI implies S2.

Similarly, — S2 implies SI.

The semiotic square is a useful tool to illustrate the basic semantic or

thematic oppositions underpinning a text. It also makes it possible to
show textual dynamics by plotting essential stages or transformations
in a story and to follow the narrative trajectory of the subject.

At the end of this book (pp. 148-67) we give an example of a

semiotic analysis, in which the approach is applied to a well-known
fairy-tale.

Notes
1. John Locke, An Essay Concerning Human Understanding, ed. Peter H.
Nidditch (Oxford: Clarendon Press, 1975/1979), Book IV, ch. XXI,
p. 720.
2. Peirce's ideas have influenced the work of Umberto Eco, who bodi
developed and contested Peirce's categories.
3. Algirdas J. Greimas, 'On meaning1, New Literary History, 20 (1989),
539-50 (p. 541).
4. They are recorded in Saussure's Cours de linguistique gene'rale, which
was put together from notes taken by his students of lectures
delivered at the University of Geneva between 1906 and 1911, and
published posthumously in 1915.
5. See also Claude Levi-Strauss, Anthropologte structural (Paris: Plon,
1958).

13
Dictionary of 6. Vladimir Propp, Morphology of the Folktale (Bloomington: Indiana
semiotics University Press, 1958).
7. Greimas's article is reproduced in Du Sens II (Paris: Seuil, 1983),
pp. 115-33.
8. 'the theory of signification. Its first concern shall be to elucidate,
through conceptual construction, the conditions for the production
and apprehension of meaning [...]', Dictionnaire (1979), p. 345.

14
Lexical Definitions
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Absence
A
The notion absence is defined by the opposite term presence. In
semiotic terms, absence often denotes existence in absentia, that is, virtual
existence. For example, the term 'death' implies the absence of life. The
concept of life would therefore be present in absentia when 'death' is
mentioned. Or a text about trains might signify in conjunction with or in
opposition to other means of transport which, though not necessarily
mentioned, would nonetheless be 'virtually' present in the text.

Abstract

A term is abstract if it refers to a conceptual, non-physical universe, i.e.

an inner, mental world. An abstract reality is one which cannot be
perceived by the five senses: good and evil, love and hate are abstract
concepts. Generally accepted abstract values are known as universals.

Abstract notions can be contrasted with the concrete, physical universe:

kissing or beating someone with a stick belongs to the concrete world.
They are the specific manifestation in time and space of underlying
abstract values. The distinction between concrete and abstract, there-
fore, is expressed in the two levels of meaning: in the figurative
(superficial) level of manifestation and on the deep level. Crying, for
example, could be an indication of sorrow, or killing one of evil.

The term achrony affirms the atemporal nature of logico-semantic

structures. Semiotic structures on a deep level are achronic whereas
discursive structures (e.g. those of the figurative level) exist 'in time'
and call for temporalization. In Robert Louis Stevenson's story of
Treasure Island, for example, events are arranged and signify in
temporal sequence. Moreover, the hero, Jim Hawkins, sets a temporal
framework for the story from its very beginning by telling us that he is
old yet writing about himself as a young boy. The deep-level structures
of the tale, on the other hand, involving social and moral order and
disorder, being and not-being, are achronic, their logical relationships
and dynamics not being subject to time.

Acquisition belongs to the discursive level of discourse. Paradigmatic-

ally opposed to deprivation or lack, the term designates the act or
transformation that brings about the conjunction of a subject and an
object of value. Acquisition can be brought about in two ways:
1. in a transitive manner through a process of attribution: the subject
acquires an object of value through the action of another object. For
example, your mother may give you £5000.
2. In a reflexive manner through a process of appropriation: the
subject acquires the object of value through its own action. For
example, you may go exploring to find the hidden treasure.
In terms of the actantial narrative schema, acquisition represents the
successful outcome of a quest.
See also lack.

Actant

An actant is someone or something who or which accomplishes or

undergoes an act. It may be a person, anthropomorphic or zoomorphic
agent, a thing or an abstract entity.
Situated on the level of narrative syntax, the term describes a narrative
function such as that of subject or object. In the sentence 'Prison
officers vote for work to rule which could bring jails to a standstill",
'work to rule' in the first part of the sentence functions as actant/object
of the prison officers' quest while 'which' (referring to the same 'work
to rule') in the second part of the sentence functions as actant/subject
capable of bringing about a transformation. In the fairy-tale Sleeping
Beauty, the prince functions as actant/subject in his own quest to marry
the beautiful princess and as actant/helper in the quest to break the
spell of the nasty fairy godmother.
Actant has to be distinguished from actor, a term used when describing
the discursive organization.
See also actor.

18
Actantial narrative schema Action

This is a fundamental universal narrative structure that underlies all

texts. There are six key actantial roles or functions arranged in three
sets of binary opposition: subject/object; sender/receiver; helper/
opponent. Together the six actants and their organization account for
all possible relationships within a story and indeed within the sphere of
human action in general:
Sender Object Receiver

Helper Subject Opponent

The role of anti-subject, a variant of the opponent, may also be included

within this diagram. These narrative positions may be held by people,
places, objects or abstract ideas.
The diagram illustrates in the first place the necessary relationship
between a sender and a receiver. This is based on the desire for an
object or on an obligation which the sender transmits to the receiver,
inducing the latter to pursue it. The function of the sender therefore is
to make the receiver do something (faire faire), thereby turning the
receiver into a subject.
The relationship between the subject and the object, on the other
hand, also based on desire or obligation, is geared to change a state of
being (faire etre): its function is to transform a state of deficiency or
wanting into one of sufficiency through conjunction with or
disjunction from an object. Helper and opponent entertain a
subsidiary relationship to the subject, their function being to
intervene positively or negatively in the pursuit of the goal. Thus
the desire for an object becomes the focal point of the whole scheme.
Examples illustrating the different functions are to be found under
separate headings for each particular actant.

Action

In semiotics, the term action designates a series of acts or transforma-

tions organized in a logical sequence (narrative trajectory). Accordingly,
an action is a narrative programme in which an actor is engaged in
concrete acts at a specific time and in a specific place. In other words,

19
Action action describes the stages of competence and performance of the
canonical narrative schema. The action in Treasure Island consists of the
voyage to the island (stage of competence) and the search for the
treasure (stage of performance).

The analysis of narrated actions enables us to recognize stereotypes of

human activities and to construct typological and syntagmatic models
which take account of them. These models form the basis of a semiotics
of action.

Semiotics uses the term actor to refer to any individual, anthropo-

morphic or zoomorphic agent, to a group (e.g. a crowd) or to an
abstract entity such as fate that is perceptible on the discursive level of
an utterance and plays a part in a story. In semiotic analysis, actor has
replaced the traditional terms of 'character' or 'protagonist'. Actors are
individualized and represent concrete figurative elements. In the fairy-
tale Cinderella, the main actors are Cinderella herself, her sisters, the
fairy godmother and the prince.

The term should be distinguished from actant, which is more abstract

and refers to a narrative function.

The term actorialization refers to the process whereby actors are

established in discourse. Like spatialization and temporalization, it is a
necessary ingredient in the production of a referential illusion or reality
effect. To be an actor you must possess at least one thematic role (a
socially defined 'theme' or function) and one narrative function (such
as subject or object of a quest). Example: A poor fisherman (thematic
role) wants to marry (designating the fisherman as subject of a quest)
the beautiful princess (thematic role plus object of the quest).

The term actualization designates one of two basic modes of semiotic

existence: virtual and actual. Actualizing modalities are knowing
(savoir) and being able to do or to be (pouvoir). With regard to
language, actualization denotes the operation by which any given
language unit is rendered 'present' within a particular linguistic
context. Resulting actual existence (in praesentia) characterizes the
syntagmatic axis of language, that is, the sentence in the speech flow
(parole) as opposed to the language system (langue) from which
individual units are selected. Any lexeme, for example, has only virtual
existence until it becomes actualized in the context that turns it into a
sememe.

Narrative semiotics replaces the couple virtualization/actualization with

the ternary virtualization/actualization/realization in order to describe
accurately all possible kinds of junction between a subject and an
object. Before any junction has been specified, subjects and objects are
in virtual positions. Their position is realized once subject and object are
conjoined. When, however, they are in a state of disjunction, they are
termed actualized. This kind of actualization relates to two possible
moments in a quest:
1. It applies when the subject of a quest has acquired competence but
has not yet reached the stage of performance and is therefore still
disjoined from its object of value. Example: When Bluebeard's wife
has obtained the key to the rooms she is not allowed to open, her
quest can be described as actualized. Once she has transgressed the
taboo, opened the door and seen the horrible truth, she is conjoined
with the object of value (knowledge) and the positions are thus
realized.

2. Actualization also relates to a state of disjunction that succeeds a

quest which has been realized. Example: When Cinderella wishes
for a dress to go to the ball, the dress has only virtual existence (in
absentia) for her. Once her fairy godmother has produced the
garment and given it to Cinderella, subject and object are
conjoined and are therefore realized. After the ball, the garment
has been returned, subject and object are again disjoined and in
the event are merely actualized. In other words, actualization here
corresponds with a transformation which amounts to an operation

21
Actualization of disjunction. This, on the discursive level, is often tantamount to
deprivation.

Judging a subject's performance is the last stage in the structure of a

narrative. It is called the glorifying test or sanction. The judge here is
normally called sender-adjudicator since this instance often, though not
always, also functions in establishing the initial contract with the
subject pursuing a quest.

The term aesthetics designates the theory of the experience of beauty or

the philosophy of taste and art. Normally, aesthetic perception is a
mixture of appreciation and pleasure which we experience, for
instance, when listening to music, admiring a painting or being faced
with a spectacular sunset.

The semiotician A. J. Greimas attaches aesthetics to the notion of

perfection. He believes the aesthetic experience to reside in a
momentary glimpse of a wholeness of life which goes beyond rational
explanation. Semiotically, the event could be described as subject and
object, for a brief instant, blending into one. The positive joy produced
by this event links it to the thymic category. An example of such an
aesthetic experience in literature would be Proust's tasting of the
modeleine which gave rise to his famous work A la recherche du temps
perdu.

Alethic modalities (modalites alethiques)

In semiotic theory the modal structure known as alethic is produced

when an utterance of state is governed by a modal utterance of
obligation or possibility (having-to-be; being possible/impossible). For
instance: 'She had to be very clever', They did not have to be in London
for the event', 'It was impossible to be generous', 'It was possible to
make the journey within the time given'.

The alethic modal structure can be projected onto the semiotic square
as follows:

having-to-be having-not-to-be
(necessity) (impossibility)

not-having-not-to-be not-having-to-be
(possibility) (contingency)

An anachronism is the setting of an event, scene, person or object in the

wrong historical period. The most famous example is the clock in
Shakespeare's Julius Caesar.

23
Analysis Analysis
The term analysis designates procedures employed to describe a
semiotic object. Considering any semiotic object as a signifying whole,
these procedures aim to establish, on the one hand, relationships
among the different components of the object and on the other,
between its constituents and the whole.

Procedures, moreover, focus on different aspects. Syntactic analyses

concentrate on narrative grammar. They investigate narrative functions
and actorial roles such as those of the wolf and the grandmother in
Little Red Riding Hood and how they relate to each other. Semic analyses,
by contrast, compare units of meaning. What do units of meaning such
as mother/child/wolf/grandmother have (or have not) in common? Are
they related? What separates them?

An anaphora serves to link two utterances, two paragraphs, etc. by

using a connecting term referring back to some concept already
mentioned. In the example 'John came into the room. He was wearing a
new coat', the pronoun 'he' functions as an anaphora.
Anaphorization is one of the main procedures that enable the
enunciator (addresser) to establish and maintain interphrastic textual
continuity/cohesion. It is one of the methods whereby internal
networks of meaning are set up.

The term anthropomorphic refers to the representation of animals or

lifeless things as though endowed with human attributes such as
feelings or speech.

The mountain spewed its breath of death and exhaled its milky
vapours' (Guy de Maupassant, Two Friends').

24
Anthroponym Anti-subject

An anthroponym is the designation of actors by their proper names

such as 'Joanne' or 'Paul'. Like toponyms, they contribute to the
creation of an illusion or simulacrum of the real. They are, therefore, a
key component of the process of figurativization.
See also chrononym, simulacrum and toponym.

Antiphrasis

The term antiphrasis describes a figure of speech whereby one word in a

sentence is used in a sense directly opposite to its literal or usual
meaning. As a result, an effect of irony is produced. Drenched by rain and
shivering with cold, one might, for example, talk of the 'beautiful sunny'
weather or refer to an exceptionally ugly person as 'Mr Handsome'.

Anti-sender

The anti-sender represents an actantial instance (person or idea) in

conflict with the principal sender and its programme. As a result the
anti-sender not only institutes a system of values that opposes the
original quest but also attempts to manipulate the receiver/subject to
act in a way contrary to the desires of the first sender. In the case of a
strike, the sender of the employees' quest may be a trade union leader
(as well as a sense of social justice) whose aim is to persuade them to
stop work. The anti-sender here is the employer whose goal is to
persuade the employees (by means of threats etc.) to continue work or
return to it.
See also sender.

Anti-subject

A story may contain two or more subjects whose quests are in conflict.
An anti-subject is a subject who, to achieve its goal, obstructs the quest
of another subject. The wolf in Little Red Riding Hood is the anti-subject
who obstructs the little girl's quest to see her grandmother in order to
pursue his own goal of eating her. In the fight for a territory two
opposing armies may each take up the positions of subject or anti-
subject, depending on the point of view from which events are reported.

The term antonym designates a particular type of oppositeness. 'Boy'

and 'girl' are antonyms because they oppose each other while sharing a
semantic feature, that is, they possess the common denominator:
children. Similarly, the antonyms 'hot' and 'cold' possess temperature
in common, 'high' and 'low' verticality, etc.

When pairs of opposites occur in proximity to each other in a text, they

exert a marked cohesive effect. To give an example: 'At least 125 people
died of AIDS in Bulawayo between April and June this year, according
to City Health authorities ... Out of the 125, 71 were males while 54
were females.'

In semiotic theory the word antonym can be replaced by the term seme.
The semes 'high' and 'low', for example, articulate the semantic
category of verticality.

Aphoria is the neutral term of the thymic category euphoria versus

dysphoria. Examples: The death of the cat did not make her feel
particularly happy or sad'; 'He was indifferent to the loss of his money'.

The term appropriation designates the transformation whereby a

subject of state acquires an object of value through its own efforts, i.e.
through a reflexive act. For example, I (subject of state) buy (doing of
which T am the subject) two tickets for the play (object of value). In
abstract terms, this is represented in the following way:

S1 S2 O
Subject of state Subject of doing object of value
{I} {I} (tickets)
Appropriation can be contrasted with attribution where the subject of
state acquires an object of value thanks to a subject of doing other than

26
itself, i.e. it represents a transitive act. For example, my mother gives me Attribution
some apples.

The term aspectualization refers to the process whereby the implied

presence of an observer is established in the discourse. It involves the
spatial, temporal and actorial co-ordinates set up by the utterance
which characterize and position the observation. In spatial terms, for
example, reference to objects placed on the left or on the right is only
meaningful in relation to an implied point of observation. Temporal
aspectualization makes itself felt in the stopping and starting of
enunciative (or discursive) events; or in the duration of a process on the
syntagmatic axis or the punctuality (lack of duration) of a process on
the paradigmatic axis of the discourse. In Treasure Island the evocation
of the length of the sea voyage as well as its punctuation by significant
events are founded on aspectual techniques in the novel.

The procedures involved in aspectualization are closely linked to those

of debrayage.

Attribution designates the transformation whereby a subject of state

acquires an object of value thanks to a subject of doing other than itself,
i.e. attribution represents a transitive act. I may, for example, acquire
wealth - my object of value - when my rich uncle gives me a million
pounds. In abstract terms, this is represented in the following way:

S1 S2 O
Subject of state Subject of doing object
(uncle) (me) (one million pounds

Attribution can be contrasted with appropriation, where the subject of

state and the subject of doing are represented by the same actor, i.e. the
act is reflexive. For example, I go out and buy a loaf of bread.

The term author describes the sender of a message or discourse. We

speak of the author of a written text or of any sign system that emanates
from a competent source intent on transmitting a message.

In semiotics, the term enunciator is used in preference to author.

In general terms, axiology relates to the theory and/or description of

systems of value. In a semiotic perspective, the term axiology is used for
value systems arranged on a paradigmatic axis. In other words, values in
axiological structures, while occupying the same place within a
narrative syntax, signify in systems of equivalence or opposition. For
example, good or honesty (equivalent values) oppose evil (contrasting
value); the thymic term euphoria is in opposition to dysphoria.

The term ideology is reserved for the syntagmatic arrangement of

values, that is, their organization in an actantial perspective. Subjects
(individual or collective) express or desire values which become objects
of a quest. The values themselves are part of axiological systems which,
for example, place 'virtue' opposite 'vice'; their selection and actual
pursuit in particular instances, on the other hand, define an ideology.
The stories of the Bible are an example of values arranged and
displayed to form an ideology, in this case that of the Christian faith.

The term axiomatic relates to a body of non-definable and/or non-

demonstrable propositions which are interdefined and demonstrated
by means of an arbitrary decision. An axiomatic concept, therefore,
permits the construction of a theory by deductive steps. This process
contrasts with traditional scientific practice which proceeds from a set
of hypotheses and aims at proving them with the data of experience.

28
Being
B
The term being possesses at least two meanings:

1. It serves as a copula (link word) in utterances of state. Example:

'Mary was ill'. Such utterances characterize descriptive passages.
Together with utterances of doing they make up a narrative.
In semiotic terms, being expresses a relation of conjunction or
disjunction between a subject of state and an object. Examples: The
sky is blue'; here 'the sky' (subject of state) is in conjunction with
the object of value, i.e. blueness. In the utterance The man is not
rich', on the other hand, the subject of state, 'man', is in disjunction
with the object, 'wealth'.
2. The term being is also used to name the modal category of
veridiction: being/seeming. This modal category is often brought
into play in stories relating to acts of treachery or deception where
the hero/heroine is not what s/he appears to be. In the story of
Aladdin, for example, the exchange of Aladdin's old lamp for a new
one appears to his wife to be an act of generosity (seeming) whereas
we (the reader) know that it is theft and that the old lady is a villain
in disguise (being).
The opposition being versus seeming can also be paralleled with the
dichotomy immanence versus manifestation. Being here relates to
the plane of underlying structure (immanence) whereas seeming
relates to the plane of outward manifestation.
See also veridiction.

Being-able

The modal structure of being-able governs utterances both of doing

and of state.

1. Utterances of doing: being-able-to-do. Examples: 'He was unable to

contain his anger'; 'You can refuse to come; there is nothing to stop
you'; 'We could not decipher your handwriting'; The children were
unable to swim in the lake'; 'I shall certainly be able to come to the
party'.
This modal structure can be mapped onto the following semiotic
square:

29
Being-able being-aWe-to-do being-able-not-to-do
(freedom) (independence)

not-being-able-not-to-do not-being-able-to-do
(submission) (powerlessness)

In the canonical narrative schema the acquisition of a being-able-to-

do is a key component of the stage of competence: without
possessing this modality of being-able-to-do, the subject cannot
proceed to the next stage of the quest, that is, the decisive test or
performance.

2. Utterances of state: being-able-to-be. Examples: 'He was sure that

one day he could be happy'; The money could not have been there';
'I might be wrong but I don't think so'; 'He must be poor'.

This modal structure can be mapped onto the following semiotic

square:

being-able-to-be being-able-not-to-be
(possibility) (contingency)

not-being-able-not-to-be not-being-a ble-to-be

(necessity) (impossibility)

Believing-to-be is a synonym (i.e. the syntactic definition) of the notion

of certainty. It constitutes the positive term of the epistemic modal
category and can be mapped onto the semiotic square as follows:

30
certainty improbability Binary
(believing-to-be) (believing-not-to-be)

probability uncertainty
(not-believing-not-to-be) (not-believing-to-be)

Example: Frank believes to be in love with Tina = he is certain he is in

love. Tina, on the other hand, thinks that she is probably in love with
Frank - she does not believe that she is not in love, while Max believes
not to be in love - his feelings are at the opposite end of Frank's. The
different (or changing) positions of certainty and uncertainty of the
actors can thus be plotted on the semiotic square.

Binarism is an epistemological concept which holds that the structure

of binary opposition is one of the characteristics of the human mind.
The concept owes much to the work of Roman Jakobson.

Binary
A binary structure refers to a relationship between two terms that are
mutually exclusive: up versus down; hot versus cold; good versus evil;
etc.

There are two types of binary opposition: (a) that of contradiction:

cold versus not cold; and (b) that of contrariety: cold versus hot. These
two types of opposition were developed by Greimas in his formulation
of the semiotic square which outlines the elementary structure of
meaning.

This schema presents a universal prototype for the structure of

narrative. It is composed of three tests: the qualifying test, the decisive
test and the glorifying test, which unfold in a logical succession. These
tests are preceded by the stage of manipulation or contract.

Contract/Manipulation Competence Performance Sanction

Qualifying test Decisive test Glorifying test
Persuasive doing Strengthening The primary The subject's
of sender of desire event where performance
Acquisition of a Acquisition of the object of is recognized
wanting-to-do or a a being-able- value is at (praise/blame,
having-to-do to-do and/or stake success/failure)
knowing-how-
to-do

This narrative macro-structure can be exploited by individual texts in a

variety of different ways. Certain stages or tests may be foregrounded,
others remain implicit: in adventure stories, for example, the emphasis
is on the decisive test, whereas legal discourse is centred more on the
stage of sanction.

Contract/manipulation: The sender transmits to the receiver the desire

or obligation to act. What is known as a contract is established between
the two and the subject embarks on a quest. The contract is followed by
three tests. These tests mirror the fundamental logic of human action:

The qualifying test (or stage of competence): Here the subject acquires
the necessary competence needed to carry out the planned action or
mission. The desire or obligation to act is not in itself sufficient: the
subject must also possess the ability to act (pouvoir faire) and/or the
knowledge/skills to do so (savoir/aire). For example, if your intention
is to shoot someone, you first of all need to acquire a gun; the gun
functions as your helper, providing you with the necessary ability to act.

The decisive test (or stage of performance): This represents the principal
event or action for which the subject has been preparing, where the
object of the quest is at stake. In adventure stories or newspaper
articles, the decisive test frequently takes the form of a confrontation or
conflict between a subject and an anti-subject.

32
The glorifying test (or sanction): The outcome of the event is now Chrononym
revealed, the decisive test has either succeeded or failed, the subject is
acclaimed or punished. In other words, it is the point at which the
performance of the subject is interpreted and evaluated by what is
known as the sender-adjudicator.

For more details see under individual headings.

Cataphora

Like an anaphora, a cataphora serves to produce textual continuity or

cohesion through a network of internal references. Unlike the
anaphora, however, a cataphora marks a referral back that precedes
mention of the term to which it refers. Put more simply, a cataphora
refers forward whereas an anaphora refers back. In the sentence 'It was
wonderful, that wedding', 'it' exemplifies a cataphora.

See semantic category.

Certainty

The term certainty designates the positive pole of the epistemic modal
category. Its syntactic definition is believing-to-be.

The term chrononym designates a specific length of time such as 'day',

'spring' or 'coffee break'. Together with anthroponyms and toponyms,
chrononyms help to create the referential illusion and are associated,
therefore, with the figurative level of meaning.

A classeme is a generic seme such as human, animal, inanimate,

concrete. In other words, it refers to a particular class of objects. Dog,
cat, hamster and mouse all belong to the generic class of house animals.
See also seme.

Code
The term code designates one of the six elements that make up
Jakobson's model of communication. In order to function properly,
that is, in order for it to be effectively transmitted, a message must
contain a code that is understood by both sender (addresser) and
receiver (addressee). In other words, there must be some measure of
agreement about the meanings of the words used (or of the gestures,
movements, colours, sounds).
Shared assumptions on the figurative level, to offer an example, might
be the use of the term 'night' to indicate darkness, or a time to sleep. On
the symbolic level, on the other hand, 'light' and 'height' are commonly
associated with 'spirituality', 'goodness' or 'truth' whereas 'darkness'
and 'depth' might suggest 'error' and 'evil'. Likewise, the term 'Jupiter'
evokes a Roman god, and so on.
It must be noted that some cultural codes vary according to their place
of origin. A reference to Jupiter', for instance, might be incomprehen-
sible to Chinese peasants.
See also communication model.

Cognitive
There are two fundamental dimensions of narrative, the pragmatic and
the cognitive. The pragmatic dimension relates to external physical
events such as killing a giant, or catching a thief. The cognitive
dimension, on the other hand, relates to internal mental activities such
as knowing, convincing, deceiving. The importance attached to each
dimension varies according to the nature of the discourse. In adventure
stories, for example, it is the pragmatic dimension that dominates,
whereas in legal discourse, it is the cognitive.
In recent years attention has been focused on a third dimension of
narrative known as the thymic dimension. This relates to the feelings of

34
euphoria and dysphoria (i.e. pleasant or unpleasant) experienced by Cohesion
the actors. These feelings can be correlated with the stages of a narrative
programme. They can, for example, describe a state of disjunction or
conjunction with the object of value. In Flaubert's Madame Bovary,
Emma's disjunction with money and status gives rise to feelings of
dysphoria expressed in terms of grief and frustration.

In discourse analysis the term coherence designates the extent to which

a discourse is perceived to 'hang together' rather than being a set of
unrelated sentences or utterances. The linguist Michael Halliday
distinguishes between the notions of cohesion and coherence. Whereas
cohesion relates to the formal (i.e. explicit) links between parts of a text,
coherence relates to all those links that are implicit, such as reference to
cultural and historical context or reference to underlying models or
schemata.

The implicit plays a key role in the construction of meaning: a text that
relies solely on surface linguistic linking would not make sense.

Cohesion describes the process whereby sentences or utterances are

linked together to form a text. Cohesive devices (or ties) are those
words or phrases which enable the writer/speaker to establish
relationships across sentence or utterance boundaries and which help
to link the different parts of the text together. Continuity of meaning is
thus achieved.

There are four ways in which cohesion is created. Three of these are
grammatical: reference, ellipsis and conjunction; the fourth is lexical.
Common cohesive devices are the use of pronouns (functioning as
anaphora), repetition, synonyms and collocation.

To give an example:

(a): Have you seen the books? (b): No, I don't know where
they are.

35
Cohesion The pronoun 'they' refers back to 'books', thus establishing a cohesive
tie between the two sentences.

Specialists in discourse analysis make a distinction between the

concepts of cohesion and coherence. Whereas cohesion refers to
explicit cohesive devices within a text, coherence relates to background
knowledge and context. It includes, for example, all those implicit
assumptions or presuppositions without which a text would not make
sense.

A collective actant is a collection of individuals endowed with a

particular narrative role. In accounts of a strike, the strikers could
represent a collective actant. They could be the subject of a quest (to
change working conditions) which is in conflict with an anti-subject,
also played by a collective actant, the management whose goal it is to
maintain the status quo and ensure that work is continued.

The term collective can also be used to describe a semantic universe

based on the opposition nature versus culture. An example would be
the semantic universe of a traditional American Western.

Used in linguistics, the term collocation refers to a grouping of all those

items in a text that are semantically related. The following items are
examples of lexical collocation because they belong to the scientific
field of biology: plants, synthesia, organic, sunlight. We can also say
that the above terms make up the lexical field of biology.

The term collocation was coined by M. Halliday and is now extensively

used in discourse analysis.

For the linguist Roman Jakobson all communication involves six

36
elements or functions which together make up any speech event Comparative
(speech act). The following diagram, devised by Jakobson, illustrates reference
these elements and their relations:

CONTEXT
ADDRESSER MESSAGE ADDRESSEE
(Sender) CONTACT (Receiver)
CODE

Communication, then, consists of a message, initiated by an addresser

(sender) whose destination is an addressee (receiver). The message
requires a contact between addresser and addressee which may be oral,
visual, etc. This contact must be formulated in terms of a shared code -
speech, numbers, writing, etc. - that makes the message intelligible.
Lastly, the message must refer to a context understood by both
addresser and addressee which enables the message to make sense.
Any one of these elements may dominate in a particular communicative
act.

Jakobson's central point is that the 'message' cannot supply all of the
meaning of a transaction. 'Meaning' derives also from the context, the
code and the means of contact, in other words, meaning resides in the
total act of communication.

For more details see under individual headings.

Comparative reference

Comparative reference is a means by which cohesion is strengthened in

a text. A relationship of contrast is being set up with one entity being
compared to another. It may, for example, be the same or different,
equal or unequal, more or less etc. Any expression such as the same,
another, similar, different, as big as, bigger, less big, and related adverbs
such as likewise, differently, equally, presumes some point of reference
in the preceding text. Examples: 'John has a beautiful, expensive car.
Paul's car is different, less expensive but more practical. Peter has the
same car but an older model.'

Comparative reference items can also be used cataphorically (to point

forward). In the phrase 'much more beautiful than her picture', for

37
Comparative instance, the reference point for 'more beautiful' lies in what follows.
reference The same applies to the sentence 'John has a bigger apple than Lizzy'.

Competence

By competence is meant the possession of those qualities that make it

possible to carry out an action. These qualities are known as the
modalities. A subject needs first:

(a) a wanting-to-do (vouloir /aire) and/or (b) a having-to-do

(devoir /aire).

All action presupposes the desire and/or the necessity to act. The
decision to look for buried treasure on a desert island, for example,
must be motivated by a particular desire or need: it could be economic
deprivation that impels me to embark on the quest - as indeed is the
case in many fairy-tales.

A subject in possession only of the desire and/or need to act is known

as a virtual subject. To become an actualized subject and to become
fully competent, the subject must in addition possess the capability to
act. It must therefore possess at least one of the following modalities:
(a) a being-able-to-do (pouvoir/aire) and/or (b) a knowing-how-
to-do (savoir /aire).
Thus, doing itself presupposes a wanting-to-do (or having-to-do) as well
as a being-able-to-do (and/or knowing-how-to-do). In my quest for the
buried treasure, for example, I will need to acquire a ship or other
means of transport. Maps and tools such as a shovel could also be my
helpers providing me with the necessary competence.

The four modalities can be considered as objects with which the subject
must be conjoined in order to carry out the performance. Modal objects
- which constitute competence - can thus be distinguished from the
object of value (which is at stake in the performance). The abstract
representation of the competent subject is as follows:
S Om

The qualifying test is the series of narrative programmes in which the

subject acquires or manifests competence.

A complementary term is a term that is implied by another within the

same semantic category. In the semantic category of 'existence', for
example, 'death' and 'non-life' are complementary terms, as are those of
'non-death' and 'life'.

When a communication is angled towards the addressee or receiver of

the message, drawing him/her into the exchange, then it is the conative
function that dominates. This function is indicated by the use of direct
questions, warnings or persuasive devices. Questionnaires gathering
information about their addressees are an example of texts whose
predominant function is conative. The primary function of a party
political broadcast may be conative in that it is trying to persuade the
listener/viewer to adopt a particular set of opinions and vote for a
particular party.

Dominance of the conative function in a text does not preclude the

other speech functions being present to varying degrees.
See also communication model.

Conceptual

The term conceptual refers to the sphere or inner mental world of

abstract ideas. In semiotics the term thematic is frequently employed in
the place of conceptual to denote the world of abstract concepts such
as those of good and evil, totalitarianism and democracy, freedom and
imprisonment, etc.

The conceptual can be contrasted with the figurative, that is, with those
elements representing the physical and concrete world that can be
apprehended through the five senses.

A term is concrete if it possesses a referent in the external physical

world, i.e. if it refers to a reality that can be perceived by the five senses.

39
Concrete Concrete terms make up what is known as the figurative level of
meaning. They are contrasted with abstract, conceptual terms to be
found on the deep level.

Concrete terms can have a wealth of meanings depending on the

context in which they are used, in other words they have a high semic
density. Abstract terms, on the other hand, are much simpler and have
low semic density. The term 'car', for instance, in addition to the
concrete object may also signify 'speed', 'freedom' or 'prestige' etc.,
whereas the abstract concepts 'freedom' or 'prestige' are restricted in
their meanings.

Semiotic theory distinguishes between discursive configurations and

lexical configurations. Discursive configurations centre on particular
expressions or discursive figures revealing underlying immutable
structures. The term 'strike', for instance, implies a polemical
confrontation staging opposing subjects who are motivated by a
sender and an anti-sender. Manipulation, persuasive and interpretative
doing are involved, leading to quests failing or being accomplished.
Thus the configuration accompanying 'strike' presents itself as a micro-
narrative programme (PN d'usage) which is to be integrated into larger
discursive units within which it acquires functional significance. In this
sense, the term configuration in semiotics signifies in a similar way to
that of the nineteenth-century concept motif.

On a lexical level, the term configuration designates the relationships

different semantic fields (isotopies) entertain with each other within a
particular textual space. For example, a text may be about 'birth' and
'death', about 'work', 'subsistence', 'feelings' and 'time'. All these
isotopies would therefore be found independently on the figurative
level. In conjunction, however, they can be viewed and evaluated in a
configurative perspective.

The term confrontation describes the polemical structure underpinning

40
narrative programmes in opposition. There are always at least two Conjunction and
subjects pursuing quests that are in conflict. The outcome of disjunction
confrontation, however, varies: either it results in the domination of
one or the other of the subjects and their quests, or it leads to an
exchange or, more generally, a contract.

To offer a few examples: industrial strikes or wars between nations

frequently illustrate confrontation culminating in the domination of
one or the other side. Employers achieving a return to work without
granting an increase in salary, for instance, is a case in point. On the
other hand, negotiations, agreement or a peace treaty, can also be - and
sometimes are - the consequence of confrontation in personal quarrels
or even between warring nations.

Conjunction

Conjunction is a cohesive device for marking logical relationships in

discourse. According to the linguists Michael Halliday and Ruqaiya
Hasan (1976) there are four types of logical relationship: additive
(designated by conjunctions such as 'and'); adversative (indicated by
words such as 'but', 'nevertheless', 'however'); causal (e.g. 'because',
'for'); and temporal (e.g. 'firstly', 'then', 'next', 'while').

Example: 'Very few people are eating beef at present. This is because
they are afraid of catching mad-cow disease.' 'Because' here is a causal
conjunction.

In discourse analysis, the term conjunction is frequently replaced by

the word 'connective' or 'connector'.

Conjunction and disjunction

In semiotic theory, the terms conjunction and disjunction articulate

two possible relationships between a subject and an object. In the
utterance 'Cinderella is happy', the subject, Cinderella, is in a
relationship of conjunction with the object, happiness. In the utterance
'Cinderella is not happy', the relationship between Cinderella and her
object, happiness, is one of disjunction.

A narrative programme can be described as the transformation of a

41
Conjunction and syntactical relationship between a subject and an object from one of
disjunction conjunction to one of disjunction, or vice versa.

1. Temporal connectors, e.g. 'first of all', 'then', 'next', 'before', 'after',

'immediately'.

These express a temporal connection or relationship between parts

of the text.
2. Causal connectors, e.g. 'because', 'in order to', 'therefore', 'so', 'as a
result', consequently', 'the reason is'.
These establish a causal connection, i.e. a relationship of cause and
effect between parts of the text.

3. Adversative connectors, e.g. 'however', 'but', 'nevertheless', 'in spite of,

'on the other hand', 'yet', 'whereas', 'although'.

These connectors indicate that what follows is in some sense

opposed to, or contrasted with, what has gone before.

4. Additive connectors, e.g. 'and', 'also', 'in addition', 'moreover'.

The connector here expresses a relationship of addition (or

variation) between parts of the text.
See also cohesion and conjunction.

Connotation

Connotation refers to a procedure whereby a term, in addition to

meanings allotted to it in a dictionary (denotative meanings), acquires

42
additional significance resulting from the context in which it is applied. Context
In this sense, the signifier 'white', apart from denoting a colour, might
connote 'desire', 'absence', 'spirituality', 'death', etc., depending on the
conditions of its application.

The distinction between connotative and denotative terms is frequently

blurred.

According to the Danish linguist Louis Hjelmslev, there are two

fundamental planes or levels of language, the plane of content and the
plane of expression. These two levels are in relationship of
presupposition. The level of expression relates to the domain of the
signifier (sound, image, colour, etc.). The level of content, on the other
hand, relates to the concept or idea (the signified) expressed by sound,
image or colour, in other words, it concerns their semantic charge.

The expression content analysis is normally reserved to the domain of

sociology and psychosociology. Content analysis in this case interprets
a text (or a group of texts) from an a priori, categorical perspective
directed at the mere quantification of data. Present tendencies, in
semiotics at least, aim at transforming content analysis into discourse
analysis.

Context is one of the six elements or functions that figure in Jakobson's

communication model. According to him any message, in order to

43
Context make sense, must refer to a context understood by both sender
(addresser) and receiver (addressee).

We also talk of contextual semes (or classemes). These are units of

meaning, or bundles of meaning, which occur in both text and context.
Thus, in their composition, contextual semes resemble sememes.

In general terms, a contract could be defined as the establishment of an

intersubjective relationship which results in a modification of status
(I'etre and/or ie paraftre) affecting each of the subjects involved. In
semiotic metalanguage, a narrative sequence starts with a contract/
manipulation between a sender and a subject who undertakes to
accomplish an action. The king contracts the knight to slay the dragon
and offers him the hand of the princess in return. The knight, on the
other hand, is prepared to offer his sword and his services in exchange
for the king's promise to give him his daughter in marriage.

Before accepting this contract, however, an agreement of mutual trust

must have been established. Otherwise what assurance would the
knight have that the king will fulfil his pledge, or, for that matter, what
assurance would the king possess that the knight is willing and able to
execute his part of the bargain? In other words, without a firm belief in
the truthfulness and reliability of the partner, the contract cannot
become effective. This fiduciary agreement, which takes place on the
enunciative level and precedes any actual or projected exchange of
objects of value, is termed contrat de veridiction.

The fiduciary agreement, moreover, has two parts to it: a conclusion has
to be reached as to whether one's partner is telling the truth, hiding
something or downright lying, while the true value of the objects to be
exchanged must also be ascertained and agreed. The activity involved
in reaching consensus in these matters is cognitive: knowledge (savoir-
vrai) is brought into play, coupled with persuasive doing on the one
hand and on the other faith, acceptance (crotre-vrai) as a result of
interpretative doing. Both these manipulate in their own ways, but in
the end agreement sanctioning the proceedings must be reached before
any actual exchange can be settled.

44
Since this fiduciary agreement or enunciative contract is a prerequisite Contradiction
for any exchange of objects of value to become effective, it also applies
to verbal transactions, that is, written texts or spoken utterances.
Examples of this are to be found in normal conversation: the
interlocutors' knowledge of each other, the images they project of
their own credibility as well as the degree of acquaintance with the
subject-matter under discussion affect the successful outcome of any
communication.

The contract/manipulation refers to the first stage of the canonical

narrative schema at which a sender transmits the modalities of desire or
obligation to a receiver. Once the proposed modal status has been
accepted, the contract is concluded and the receiver becomes a subject
pursuing the quest that is to follow.

Contradiction is a logical component of the elementary structure of

meaning. It is established as the result of the negation of one of the
opposing terms, which is thereby rendered absent. The term 'life1, for
instance, is contradicted or negated by the term 'non-life'. Equally, the
contradictory term of 'good' is 'non-good'.
The contradictory term thus produced implies the presence of the
opposing term necessary to produce meaning. The term 'life' is
contradicted by 'non-life', which in turn implies 'death', the latter being
the opposing term in the semantic category of 'existence'.
The relationship can be outlined in a semiotic square:
S1 S2
life death

-S2 -S2
non-death onn-life

Here the term 'non-life' is in a relationship of contradiction to 'life' and

of implication or complementarity to death.
See also semiotic square.

45
Contrary Contrary

A term can be described as contrary if its existence presupposes that of

its opposite. 'Hot' and 'cold', 'high' and 'low', 'life' and 'death' are
contraries, as each term is defined by its opposite which it therefore
presumes to exist. In other words, to be contraries, two terms must
possess a meaning in common or common denominator. Thus, 'high'
and 'low' have the concept of 'verticality' in common, or 'hot' and 'cold'
have 'temperature' as their common denominator.

In semiotic analysis, correlation designates a link being established

between different levels of meaning, in particular between the figurative
(concrete) level and the thematic (abstract) level. In the works of
William Blake, the figurative isotopy of the sea may, for example, be
correlated with the abstract themes of freedom, love and unity; the
isotopy of the city, on the other hand, may be correlated with themes of
imprisonment, hatred or fragmentation.

Culture

Generally, the term culture designates the sum total of knowledge,

attitudes and values which inform a society or characterize an
individual. In this sense, culture is the product of human achievements
and directly related to the human power of transformation. The arts
belong to culture, as do thought products in general or, for that matter,
anything produced by human beings.

Semiotic theory contrasts the concept of culture with that of nature.

Thus when talking about eating habits in the sixteenth century,
references to raw meat, fresh blood or killing animals would fall in the
category nature, while allusions to cooking, recipes or table manners
would be categorized as cultural behaviour.

In accordance with the anthropologist Claude Levi-Strauss, semiotics

posits that the opposing couple 'nature/culture' articulates the semantic
category 'social life' whereas the couple 'life/death' characterizes the
universe of the individual.
See also nature.

46
DeJbrayage/d isengagement
D
In semiotic metalanguage debrayage refers to the act of projecting an
utterance away from its enunciative source. The moment we start
speaking we shift as it were into a new set of actorial, spatial and
temporal co-ordinates constructed by our discourse. This 'change of
gear' or 'disengagement' is called debrayage. The sentence The
government faces an angry electorate' sets up an actor (the govern-
ment), a space (the whole country, i.e. the seat of the electorate) and a
time (the present, as indicated by the tense of the verb) which are
separate or different from the actorial, spatial and temporal co-ordinates
that apply to the speaker.

Debrayage also applies to the changeover between different discursive

units or kinds of discourse as they, too, amount to a change of gear in
the narration. If the expression 'Once upon a time ...' marks the
initial debrayage of a discursive unit named fairy-tale, a dialogue, an
interior monologue or a detailed description within the flow of the
story would constitute a transformation or new 'shifting out' of the
co-ordinates.

This is the stage of the canonical narrative schema at which the

principal performance is enacted. It is the primary event (transforma-
tion) towards which the story has been leading. In other words, the
decisive test corresponds to the moment where the object of the
quest is at stake and the subject acquires (or fails to acquire) the
desired goal. In the story of Bluebeard, the opening of the forbidden
room may be considered the decisive test for the wife. In a general
election, the electoral campaign represents the decisive test for the
opposing parties, while the casting of votes is the decisive test for the
voters.

Let us take the example of the semiotic square of 'existence':

S1 S2
life death

-S2 -S1
non-death non-life

SI (life) and —52 (non-death) constitute one deixis. This is termed

the positive deixis. S2 (death) and —SI (non-life) constitute the second
deixis, termed negative deixis. The terms positive and negative in this
context are devoid of any axiological investment. This only appears as
a result of the projection of the thymic category (euphoria versus
dysphoria), that is, the category of feeling, onto the semiotic square.

2. Deixis is also used in a narrative as deixis of reference. In this context,

temporal positions (now/then) or spatial positions (here/there) can
be described as deixes of reference. Thus, for example, what is
sometimes described as the 'time of the narrative' appears as a
present identifiable with a 'then' deixis in relation to which a past
and a future can be installed. In Treasure Island the search for the
gold could be the deixis of reference in relation to which the
preparatory events as well as the later moment of preserving the
adventures in writing could be viewed as past and future.

Demonstrative reference

Demonstrative reference is a means by which cohesion is strengthened

in a text. It can be expressed by determiners (this, that, these, those) or
adverbs (here, then). These are used anaphorically to point backwards
to a previously mentioned item or cataphorically to point forwards. The
definite article 'the' can be considered as a particular type of
demonstrative. Demonstratives can be used on their own or with
7-»/"MiMe* P vifMr^ldf*

48
'We must keep him in bed and give him paracetemol three times Descriptive
a day as well as frequent hot drinks. If that fails, we must take
him to the doctor.'

'In my days we took the matter more seriously. We had different

ideas then.'

This is what he wanted us to do: pick up the money, meet the

men at the border, change vehicles and then head for Belfast.'

Denotation

Denotation designates the process of referring to the dictionary

meanings of a word. It can be distinguished from connotation which
relates to additional meanings resulting from the context in which the
word is applied. The word 'rose', for example, denotes a flower or the
shrub bearing it. In a particular context, however, the word 'rose' might
connote love, or the House of Tudor.

Similarly, statements that deal with descriptive values are referred to as

descriptive statements. Descriptive statements have to be distinguished
from modal utterances that govern them. Thus the sentence The
monkey wants the banana growing on the tree' contains two
statements: a descriptive one ('the banana grows on the tree') and a
modal one ('the monkey wants the banana').

The term diachrony designates the arrangement of time in a historical

perspective. If we analyse the development of colonialism during the
last two or three centuries, for example, our study will be diachronic.

Diachrony is opposed to synchrony, which refers to temporal

coincidence of events. Thus, if synchrony describes different events
all taking place at the same time, diachrony relates to occurrences
arranged in sequence or on a vertical/historical axis.

Saussure introduced the dichotomy diachrony/synchrony for the

description of language in a historical perspective (dealing with
transformations of language over a period of time) and a synchronic
perspective (concerning a contemporary language system). When
describing abstract systems, however, any notion of time presents
problems. Thus present-day linguistics operates within an atemporal or
achronic framework.

The term dialogue denotes a discursive unit in speech structure. As a

verbal exchange, it involves at least two interlocutors or participants
who alternately take the parts of sender or receiver of a message. The
designation interlocutor here refers to an instance performing a speech
act. It has to be distinguished from the terms narrator and narratee,
which describe the delegates of an enunciator/enunciatee of an
utterance.

To give an example: Little Johnny wants a sweet. Little Johnny: 'I want a
sweet.' Mother: 'Why do you want a sweet? You can't have one.' Little
Johnny: 'But I want a sweet ...' In this instance, little Johnny and
Mother are participants in an exchange of statements called a dialogue.

Reported dialogue often includes a framework stressing the speech act

('he said', 'she replied'). Additional information relative to the dialogue
may also be offered ('nervously', 'with tears in her voice').

The term discourse denotes using language or talk generally, treating a

subject verbally at length or making a speech.

According to Halliday, the term discourse designates a unit of language

larger than a sentence and which is firmly rooted in a specific context.
There are many different types of discourse under this heading, such as
academic discourse, legal discourse, media discourse, etc. Each
discourse type possesses its own characteristic linguistic features. This
understanding of the term is generally accepted in discourse analysis.

In strictly semiotic terms, the word refers to the discursive level of

meaning as opposed to the narrative level. A discourse is established
through the interaction of two dimensions of language:

(1) the figurative dimension, relating to the representation of the

natural world
(2) the thematic dimension, relating to the abstract values actualized in
an utterance

In this sense, all manifestations of language can be envisaged as a

discourse.

Discursive level

The discursive level relates to the process of putting the narrative

structures into words, that is, of giving them figurative and linguistic
shape. It is on this level that the actants/subjects, for example, are
named and become actors, adopting thematic roles such as 'son',
'father' or 'soldier'; transformations enacted are arranged in chron-
ological sequences and placed in a given space; the objects pursued are

51
Discursive level installed in systems of values which organize the utterance and
determine the direction of desires and conflicts.

To analyse the discursive level of an utterance, we have to examine

specific words and expressions or grammatical items/structures to
discover their semiotic pertinence. Little Red Riding Hood is sent by
her mother to take a cake to her grandmother. Thus she is placed in the
position of an actant/subject pursuing a quest (narrative level). Her
figurative description allots to this actant/subject the thematic role of
child with the term 'little' alone establishing her vulnerability
(discursive level). The story turns the wolf into an anti-subject
(narrative level). The expression 'wolf - a wild beast - and his
figurative portrayal place him in the thematic role of a monster with the
wish to harm (discursive level). Child and wolf and their conflicting
narrative programmes here illustrate, for example, an underlying value-
system which opposes in the shape of 'eating' versus 'being eaten',
'ogre' against 'victim' or 'evil' against 'good'.

There are no abstract formulas for the figurativization of texts or

discursive trajectories, since most texts (particularly literary texts) are
too complex to be reduced in this manner.

This relates to the syntactical organization of discursive elements which

are expressed on the textual surface. In this sense, the procedures
involved in discursivization are linked to the operations of debrayage
and embrayage.

Basically, discursivization can be divided into three sub-components:

actorialization, temporalization and spatialization. Together they set up
the actorial, temporal and spatial framework in which narrative
programmes can function. A narrative quest for love, for example, is
put into words or discursivized in the story of Romeo and Juliet by
installing actors (Romeo and Juliet), a place (Verona) and a time (long
ago) on the textual surface.

Disjunction and conjunction

In semiotic theory the terms disjunction and conjunction articulate

two possible relationships between a subject and an object. In the
utterance 'John is poor', John, the subject, is in a relationship of
disjunction with the object, wealth. In the utterance 'John has a great
deal of money', on the other hand, the relationship between John and
his object, wealth, is one of conjunction.

A narrative programme can be described as the transformation of a

syntactical relationship between a subject and an object from one of
disjunction to one of conjunction, or vice versa.

The expression subject of doing is employed to refer to a subject who

in its relationship to an object, brings about a transformation. In the
sentence 'John found a coin', John is the subject of doing because he
has moved from a position of disjunction to one of conjunction with
the object.
S O S O

John coin John coin

The subject of doing is to be distinguished from the subject of state

whose relationship with an object remains unchanged. This kind of
relationship is frequently expressed in verbs such as 'to be' or 'to have'.
In the sentence 'John is poor', the position of John in relation to the
object, poverty, does not vary. John, therefore, is a subject of state.
See also subject of doing and subject of state.

Donor

The term donor designates one of the seven spheres of action (and
hence roles) which, according to Propp, make up the folk-tale. It
describes 'the preparation for the transmission of a magical object and
the provision of the hero with a magical object'. Other spheres of action
include that of the villain, the dispatcher, the auxiliary hero, the false
hero, the princess and her father, and finally the hero.

In narrative semiotics, the role of the donor - together with that of the
auxiliary - is subsumed in the term 'helper'. The anti-donor, a term
used by some semioticians, is related to the role of the opponent.

The term durative indicates the continuation of a process. It is

frequently expressed in the use of the imperfect tense: 'He was reading
a book'; 'We were having a great time'; 'She was a wonderful mother'.

A durative process is usually framed by an inchoative term marking its

beginning and by a terminative term marking its end: 'In 1980 I moved
to Paris. I lived there until last year.'

The expression elementary utterance refers to the basic unit of

meaning, which can be defined as a relationship between two actants.
This relationship is expressed in a verb. The two actants, subject and
object, for example, only exist in relationship to each other.

There are two kinds of elementary utterances:

(1) utterances of state, e.g. 'John is poor'; or The Queen owns Windsor
Castle';

(2) utterances of doing, e.g. 'John reads the book', or The train arrives
in the station'.

Ellipsis occurs when some essential structural element is omitted from

a sentence or clause and can only be recovered by referring to an
element in the preceding text. In other words, the sentence can only be
understood in conjunction with another utterance that supplies the
missing element. For example:

A: I like the blue dress. B: I prefer the green.

A: You work too hard. B: So do you.

In both cases, the second sentence is incomprehensible without the

first one.

Ellipsis is a common cohesive device in texts.

Embedding

The term embedding is sometimes used in semiotics to designate the

insertion of a narrative (micro-narrative) into a larger narrative. It is
synonymous with the term intercalation.

In Emily Bronte's Withering Heights, the story of Catherine and

Heathcliff as told by the housekeeper is embedded within the story of
the tenant Lockwood. Similarly, parables in the Bible story are
examples of embedded or intercalated narratives.

56
Embrayage/engagement Enunciative subject

If debrayage (disengagement) refers to a shifting away from the

enunciative source and into a new set of actorial, spatial and temporal
co-ordinates, embrayage (engagement) suspends this operation without
annulling it, by re-injecting the enunciative presence. The statement,
'Yesterday the forecast said it would be raining in Scotland', for
example, marks a debrayage by setting up an action, a time and a place
different from that of the person who is speaking. The addition 'I went
for a walk in the Scottish Hills and got wet', on the other hand,
indicates an embrayage by making the presence of the actual speaker
felt within the newly constructed set-up which it complements rather
than cancels.

The connection, however, is even more complex at a stage prior to

narrative action. The object of an emotion touches the subject,
emotionally. It disturbs the subject, which is moved or disturbed by
it. In this sense, an action (/dire) takes place as a result of which the
subject is unbalanced, it is no longer what it was before and even its
behaviour may be altered. A gentle, loving husband turns jealous and
kills his wife. Joy, happiness give strength to perform deeds one never
dreamt of. Emotion is therefore also linked to a micro-transformation,
albeit on the level of being (etre), that precedes the macro-narrative.

In semiotic analysis we distinguish between the enunciator of an

utterance and the enunciatee to whom it is addressed. In conversation,
two interlocutors take part in an intersubjective exchange, in turn

57
Enunciative subject advancing propositions and accepting or rejecting them. On the surface
level, therefore, enunciator and enunciatee adopt distinctly different
positions: one asking to be believed, the other conferring belief or
withholding it. On a deeper level, however, the different participants in
the exchange come together in one syncretic figure representing the
enunciative performance in its entirety. It is in this context that we talk
of the subject of enunciation, or the enunciative subject, which
comprises both proposition and acceptance or rejection, like two sides
of a whole glued by their fiduciary relation. On the discursive level, this
unity is illustrated by, for instance, the syncretism manifest in the
expression 'He believed in himself.

The enunciator has to be distinguished from the narrator of a written

text or verbal communication. The narrator is in fact a construct, an
actant to whom the enunciator - by means of the procedure of
debrayage - has delegated his/her voice. The T in an utterance,
therefore, is not identical with the enunciator but a verbal simulacrum
of a narrative presence. Correspondingly, the real enunciatee/receiver
of the message is represented in a text by an actant/delegate, the
narratee. The latter may, or may not, be present on the discursive level
with the mention 'you'.

Enunciator (author/sender) Enunciatee (reader/receiver)

Narrator (actant-delegate) Narratee (actant-delegate)

T (simulacrum/fictional voice) 'You' (fictional addressee)

The author Robert Louis Stevenson is the enunciator of the novel

Treasure Island. Stevenson delegates his voice to a narrating instance,
here finding expression in the narrative actant Jim Hawkins. The
enunciatee of the novel, on the other hand, the reading public, finds its

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delegate in the construction of a fictional narratee (model audience) Epistemic modalities
represented in the text by the simulacra of the gentlemen for whom the
account is supposedly written.

Secondly, episteme can be defined as a form of cultural meta-semiotics

in the sense that it describes the attitude taken by a socio-cultural
community towards its own signs. Thus in medieval culture, for
instance, signs were essentially metonymic, expressing subjacent
wholeness. In eighteenth-century French culture, on the other hand,
signs were 'natural', simply denoting objects.

Epistemic modalities

The term epistemic relates to knowledge, its theory or scientific study,

and the modalities connected involve certainty/uncertainty and
probability/improbability.

In semiotic terms, epistemic modalities form part of the competence

needed by an enunciatee to evaluate a proposition. In order to establish
an enunciative contract (implicit or explicit), an enunciator attempts to
persuade (Jaire croire) the enunciatee, who, for his/her part, seals his/
her own interpretative doing with an epistemic judgement, that is, with
either believing (croire) the enunciator or doubting (ne pas croire) his/
her statements. If I accept the weather forecast and believe that
tomorrow the sun will shine, I have judged the prognosis believable.

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Epistemic modalities Epistemic modalities are also part of the necessary competence for a
sender-adjudicator to carry out its function in the canonical narrative
schema. The epistemic judgement in this instance refers to the
assessment of the narrative subject's performance being in accordance
with the initial contract. It also relates to cognitive sanction in that it
distributes belief or disbelief in statements made within a narrative. The
king, for example, who has asked the knight to slay the dragon in
return for the hand of his daughter, may not believe (negative epistemic
judgement) that the task has been accomplished when the knight
returns. On the other hand, he may be persuaded to acknowledge the
deed (positive epistemic judgement) when seeing the monster's cut-off
heads, or listening to an eyewitness account.

Scientific discourse in particular is characterized by a surfeit of

epistemic modalization which appears to take the place of verifying
procedures. The same goes for the experimental sciences and all
discourse whose hypotheses are difficult to verify.

The epistemological subject or true subject of enunciation is the

underlying voice in a text giving expression to a system of knowlege,
ideology, or 'vision of the world'. It is not necessarily the voice of the
narrator. The profile of an epistemological subject emerges through an
examination of the language and structures of a text, for example,
through a study of the spatial element.

Epistemology

In general terms, epistemology denotes the theory or science of the

method or grounds of knowledge. In other words, epistemology
studies the ways in which a science, for example, erects its axioms and
constructs knowledge.

Semiotic theory applies the term epistemology to the analysis of the

cognitive dimension not only of scientific discourse but all discourse
since all discourse proposes - implicitly or explicitly - an approach to
and a theory of knowledge.

Evaluative terms, such as 'good', 'bad', 'beautiful' or 'nice', refer to the

instance of enunciation and imply a judgement or particular attitude on
the part of the speaker. Their use renders an utterance more subjective.

Evaluative terms frequently take the form of adjectives or adverbs.

Examples: I had a nice evening. He has done the work very badly.

The absence of evaluative terms gives an impression of greater

objectivity. It is, therefore, a feature of scientific or legal discourse.

Expression and content

According to Hjelmslev, there are two fundamental planes or levels of

language, the plane of expression and the plane oj content. These two
planes correspond to Saussure's distinction between the signifier
(expression) and the signified (content). They are in a relationship of
reciprocal presupposition. The level of expression relates to the domain
of sound (music, the spoken word), to that of shape or colour or line
(graphic icons or images), to that of movement or gestures. The level of
content, on the other hand, relates to the concept or idea expressed by
these sounds or icons, in other words, it concerns their semantic charge.
In our traffic light system, for example, the colours and their spatial
layout - green, amber, red - belong to the level of expression. Their
significance - green = go, red = stop - belongs to the level of content.

Hjelmslev, however, defines the two planes of language even further:

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Expression and The level of expression. The level of expression can itself be subdivided
content into two components, the substance of expression and the form of
expression. Music and the spoken word, for instance, have the same
substance of expression: sound. Their form or organization, however,
differs: language uses the linguistic system; music employs its own
arrangements of opposition and metre. The same applies to the world
of colour and shape as a means of expression: the substances -
painting, photography, drawing - all take distinctive forms in the way
they are organized and applied.

The level of content. This may also be subdivided into the substance of
content and the form of content. The substance of content has been
described as an original amorphous continuum of meaning. Hjelmslev
gives the example of the general idea of sibling relationship (fraternite)
considered as a type of nebula. This substance of content takes different
forms in different cultures. French (and English), for example, possess
the two distinct terms: brother and sister. Hungarian has, in addition,
separate terms for younger or older brother or sister, etc. The Mayan
language, on the other hand, does not differentiate between brother
and sister at all: one term - sudara — is used to cover them both.

It must be remembered that the substance of content can only be

apprehended through its form: the substance is presupposed but
beyond the reach of linguistic investigation. Hjelmslev's concept of
language, therefore, supports Saussure's claim that language is a form
and not a substance.

If a communication is focusing on the addresser (sender) of the

message, calling attention to his/her feelings, beliefs or emotions,
then it is the expressive (or emotive) function that dominates. The
expressive function is indicated in several ways:

(1) through the use of exclamation marks and interjections.

(2) through the use of modalization, that is, linguistic devices that
point to the presence of a narrator, drawing our attention to the
subjective source of an utterance. The two principal forms here are:

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- the use of emotive or evaluative terms (expressing judgement) Expressive function
that reveal the presence of a narrator: The father had forgotten
the poor girl. She was lying awake and unhappy. In the midst of
friends ... she was alone' (W. M. Thackeray, Vanity Fair).

— the use of terms that nuance or rectify a statement such as

'seem1, 'appear', 'perhaps', 'undoubtedly', 'certainly', etc. 'One
would certainly suppose her to be further on in life than her
seventeenth year - perhaps because of the slow, resigned
sadness of the glance ... perhaps because ...' (George Eliot, The
Mill on the Floss).

Dominance of the expressive function in a text does not preclude the

other speech functions being present to varying degrees.

Figurative elements are those elements in a text that correspond to the

physical world and can be apprehended by the five senses (vision,
touch, taste, hearing and smell). They are essential ingredients in the
construction of a reality effect or illusion of a real world.

Figurative elements operate on the surface level of a text, creating, for

example, an impression of time, of place or of character. They should be
contrasted with the abstract or conceptual component that belongs to
the deep level. In the sentence 'I remember him as if it were yesterday, a
tall, strong, heavy nut-brown man', the second part is predominantly
figurative while 'remember' and 'yesterday' are abstract notions.

Figurativization refers to the process whereby an enunciator invests

abstract values in his discourse with figurative shape. When telling the
story of a man wishing to be seen to possess power, for example, the
enunciator might choose a powerful car as figurative manifestation of
his desire to dominate. Or he might elaborate on how the man acquired
the car of his dreams and how he enjoyed his neighbours' or friends'
recognition of the power the object 'car' represented.

In semiotic terms, figure refers to the expression of abstract values on

the figurative level of discourse. The abstract value 'life', for example,
might take shape on the discursive level in the figure of a newly born
baby, a growing plant or a flowing river.

The term focalization refers to the angle of vision or position of the

observer. It relates to the fundamental question: through whose eyes is
the story being told, from whose point of view? There are two principal
categories of focalization:

64
(a) internal focalization, in which events are described as they appear Form
through the eyes of an actor in the story. Examples would be
Meursault's account in Albert Camus's novel L'Etranger, or the
narrator in A la recherche du temps perdu by Marcel Proust.

(b) external Jocalization, in which events are described as they appear

through the eyes of an external observer/narrator who is not an
actor in the story. This is a characteristic of much of nineteenth-
century realist or naturalist fiction such as the novels of George
Eliot, Honore de Balzac or Emile Zola.

In semiotic theory, the term form is opposed to that of matter which it

'informs' by 'forming' the recognizable object. Thus the 'form' of any
object guarantees its permanence and its identity. An earthenware cup
becomes recognizable as a cup only after the clay from which it is has
been taken assumes the form of a cup. Mountains aren't mountains
until the original magma shapes itself into a form called 'mountains'.

Saussure defined language as a form composed of two substances.

Neither all 'physical', nor totally 'psychological', it is the place where
these components converge. As a result, Saussure believed language to
be a signifying structure.

The Saussurian affirmation is developed further by Hjelmslev, who

postulates the existence of a distinct form for each of the two levels of
language: both content and expression of language are subdivided into
their own distinctive substance and form. Accordingly, when investigat-
ing language, the form of the expression as well as the form of the
content need to be recognized and analysed separately.

In linguistics and in semiotics, the term function has at least three

applications: it is used in an instrumental and utilitarian sense; with
syntactical meaning; and in a logico-mathematical sense.

1. For the linguist A. Martinet, the predominant function of language is

to communicate. Language has a useful function as instrument in
social interaction.

2. The term function in a syntactical context refers firstly to parts

played by certain elements in a sentence (subject, object, predicate).
The linguist E. Benveniste uses the concept function as a necessary
element to define a structure in language (all its constituent parts
fulfil a function). Jakobson, for his part, employs the term function
to designate the six elements that make up the speech act
(expressive, conative, referential, poetic, meta-lingual and phatic).
Finally, Propp makes use of the term function to describe
syntagmatic units in folk-tales which are common to all stories.

3. Hjelmslev defines the term in a logico-mathematical sense, consider-

ing function to designate 'the relation between two variables'.
Semiotics reserves the term function for the definition of the
relationship between two actants. This relationship is expressed in
the verb of the elementary utterance. Any other narrative functions,
subject or object for example, are simply named actants.

Semiotic function, according to Hjelmslev, designates the relationship in

language between the form of expression and that of content.

Each of the three levels of meaning contains two components, a

syntactic component and a semantic component. The semantic
component relates to the semantic content (signified) of individual
words and syntagms which the syntactic component articulates and
structures on each of the different levels of signification.
See also semantics and syntax.

Genre

Referring originally to different styles of literary discourse (sonnets,

tragedies, romances etc.), the term genre has been widened to include
all types of oral or written communication such as a casual
conversation, a recipe, an advert or a political address. Different genres
are characterized by a particular structure, by grammatical forms or
special turns of phrases that reflect the communicative purpose of the
genre in question. A sermon, for example, has its own distinctive
characteristics that would differentiate it from a job interview, a
shopping list or a mail-order catalogue. In this sense, the term genre has
currently the same meaning as 'discourse type'.

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Gift Gift

The term gift describes a discursive figure relating to the communica-

tion of objects of value. It refers to a transformation resulting from an
attribution (the acquiring of an object) or a renunciation (the
deprivation of an object). In other words, as a consequence of a gift,
the subject of state (S2) may:

(1) be in possession of an object of value following the act of a subject

of doing (SI) other than itself. This is known as transitive
conjunction. Example: 'Peter gave Paul the ten-pound note he had
found.'

S1 S2 O
Subject of doing Subject of state Object of value
(peter) (Paul) (ten-pound note)

(2) deprive itself of an object of value. This act is known as reflexive

disjunction. Example: 'Paul gave his life for his country.'
S1 S2 O
Subject of doing Subject of state Object of value
(Paul) (Paul) (life)

This is the stage of judgement or sanction in a narrative quest. It

corresponds to those episodes where the outcome of an event is
revealed. The decisive test has either succeeded or failed, the heroine/
hero is acclaimed or punished, the act is deemed good or evil. It is the
point at which the performance is interpreted either by the narrator or
by an actor in the story. The instance doing the interpreting is known as
the sender-adjudicator. S/he judges whether the performance of the
subject is in accordance with the original set of values established by
the first sender (also known as mandating sender) and whether the
contract has been fulfilled or not. In traditional fairy-tales the stage of
sanction is frequently enacted in the figure of marriage: the father may
reward the hero for his achievements (killing the dragon, for example)
by giving him his daughter's hand in marriage.

This modal structure governs utterances of doing (action). Terms

expressing obligation or prescription, prohibition, permission and
optionality relate to this category, which can be projected onto the
following semiotic square:

having-to-do having-not-to-do
(prescription) (prohibition)

not-having-not-to-do not-having-to-do
(permission) (optionality)

Example: 'Mary felt she had to go (obligation) to France the following

Wednesday to attend the conference even though it was strictly forbidden
(having-not-to-do) to take time off for any reason. She did not, therefore,
ask permission (not-having-not-to-do) to go: it would simply be up to the
management (not-ha\ing-to-do) whether they sacked her or not.'

The term hermeneutics generally designates the interpretation of

philosophical and religious texts. It brings into play the relation of the
text to the referent and is particularly concerned with extra-linguistic
data such as the conditions of production or reception of the texts. Its
emphasis, therefore, is on socio-historic context including contempor-
ary interpretations.

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Hero Hierarchy

In semiotic theory, the term hero designates the subject actant of a

narrative trajectory (or quest) once it has come into possession of a
certain competence, that is, of a being-able-to-do and/or knowing-how-
to-do. A pilot who sets off to fly around the world in a hot-air balloon
must possess the necessary skill and equipment: s/he can then be
termed a hero.

An actualized hero is a hero who is in possession of this competence but

who has not yet passed to the stage of performance. It can be
distinguished from the realized hero who is in possession of the object
of the quest. In our example, the hero is actualized in the act of flying. If
the balloon succeeds in going round the world, then the hero can be
described as realized.

In a more conventional meaning of a word, especially in oral and

classical works, the term hero is endowed with euphoric connotations
and is opposed to that of villain (the dysphoric or nasty).

The term heterotopic space designates those places whose mention in a

story precedes or follows the narrative transformation. They are
external, therefore, to the events that make up the pivot of the story. In
Treasure Island, Jim Hawkins's home (from which he sets out and to
which he returns after finding the treasure) constitutes a heterotopic
space. In Jack and the Beanstalk, Jack's home likewise represents a
heterotopic space.

In semiotic theory, hierarchy appears as the organizing principle of the

elementary structure of meaning. The two terms in opposition that are
essential for the production of meaning are thus considered
hierarchically inferior to their common denominator or the category
as a totality. The category 'emotion', for example, may be considered as

71
Hierarchy hierarchically superior to its component parts in a text, say, to the terms
of 'love' versus 'hatred'.

emotion

love hatred

In general terms, homologation designates a process of correlation

between different levels of meaning. In a poetic text, the figure of the
bird could be homologized with the semes of 'high' and of 'life', for
example, whereas the figure of the rat could be homologized with those
of 'low' and of 'death'.

For Hjelmslev the term hypotactic designates the logical relation

between a presupposed term and a presupposing term. In the above
example, 'roofs' and 'sewers' presuppose Paris.

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Icon
I
In the semiotics of the American philosopher C S. Peirce, an icon is a
sign which resembles the object it signifies. A portrait, for example, is an
icon because it resembles the subject represented. A diagram of a house
is the icon of a house.

The term iconicity means resemblance to 'reality', to the natural

world outside the text. Its meaning is similar to that of referential
impression or illusion. Iconization is the procedure whereby this
impression of the referential world is produced and sustained. The
evocation of London in Charles Dickens's novels is an example of
iconization.

The distanciation (alienation) technique, on the other hand, that

characterizes Brecht's theatre is a form of de-iconization.

Identity

The notion of identity is opposed to that of otherness and cannot be

defined in any other way. In fact, the terms 'identity' and 'otherness' are
interdefinable by relationship of presupposition. For instance, in a
biographical novel the reader recognizes the protagonist's identity by
setting it off against the 'otherness' of other characters. Moreover, if the
story is to make sense, changes provoked by action and plot do not
affect the basic identity of actors. Thus identity can also be seen as
permanence in opposition to transformation.

Finally, the couple 'identity' and 'otherness' and their relationship form
an essential basis for the elementary structure of signification or
semiotic square.

Strictly speaking, the term ideology designates the science of ideas. It is

commonly employed, however, to refer to a body of ideas and values
characteristic of an individual, a society or a school of thought. We talk

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Ideology of the Marxist ideology or a capitalist ideology, for example, or the
ideology of the upper classes.

Because of the richness and ambiguities of terms related to value,

semiotic theory distinguishes two basic organizing principles governing
their expression: on the one hand there are systems of value that are
arranged on a paradigmatic axis signifying either by equivalence or
opposition. For example, in such a system 'wealth' signifies in
opposition to 'poverty' but on an equivalent level with 'opulence' or
'riches'. The term axiology has been reserved for these paradigmatic
value systems.

The term ideology, on the other hand, is used to describe the

syntagmatic arrangement of values, that is their actualization in a
quest. Subjects desire values which become objects of quests. The
values themselves, of course, form part of axiological systems. Their
selection and setting up as goals, however, define ideology. Once a
quest is realized, we no longer talk of ideology. In other words, the
notion of ideology contains a permanent quest as reflected in the
actantial structure of its discourse. To offer an example: considering
the Christian faith an ideology, we find the Bible stories, again and
again, presenting moral values as goals to be achieved but not yet
attained.
See also actualization and axiology.

Idiolect

The term idiolect refers to an individual person's specific use of

language or semiotic activity. An idiolect contains individual variations
from the norm. Such variations must not be too excessive or else
communication will be jeopardized.

According to the speech act theory Q. L. Austin) an illocutionary act

is an utterance that involves performing an act. In other words, when
I say something, I am not only describing reality, my words are also
having a direct effect on this reality. For instance, the speaker
performs the act of promising by saying 'I promise'. Illocutionary acts

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can take the form of threats, warnings, questions, commands or Inchoative
giving advice.
See also performative and pertocutionary act.

Illusion
On the semiotic square of veridiction, the term illusion subsumes the
complementary terms of 'seeming' and 'non-being' which are located
on the negative pole or deixis.
positive negative
being seeming

sectet illusion

non-seeming non-being
See also deixis and veridiction.

Immanence and manifestation

Immanent structures are those semantic and logical structures that are
situated at the deep level of a text. They can be contrasted with the
structures or elements that are manifest on the linguistic surface, that is,
with the actual words, pictures or sounds which constitute the text.
Immanent structures can be deduced from an examination of elements
perceptible on the textual surface.
The relationship between immanence and manifestation is similar to
that between content and expression.
See also expression and content.

Inchoative
An inchoative term is an aspectual term describing the beginning of a
process. It indicates that a transformation has taken place and is
frequently conveyed through the use of the simple past (the preterite or
perfect tense in French), or the narrative present: 'He came into the
room'; 'He comes into the room'.
The end of a process, on the other hand, is indicated in the use of a
terminative term: 'He left the room'.
See also durative and terminative.

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Index Index

In Peirce's semiotics, an index is a sign that is physically linked to, or

affected by, its object. The relationship between sign and object, or
signifier and signified, may be causal or sequential. Examples given by
Peirce are a weathercock, a barometer and a sundial. A knock at the
door indicating that there is someone at the door is another example of
a sign seen as an index. Pointing my finger at a dog is the index of a
dog. A high temperature may be seen as an index of illness.

An actant is termed individual to mark a contrast with a collective

actant defined as a collection of individuals endowed with a narrative
role. In Zola's Germinal, the miners represent a collective actant
whereas Etienne Lantier is an individual actant.

The term individual is also used to describe a semantic universe

characterized by the category life/death. The James Bond films would
be an example of such a universe.

Interoceptive doing designates actions that are non-figurative, that is,

actions that take place inside the mind and relate to an internal world,
such as thinking, remembering or feeling. The term can be contrasted
with that of exteroceptive doing. This designates actions that are
concrete and relate to the external physical world such as seeing,
eating, jumping, etc.

Interpretation

Interpretation involves the operations of recognition and identification.

'Re'-cognition or 're'-discovery, in this sense - contrary to acquiring
knowledge - is an act of comparing a proposition with what is already
known. Recognition as comparison, furthermore, necessarily comprises
identifying, in any particular utterance, all or parts of a truth one
already possesses. Interpreting any statement means weighing what

76
one already knows to be true against what is being proposed and Iterative
deciding in the light of this on its meaning and accuracy. For instance,
political propaganda anticipates the general public's interpretation
being based on comparison of facts personally known to be true
(unemployment, rising prices) with those advertised as being correct.

The same applies to the interpretation of literary texts. The story of

Cinderella, for example, draws on our knowledge of other fairy-tales as
well as our familiarity with human behaviour in general, love, jealousy,
etc. All this helps to identify essential moments in the story which
explain its meaning.

Isotopy

The term isotopy refers to recurring semic categories whose presence

ensures sustained meaning in the flow of a text. Isotopies thus provide
continuity in the deciphering of, for example, a narrative. Their absence,
on the other hand, produces an effect of semantic dislocation which
may, of course, be what the author intends to achieve. To give an
example: frequent reference in a text to times of day, dawn or dusk, to
age or eternity coupled with expressions stressing always or never, or
detailed dates or pronounced indication of tenses, can be seen as
establishing the isotopy of 'time'.

In critical metalanguage, isotopy replaces the traditional terms 'theme'

and 'motif. Isotopies are to be found on the figurative level, allowing
for the assembling of semantic fields perceptible on the textual surface;
or, by constant repetition of the same lexeme for example, they amount
to semantic specification. On the abstract level, isotopies reveal
common denominators which structure the deep level of meaning.

Iterative

The term iterative signifies telling once what 'happened' many times.
For instance: 'Every night I went to bed at ten o'clock.'

The modality of knowing-how-to-do constitutes a key component of

narrative competence. In order for the subject to be fully qualified and
proceed to the decisive test, it must acquire

(a) the modality of being-able-to-do and/or (b) the modality of

knowing-how-to-do

If the object of a quest is to pass an examination with honours, then the

candidate will need to acquire the necessary knowledge and skills
(- knowing-how-to-do) to achieve this goal. If the object is winning a
shooting competition, there is no point in possessing a gun and
presenting oneself at the appointed place and time without knowing-
how-to-shoot.

These modalities of knowing-how-to-do and being-able-to-do are

known as the actualizing modalities. They can be contrasted on the
one hand with the virtualizing modalities (wanting-to-do and/or
having-to-do) where the subject is established, and on the other with
the realizing modalities ('being' and 'doing') where the subject is
realized.
See also canonical narrative schema and modalization.

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Lack L
The term lack expresses a state of disjunction between a subject and an
object. In abstract terms this is represented thus:
S O

The state of disjunction, the sense of a loss, of something missing is

frequently the trigger for the global narrative programme known as the
quest. Most stories and indeed human action in general spring from an
essential dissatisfaction with the world.

The lack is eliminated by means of a transformation bringing about a

conjunction of subject and object. This transformation corresponds to
the decisive test or performance.

The term 'lack' was originally coined by Propp, for whom it is closely
associated with the 'misdeed' of the villain. It is this misdeed that
triggers the quest whose ultimate aim is to remedy a lack and rectify a
misdeed.

The term language designates any signifying whole (system) be it

verbal, musical, visual, gestural etc. We speak of a language of
architecture, a language of music or a language of landscape, to
mention just a few examples. A language must necessarily bring into
play the relationship signifier/signified (Saussure) or (in Hjelmslev's
terminology) expression and content. To take the language of traffic
lights for instance: the colours green -amber- red in their respective
positions and order constitute the signifiers, whereas the signifieds are
go -be careful -stop. In other words, a language must always consist of a
form and a content, the two facets being deemed inseparable.

Referring to the spoken language (English, French, Italian, etc.),

Saussure makes the distinction between langue and parole. He uses the
term langue to denote the abstract set of rules and conventions
underlying a given language, whereas parole designates the concrete
manner in which each individual speaker makes use of this system.

According to the theories of J. R. Searle all linguistic utterances possess

an illocutionary power, that is, they not only communicate a content
(ideas etc.) but also establish a particular relationship - one of
intentionality - between enunciator (addresser) and enunciatee
(addressee). An utterance, for example, could be an order, a promise,
a request, etc., that is, it could be any from a variety of language acts.

Examples: 'It is raining' is an act of affirmation on the part of the

enunciator. 'Please do not leave litter on the lawn' - this is a request
verging on a command.

A lexeme represents the totality of possible or virtual meanings

attached to a particular word. Only a select number of these meanings
will be actualized in a discourse.

In general usage, the term lexeme has the same meaning as 'word'.
'Apple', for example, is a lexeme/word whose figurative or metaphorical
meaning will be actualized in the context of a discursive unit. We call
the actualized units of meaning a sememe.

(b) compound lexias: these are fixed syntagmes such as 'horse-power',

'shoe-tree', etc.

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Lexical cohesion Life/death

Lexical cohesion occurs when two (or more) words in a text are
semantically related, that is, they are related in terms of their meaning
or content. Common devices of lexical cohesion are: pronouns,
repetition, collocations and synonyms. An example of repetition would
be '1 bought some books because books are my passion'. Collocation,
on the other hand, is illustrated by a sentence such as 'His body burnt
with the fire of his passion'. The words 'fire' and 'burnt' are both used
to express passion.

A lexical field is formed by grouping together words under one general

umbrella term. 'Apple', 'banana', 'strawberry', etc. would all form part of
a lexical field headed 'fruit'.

The term lexicology designates the scientific study of words. Until

semantics was recognized as an autonomous branch of science,
lexicology was the only area in linguistics to study problems relating
to the meaning of words.

A metalanguage is a language that is unique to a particular branch of

knowledge. It is composed of the specialized concepts or terminology
needed to define the discipline. Medicine, for example, has its own
metalanguage, as does the science of law, literature, art, etc. Semiotics
itself is a metalanguage, in other words, the term refers to the language
or concepts that define the manner meaning is produced.

The meanings of terms used in a metalanguage tend to be stable, i.e.

independent (as far as possible) of any specific context.

Metalingual function

If a communication is orientated towards the code used - lexical

meaning in a verbal text or number symbolism in mathematical
discourse, for instance - then it is the metalingual function that
dominates. In general, the purpose of the metalingual function is to
check that the same code is being used by both parties, that they
understand each other. Utterances such as 'in other words', 'do you
understand?', 'what I mean to say' are illustrative of this function.
Dictionaries are a good example of the metalingual function dominat-
ing a text.

Dominance of the metalingual function in a text does not preclude the

other speech functions being present to varying degrees.

The term metaphor designates the procedure by which a given

sentential unit is substituted for another, thereby transforming its
original semantic charge. In other words, a substitute name or
descriptive expression is transferred to some object/person to which
it is not literally applicable: 'pilgrimage', for instance, is employed
instead of 'life', 'burning fire' to express the notion 'love', 'lamb' to
describe a child, etc.

The term metasemiotics refers to the theory of meaning produced on a

second or higher level of signification. Any utterance which can be
semiotically investigated may also cause effects that cannot be
explained by analysing linguistic data. For instance: Why do we believe
someone's words to be true when they themselves offer no guarantee
for such trust? What makes us understand the opening passage of a
book as fiction or documentary account, if there is no firm verbal
indication as to which way it is to be taken?

According to Hjelmslev, there are two basic types of metasemiotics: a

scientific one and a non-scientific one. Non-scientific metasemiotics falls
within the domain of philosophy, ontology and even ethics. It
concerns, in fact, a fiduciary agreement between an enunciator and
an enunciatee which, in everyday life, cannot be analysed in terms of
objective science.

Scientific metasemiotics, on the other hand, deals with objects which

are themselves already scientific signifying systems, such as mathe-
matics, logic, linguistics. Its main concern, therefore, would seem to be
a matter of metalanguage.

Any two terms in opposition that constitute a semantic category will

also generate a metaterm. Composed of the oppositional relationship of
the two original terms, such metaterms, in turn, find their own

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opposing terms, thereby creating a new semantic category on a Modalities
hierarchically higher level. Let us take the term etre/being opposed by
the term paraftre/seeming to be. Both these terms illustrate different
sides of the term truth. Truth, on the other hand, has its own opposing
term in falsehood. Truth and falsehood thus become metaterms with
regard to the original terms of etre and paraitre.

The term metonymy designates the procedure whereby a given

sentential unit is substituted for another with which it entertains a
necessary relationship of contiguity, i.e. cause for effect, container for
contained, part for the whole, etc. We may use 'pen' to denote the
notion 'author', 'sail' for 'ship', or refer to 'the crown' to indicate the
sovereign, the governing power in a monarchy.

The term modal is normally used in connection with values or

statements. In opposition to descriptive values, modal values are values
that contribute to modifying basic statements. Let us take a simple
example: 'A monkey sees a banana he wishes to eat. Unfortunately he
cannot reach it. So he looks for a stick to help him get the banana
within his reach.' In this story the 'stick' which enables the monkey to
get the fruit represents a modal value. The banana itself, on the other
hand, amounts to a descriptive value.

Similarly, modal statements are used to modify descriptive statements.

Thus the sentence 'A monkey wants a banana hanging high in the tree'
contains two statements: a descriptive one ('a banana hangs high in the
tree') and a modal one ('a monkey wants the banana').

The term modalities designates modal expressions such as wanting,

having to, ought, may, being able to, knowing how to do. Modalities

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Modalities modify (or overdetermine) basic statements or utterances. These basic
statements can be utterances of state or utterances of doing:

(a) utterances of state:

Jack is rich, (basic)
Jack wants to be rich, (modified)

(b) utterances of doing:

Jack killed the dragon, (basic)
Jack had to kill the dragon, (modified)

The modalities can be positive or negative:

Positive: She could swim 50 metres.

Negative: He was unable to do the washing-up.

The basic modalities governing both statements of state or of doing

are:

(a) wanting
(1) utterances of state: wanting-to-be (vouloir etre) - 'He wanted to be
rich.'
(2) utterances of doing: wanting-to-do {vouloir /aire) — They want to
find the books.'
(b) having to
(1) utterances of state: having-to-be (devoir etre) — 'She had to be
clever.'
(2) utterances of doing: having-to-do (devoir/aire) - 'He had to do his
homework.'

(c) being able

(1) utterances of state: being-able-to-be (pouvoir etre) - 'She could not
have been there.'
(2) utterances of doing: being-able-to-do (pouvoir/aire) - 'He was able
to swim the Channel.'

(d) knowing
(1) utterances of state: knowing-how-to-be (savoir etre) - 'He knew
how to be evil.'
(2) utterances of doing: knowing-how-to-do (savoir/aire) - 'She knew
how to play the piano.'

In the canonical narrative schema of the quest the modalities of

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wanting-to-do and/or having-to-do are acquired at the stage of the Modalization
contract. The subject is described as virtual (the virtual subject) and
these modalities become the virtualizing modalities. At the qualifying
test or stage of competence, the subject acquires in addition the
modalities of being-able-to-do and/or knowing-how-to-do. It becomes
an actual subject. These modalities therefore are known as the
actualizing modalities. The subject is now ready to precede to the next
stage, that of the performance.

Further modalities are:

believing: this modal structure governs (or overdetermines) utterances

of state - 'She did not believe he would come'.

Mapped out on a semiotic square, the structure of believing would

appear as follows:

certainty improbability
(believing-to-be) (believing-not-to-be)

probability uncertainty
(not-believing-not-to-be) (not-believing-to-be)

seeming: here one utterance of state modifies another utterance of state

- 'He seems to be an honest person'.

Seeming can be described as a veridictory modality, that is, it relates to

the process of truth-telling in a story (veridiction).

The term modalization relates to the procedure whereby a descriptive

statement is being modified by means of modal expressions. In the
event, phrases articulating a wish, mental or physical capacity, a
prescription or a direction (wanting, having to, ought, may, being able
to, knowing how to, etc.) adjust and ultimately determine the meaning
of utterances describing:

(1) a state of being or a state of affairs

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Modalization Jack is rich. They are at home.
Jack wants to be rich. They have to be at home.
Jack might be rich. They ought to be at home.

(2) an action
Jack killed the dragon. They build a house
Jack should have killed the They are able to build
dragon. a house.
Jack must have killed the They intend to build a
dragon. house.

A morpheme is the smallest distinctive unit of grammatical analysis and

the smallest unit of meaning. Suffixes and prefixes are morphemes. The
word 'misogyny' is composed of two morphemes: 'miso' from the
Greek misein, which means to hate, and 'gyn' from the Greek gune,
which means woman. There are two types of morpheme:
1. Lexical morphemes. All prefixes and some suffixes are lexical
morphemes used to build new lexical items, e.g. dry-clean-able; anti-
static; pre-shrunk.

2. Grammatical morphemes: -ing, or -ed, e.g. ly-ing; dress-ed; miss-ed.

Morphology

In general, the term morphology designates the study of forms, and in

particular, those of words. Morphology is thus one of the two
fundamental components of grammar, with syntax representing the
other. The description of conjugations, verb tenses, adverbs and
adjectives or the declension of nouns forms part of morphology, while
syntax is concerned with clauses and sentences.

Semiotic theory, when proposing to apply the concept of syntax to

elementary structures of signification, introduced also that of morphol-
ogy. Morphology here relates to taxonomic (classificatory) terms
represented on the semiotic square, and syntax to the operations and
dynamics they sanction.

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The folklorist Vladimir Propp, author of Morphology of the Folktale, Myth
applies the term not in a linguistic but in a botanical sense, essentially
producing a series of 'dramatis personae1.
See also grammar, Propp and syntax.

Motif

The term motif denotes a distinctive idea or dominant or recurrent

theme, feature or pattern in literature, music or the arts. We talk, for
example, of the wedding-motif in love stories, of the motif of rags to
riches or of the motif of the whore with the heart of gold.
Folklorists such as S. Thompson employ the term motif in opposition to
type of folk-tale in order to designate the smallest story element likely to
recur, in its particular form, in popular tradition. Thompson, in fact, is
known for his Motif Index of Folk-Literature.
Semiotic theory relates the term motif to the concept of configuration
because of its particular syntactical and semantic organization as well as
its integration into a larger discursive unit.
See also configuration.

Myth

The term myth is defined as a symbolic narrative often involving gods

or heroes and offering an explanation of some fact or natural
phenomenon. Using a different kind of logic, it represents an attempt
to impose a graspable shape on human experience and allow for a
satisfactory interpretation of human existence. The tale of Jason and the
Argonauts is a Greek myth and the biblical book of Genesis can be
considered a myth with veiled meaning.
Semiotic theory has been influenced by studies of myths from different
cultures carried out by Levi-Strauss. Searching for a semantic structure
or 'language system' that underpins culture, he discovered a number of
recurrent elements (named 'mythemes') and functions. These seemed
to operate like the components of universal signifying structures. Thus
Levi-Strauss found the Oedipus myth to be organized in units set up,
like linguistic units, in binary opposition. According to Levi-Strauss,
therefore, it is not the narrative sequence but the structural pattern that
gives a myth its meaning.

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Myth In today's culture, the term myth has adopted a wider significance. We
talk of bourgeois myths generated by the mass media. In this sense,
products or ideas are understood and promoted to confirm and
reinforce a particular view of the world and its values. Finally, the term
myth is also used simply to indicate a figment of the imagination or a
commonly held belief without foundation.

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Narrative pivot point N
Within the framework of the three tests (qualifying, decisive and
glorifying) the narrative pivot point can be considered as the moment
of confrontation between a subject and an anti-subject. This confronta-
tion will lead to the domination or victory of one of the protagonists
which in turn will determine who possesses the object of value. The
narrative pivot point in Treasure Island is the battle between Long John
Silver and his treacherous crew, who are rivals of the hero in the search
for the gold.

The narrative pivot point can only be determined by reading backwards

following a line of presupposition. A hierarchy of narrative programmes
is thus established.

Narrative programme

The term narrative programme (programme narratif, PN) refers to the

abstract representation of syntactical relationships and their trans-
formation on the surface level of the utterance.

There are two basic forms of narrative utterances. The first one
expresses a state of being/possessing: Jack is rich; John has money. This
is an enonce narratif d'etat. The second type of utterance relates to a
doing/action: John works hard; Jack gives money to John. This is an
enonce narratif de faire. A narrative programme consists in one utterance
relating to action (enonce de faire} affecting two utterances of state
(enonces d'etat) as a result of transforming a state of being/possessing:

John is poor. Jack gives John money. Now John is rich.

In abstract terms, this is represented in the following way:

F = function
51 - John (subject of state)
52 - Jack (subject of doing)
Ov = money (object of value)
= conjunction with object of value.
In textual analysis, the application of the model of narrative
programmes is useful when concentrating on particular aspects of a

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Narrative programme story. Thus in Cinderella, we can analyse the fairy godmother's gifts to
the heroine in these terms: the fairy godmother (subject of doing)
causes poor Cinderella (subject of state) to be conjoined with an object
of value (coach, clothes) which unlike her sisters she does not possess.
This narrative sub-programme (PN d 'usage) can be linked to the basic
or macro narrative programme (PN de base) of the entire fairy-tale
because the fairy godmother's gifts are necessary so that Cinderella
(subject of lack) may be conjoined with the objects of wealth, love and
happiness at the end of the story.

The term narrative subject designates a particular position in the

actantial schema. Other actantial positions are those of object, helper,
opponent, sender and receiver.

The narrative subject can be contrasted with the discursive subject and
with the epistemological subject or true subject of enunciation.
See also actantial narrative schema.

Narrative trajectory

The expression narrative trajectory (or narrative path) describes a

movement from one point in a story (quest) to another by way of
intermediary stages. In other words, the narrative trajectory of an actant
unfolds according to the logical pattern outlined in Greimas's canonical
narrative schema. For instance, the stage of competence must always
precede that of performance. In Paul Auster's Moon Palace, we speak of
the narrative trajectory of the actant/subject Marco Fogg which
terminates in the finding of his true identity. Before he arrives at his
goal, however, he must undergo certain experiences - that of
homelessness, for example - which provide him with the necessary
competence to achieve his aim successfully.
See also actant and canonical narrative schema.

Narrative utterance

The term narrative utterance (e'nonce narratif, EN) is coined to show in

abstract terms the relationship/function that exists between two

92
narrative actants: a subject and an object. There are two basic types of Narratology
narrative utterance: a statement relating to a state of being/possessing
and one referring to action.

1. The first one, a narrative utterance of state (enonce narratif d'etat)

indicates a relationship in existence between a subject and an object,
which at any given moment in the course of a narrative can be
perceived in terms of being/not being or possessing/not possessing.
If the relationship is positive, we speak of the subject being
conjoined with the object. (At the ball Cinderella is conjoined with
her object/prince.) If, on the other hand, it is negative, the subject is
disjoined from the object. (Cinderella's absence after the ball
represents a disjunction.) The abstract representation of a narrative
utterance of state is as follows:

(subject conjoined with object)

(subject disjoined from object)

All narratives are composed of successive transformations of states of

conjunction with objects to those of disjunction and vice versa. These
changes are effected and expressed in the second type of basic narrative
utterance:
2. A statement of doing/action (enonce narratif de /dire): the action/
doing which causes the transformation of state of being/possessing
does not need to be performed by the subject undergoing the
change (Cinderella is conjoined with her object/prince as a result of
her fairy godmother's action: she provides the coach). In the abstract
formula, therefore, we distinguish SI (subject of state) from S2
(subject of doing).

The operation itself, that is, one statement of doing affecting and
causing the transformation of two narrative utterances of state, is called
a narrative programme (programme narratif, PN).

The term narratology designates a literary science which generalizes the

linguistic model and applies it to literary texts. Influenced by

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Narratology structuralism, narratological theory sees the grammatical structure of
language reflected in literature: just as we find a sentence composed of
a subject and a predicate, so a narrative possesses a syntactical structure
recreating this elementary division. The fairy-tale Cinderella, for
example, is organized, in essence, around a heroine (subject), a doing
and a goal (predicate). By pursuing the analogy in greater detail,
narratological thought has developed what is now termed a narrative
grammar.

The most influential practitioners of narratology have been, apart from

Greimas, Tzvetan Todorov, Gerard Genette and Roland Barthes.

The term narrator denotes an actant in a written text or verbal

communication to whom the enunciator - by means of the procedure
of debroyage - has delegated his/her voice. The T in an utterance,
therefore, is not identical with the enunciator but a verbal simulacrum
of a narrative presence. Correspondingly, the real enunciatee/receiver
of the message is represented in a text by an actant/delegate, the
narratee. The latter may, or may not, be present on the discursive level
with the mention 'you'.

Enunciator (author/sender) Enunciatee (reader/receiver)

Narrator (actant-delegate) Narratee (actant-delegate)

T (simulacrum/fictional voice) 'You' (fictional addressee)

The author Albert Camus is the enunciator of the novel L'Etranger.

Camus delegates his voice to Meursault, who starts his account with the
sentence 'Mother died to-day', and who awaits his execution at the end.
Meursault is the narrator, the T in the story, constructed by the
enunciator to take his place. The enunciatee of the novel, on the other
hand, the reading public, finds its delegate in the construction of a
fictional narratee, the implied audience to whom the account is
addressed.

In opposition to anything artificial or man-made, the term nature

designates that which is already given or in a state characteristic of
being inborn. In that sense, the concept covers all natural phenomena
from plants, animals, landscapes, etc. to the inherent and innate
characteristics of human beings.

In semiotic theory, the notion of nature is seen as coexisting and

contrasting with that of culture. Thus in the description of a seaside
town, expressions such as 'coast', 'waves', 'wind' or 'sea' belong to the
semantic category nature while references to 'houses', 'road', 'cars' and
'boats' relate to that of culture. Equally, in a murder story, mention of
premeditation and planning the evil deed fall in the category of cultural
behaviour while the rendering of the actual killing with its gory details
would be classed under violence of natural origin.

Following Levi-Strauss, semiotics considers the opposing couple

nature/culture to articulate the semantic category 'social life' whereas
the semantic category 'life/death' characterizes the universe of the
individual.

However, depending on the context, both terms could have euphoric

or dysphoric connotations. The escaped prisoner, for example, feels
unhappy about imprisonment (dysphoria) while a starving tramp
might be glad to be locked up (euphoria).

In Halliday's terminology, nominalization is a structural feature

whereby any element or group of elements in a clause is made to
function as a nominal group (as a noun). Any nominalization,
therefore, constitutes a single element in the message structure: 'What
the man did with the violin (= nominal group) was to give it to his
friend'; The one I like best (= nominal group) is not in the shop.'

Nominalizations are frequently formed from verbs. They express,

therefore, a process: 'Stealing from people will not get you anywhere';
The building of the department store took six months'; The killing
took place in the morning'.

Critical linguistics has drawn attention to the ideological weight carried

by nominalizations, especially in the field of media discourse. Norman
Fairclough, for example, has pointed out that the conversion of verbs to
nouns in particular is a means of rendering a discourse more abstract,
thereby enhancing its 'truth effect'. The omission of agency also allows
one to background (or even ignore) historical detail.

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Object of value o
The term value has itself several meanings. We differentiate, for
example, between value understood through Valuation', or estimated
worth or price, and value understood as 'quality' which makes
someone or something worthy of esteem, desirable or important.

Semiotic theory describes value as arising from the relationship

between actantial subjects and objects: any subject's need or desire
for a particular object makes the latter valuable, turning it into an objet
de valeur in the process. Moreover, the value it has for the subject comes
to be identified with the object. For instance, if someone buys a car, it is
probably not so much a question of owning the object/car but rather of
acquiring an easy and comfortable means of transport, or a way of
enhancing one's social reputation, or enjoying a feeling of power ...
The thing itself, in this case, is merely pretext, a placement for the
desired values. Thus, in semiotic analysis, the term object of value has
been fashioned to designate objects placed in relation to subjects.

Onomatopoeia

The term onomatopoeia refers to the process whereby a word is formed

in imitation of the sound produced by the thing meant. The word
'bang', for instance, sounds like the sudden loud noise to which it is
referring. The 's' at the beginning of the words 'snake' or 'serpents'
likewise conveys the hissing sound made by these animals. Onomato-
poeia is a figure of speech that is often found in poetry, sometimes in
prose. 'Myriads of rivulets hurrying thro' the lawn, / The moan of
doves in immemorial elms, / And murmuring of innumerable bees'
(Tennyson).

Opponent

Any actant who hinders the subject in its quest is known as an

opponent. Unlike the anti-subject, the opponent does not have a quest
of its own. In an athlete's attempts to acquire a gold medal at the
Olympics, for example, physical fatigue and age may act as opponents.

A paraphrase is a restatement of the text's meaning in different words,

i.e. it is a discursive unit that is semantically equivalent to another unit
previously produced. Paraphrases are often introduced with 'what I
mean to say', 'in other words', 'i.e.', etc.

The operation is one of translation (of meaning) and of expansion.

Paratopic

Paratopic space is the space in which the qualifying test takes place, that
is, in which competence is acquired. It is contrasted with utopic space,
where the decisive test takes place and the performances are carried
out.

In Treasure Island, the sea voyage with its encounters with pirates
constitutes the paratopic space of the qualifying test. In Cinderella, the
house where she acquires a new dress, as well as the journey in the
coach to the ball, can be considered paratopic spaces.

In semiotic terms, passion is perceived as syntagmatic organization of

'psychic states' or 'states of the mind' (etats d'ame). Thus it belongs to
the category of states of being (etre) as opposed to action/doing (/cure).
Such passionate conditions/states are analysable on the textual surface
of an utterance. They are often expressed in figurative simulacra

98
underpinning a narrative action. The sudden discovery of love may be Patient
evoked in a storm, a flash of lightning; or greed depicted in excessive
eating.

Passion is always linked to a subject either having completed an action

or being in the process of performing an action. Othello kills
Desdemona in a fit of jealousy. He is torn by remorseful passion after
her death.

In general terms, pathematic roles can be grouped under the overall

heading of actors' thematic description on the surface level of an
utterance, thereby contributing to actorial individualization. In most
instances, socially defined themes or functions outweigh in importance
the pathematic input. There are exceptions, however, such as Scrooge,
whose stereotyping as a miser overrides his social description.

Performance always presupposes competence, doing implies a wanting-

to-do as well as an ability-to-do (being able to and/or knowing how to).
Silting an examination (performance) implies the acquisition of a
number of skills as well as an initial desire/obligation to succeed
(competence).

In Austin's terminology, a performative utterance not only describes the

action of the speaker but also performs the same action.

Examples: 'I promise to be there at three o'clock'; The chairman

declared the meeting open'. In both cases, the utterance embodies the
act to which it refers: that of promising or of opening the meeting.
Performative utterances, therefore, can be contrasted with those
utterances that simply describe an action.

The term performative would seem to be synonymous with illocu-

tionary, a term indicating speech acts that involve commands,
questions, warnings, etc.

A perlocutionary act can be contrasted with an illocutionary act, an

utterance that accomplishes something in the act of speaking, such as
performing the act of promising by saying 'I promise'. The notion of
perlocution belongs partly to cognitive semiotics and partly to the
semiotics of emotion.

Personification refers to a narrative process whereby an object (a thing,

abstract or non-human being) is attributed qualities which allow it to be
considered as a subject. It is therefore endowed with a narrative
programme and capable of performing a doing. To give an example:
The city opened its mouth and slowly devoured the inhabitants within
its entrails.'

Persuasive doing

Persuasive doing describes the cognitive act whereby an enunciator

manipulates an enunciatee, persuading the latter to believe something
(Jaire croire) or to act in a certain way (Jaire Jaire). If someone suggests
to me that I might like to enter a fishing contest, that person is exerting
a persuasive doing (faire faire). If a politician tries to persuade us (Jaire
croire) that stringent measures need to be taken to get the economy
working, our acceptance of his proposition shows his persuasive doing
to have been effective.

Phatic function

If a communication focuses on the contact between addresser (sender)

and addressee (receiver), then the phatic function dominates. In
general, the phatic function relies on utterances that do not elicit or
offer information but simply establish contact (e.g. 'Good morning'),

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Phatic function maintain it (e.g. 'How are you?'), or break it (e.g. 'Goodbye')- Most
conversation about the weather has this function.
Dominance of the phatic function in a text does not preclude the other
speech functions from being present to varying degrees.
See also communication model.

Phoneme

A phoneme is a minimal unit of potentially meaningful sound within a

language's system of recognized sound distinctions. It is, for example,
the phonemic distinction in English between /I/ and /r/ which enables
us to recognize the difference between the words 'level' and 'revel' or
'room' and 'loom'.
For Saussure the linguistic signifier can be described as a collection of
sounds or a chain of phonemes, whereas the signified corresponds to
the concept or idea conveyed by these sounds.
See also signifier and signified.

Phonemics

Phonemics is the branch of linguistics that analyses the sound system

of languages.
See also phonetics.

Phonetics

Phonetics is the study of the physical sounds of human speech. It

includes the production, transmission and perception of sounds.
Phonetics can be contrasted with phonology, which is concerned not
only with sounds but more importantly with the relationship between
sounds and meaning.

Poetic or aesthetic function

When a communication focuses on its message for its own sake, then
the poetic or aesthetic function can be said to be dominant. In other
words, the poetic function foregrounds the way a message is expressed
rather than concentrating on what is said and the 'reality beyond'.

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Attention may be drawn, for example, to sound patterns, diction and Pragmatic
syntax. In poetry, the poetic function is usually dominant.

Dominance of the poetic function in a communication does not

exclude the other speech functions being present to varying degrees.

Polysemic lexemes can be contrasted with monosemic lexemes, which

involve only a single sememe. These are characteristic of specialized
discourses: the word 'Internet', for example, is monosemic.

Positive

The two terms of the axis of contraries, SI and S2, are called
respectively positive and negative even though these qualifications do
not involve a thymic connotation (euphoric or dysphoric).

In the category life/death, life is the positive term and death the
negative:
S1 S2
life death
positive negative

This is equally true of stories where death may be the object of desire
(e.g. accounts of martyrdom).

Contrary to the meaning allotted to pragmatic in the English language,

semiotic theory uses the term with the meaning given to it in French,
that is, as relating to action, to practical doing. Accordingly, the two
fundamental dimensions of narrative are termed one pragmatic and the
other cognitive. The pragmatic dimension refers to external, physical

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Pragmatic events such as killing a giant, catching a thief or digging a flower bed.
The cognitive dimension, on the other hand, relates to internal mental
activities such as knowing, convincing, deceiving, etc. The importance
attached to each dimension varies according to the nature of the
discourse. In adventure stories, Treasure Island for example, it is the
pragmatic dimension that dominates, whereas in legal discourse it is
the cognitive.

In recent years attention has been focused on a third dimension of

narrative known as the thymic dimension. This relates to feelings of
euphoria or dysphoria (i.e. pleasant or unpleasant) experienced by the
actors. These feelings can be correlated with the stages of a narrative
programme. They can, for example, describe a state of disjunction or
conjunction with an object of value. In Romeo and Juliet, Juliet's
disjunction from Romeo, the object of her desire, takes shape in her
despair giving rise to her suicide.

In semiotic theory, the term process designates narrative doing which is

lexicalized either in the form of a simple verb or enlarged in a sentence,
a paragraph or a chapter. 'Running', 'singing' or 'cooking' thus describe
a process just as does the full statement The cook took flour, eggs, milk
and butter and produced a delicious cake.'

A semiotic process always comprises three stages: the inchoative,

durative and terminative stages. A strike, for example, analysed as a
process has an inchoative stage (tools are put down), a duration (the
gates remain closed) and a terminative stage (a solution is found and
work restarts).

A Russian formalist who developed the notion of narrative grammar,

V. I. Propp exerted a strong influence on structuralism and on
semiotics. An examination of numerous folk-tales led Propp to
conclude that there exist thirty-one functions which are common to
them all. Functions represent units of narrative such as 'a difficult task
is proposed to the hero', or 'the villain is punished'. The functions are
distributed amongst seven 'spheres of action'. These are:

(1) villain
(2) donor (provider)
(3) helper
(4) the princess (a sought-for person) and her father
(5) the dispatcher
(6) the hero
(7) the false hero

These 'spheres of action' were later simplified by Greimas to produce

his own actantial schema.

See also actantial narrative schema, donor, helper, traitor and villain.

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Q Qualification

Qualification designates the process whereby a subject becomes fully

competent, i.e. s/he must be in possession of the modalities of being-
able-to-do and/or knowing-how-to-do acquired at the stage of the
qualifying test. The process of qualification can be contrasted with
those of the establishment of the subject (the contract), the realization
of the subject (the decisive test or performance) and the sanction of the
subject (the glorifying test).

This is the stage in the canonical narrative schema at which competence

is acquired. By competence is meant the qualities that make it possible
to carry out an action successfully. These qualities are known as the
modalities. They are in the first instance:

(a) a wanting-to-do (vouloir Jaire) and/or (b) a having-to-do

(devoir Jaire)
In order to perform an action, the subject must initially desire to act, or
feel under an obligation to act. These modalities are usually acquired at
the opening stage of the contract/manipulation: they are subsequently
manifested (and sometimes challenged) in the qualifying test. James
Bond, for example, has been ordered to steal some secret plans (the
contract). Embarking on this quest and planning the theft are a
manifestation of his desire and represent part of the qualifying test.

The desire or obligation to act, however, is not in itself sufficient. The

subject also needs to acquire a further qualification at this stage: it must
be in possession of at least one of the following modalities:

(a) a being-able-to-do (pouvoir faire): If your object is to break into

some premises (decisive test), then you must possess the necessary
ability, that is, a key or some other means of entry. This will then
become your helper. And/or you must possess:

(b) a knowing-how-to-do (savoir faire): Any means of illegal entry is of

little value to you if you do not know how to use it. If you are
sitting a French examination (decisive test) it is assumed that you
have acquired the skills associated with learning French (the

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qualifying test). If your goal is to find the hidden treasure on a Quest
desert island, the qualifying test could take the form of a sea
voyage. It could also be represented in episodes where maps of the
hidden treasure are acquired. If the subject fails in the qualifying
test (e.g., the ship sinks), then the quest is terminated. In Cinderella,
the fairy godmother functions as helper to provide the young girl
with the necessary competence (clothes, coach) enabling her to
fulfil her dreams and go to the ball (decisive test).

For a quest to be successful, a series of logical stages must be

completed. These are presented and explained in Greimas's canonical
narrative schema.

The term reader describes the receiver of a message or discourse. We

speak of a reader of a written text, of sign language or any sign system
(colour, dance, music, etc.) that requires decoding to be understood.

In semiotics the term enunciatee is used in preference to reader.

In semiotic theory, the term reality always refers to constructed reality.

In everyday life, this relates to the signification with which we invest the
world that surrounds us. The reality effect, then, corresponds to the
relationship between that world and the subject (i.e. us) which is
activated by some kind of embrayage or engagement, that is, by making
our presence felt in the constructed environment.

There are two processes that help setting up reality effects in discourse.
The first one is iconization. This relates to the procedure whereby an
impression of the referential world outside the text is produced and
sustained. The topographical description in Zola's Germinal, for
instance, creates an illusion of reality.
Figurativization of discourse represents another, though related, way of
constructing effects of being real. All elements in a text that refer to the
external physical world and can be apprehended by the five senses
belong to the figurative level. They are essential ingredients in the
creation of an illusion of reality. A journalist seeking to present an event
as vividly as possible, for example, might evoke sounds, colours or
smells in his description to produce an impression of immediacy and
realism.

The term realization is used in narrative semiotics when describing

modes of junction between a subject and an object. Before any kind of
conjunction or disjunction takes place, subjects and objects are placed
in a position of virtuality. When they are in a position of disjunction, we
talk of actualization. Realization refers to the transformation which

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reverses an earlier disjunction to bring about a conjunction between a Referent
subject and an object. Wishing to possess a car, for instance, and
having enough money to purchase the desired object but not having
done so yet describes a situation of actualization. However, once the
purchase has taken place, the object (car) is conjoined with the desiring
subject, reversing the earlier situation of disjunction. This transforma-
tion is called a realization.

The receiver represents the actant to whom a desire or obligation is

given by a sender. This process or transaction must take place before
the receiver can embark on a quest, i.e. before the receiver can assume
the function of a subject. In the Falklands War, the soldier/receiver
became the subject of a quest only when he had decided to accept his
mission or contract to go and fight.

In Halliday's terminology, reference describes the process whereby one

element introduced at one place in a text can be taken as a reference
point for something that follows. Reference words (or referring
expressions) are words which possess only partial meaning: to work
out their full significance on any particular occasion we have to refer to
something else. Examples of reference words are pronouns and
deictics. To give an example: '1 lived in Paris for several years. 1 was very
happy there.' The deictic 'there', in this case, has only limited meaning
unless one reads it as referring back to a particular location, i.e. 'Paris'.

In Halliday's theory of discourse, referential cohesion is a type of

textual cohesion that is produced by the process of reference. It is
characterized by the presence of what is known as reference words (or
referring expressions). Reference words are words which do not give
their full meaning to the objects of the world (the referent): to work out
what they mean on any one particular occasion, we need to refer to
something else. There are three categories of reference words:

(a) personal reference words or pronouns: The girls arrived late at

school because they had missed the bus.'

(b) demonstrative reference words or demonstratives: 'He bought me

the book that I really wanted.'

(c) comparative reference words or a reference that is based on

contrast: 'I like this dress better than that.'

If a communication is orientated towards the context or world (real or

imaginary) outside the text, then it is the referential function that
dominates. A good example are texts whose principal aim is to convey
information, such as car manuals or recipe books. In literature, it is
often when an illusion of the real world is being constructed that the
referential function can be said to be dominant. 'The house stood in the
best part of town. It had two storeys, five bedrooms and a very big
garden that was more like a park' is an example of the referential
function dominating.

Dominance of the referential function in a communication does not

exclude the other speech functions, which will also be present to
varying degrees.

Reiteration designates a form of lexical cohesion in which two cohesive

items refer to the same entity or event. Reiterative devices include:
repetition, the use of synonyms or near-synonyms, of subordinates and
generals.

In the following example, the underlined words refer to the same

entity: 'She is having terrible trouble with her car. The thing won't start
in the morning.'

The term renunciation characterizes the position of a subject of state

when it deprives itself of an object of value. The act is one of reflexive
disjunction. For example, 'Mary gives away all her money'. The abstract
representation of this relationship is as follows:
S1 S2 O
subject of doing subject of state object of value
(Mary) (Mary) (money)

A repeated event is an event which occurs once and is narrated

more than once. An example would be the murder of Hammond in
W. Somerset Maugham's short story The Letter. A repeated event can be
compared to events that are singular or iterative.

On the semiotic square of veridiction, the term secret subsumes the

complementary terms of being and non-seeming which are located on
the positive pole or deixis.

positive negative
being seeming

secret illusion

non-seeming non-being
See also deixis and veridiction.

Seeming

Seeming consumes one pole of the semantic category 'truth' which

combines seeming (parattre) and being (etre). The terms of being and
seeming are therefore in a relationship of opposition while also
expressing the two faces - or each asserting one aspect - of truth.

A semantic category is formed by two terms in opposition while

possessing at least one common denominator. In other words, they are
contraries linked by presupposition in the way that 'in' presupposes
'out' or 'good' presupposes 'evil'. The semantic category itself
comprises the two opposing poles in one umbrella term which
illustrates their common feature: 'in' and 'out', for example, belong to

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Semantic category the semantic category of 'space'; the semantic category of 'temperature'
comprises the two poles 'hot' versus 'cold', that of 'verticality' the
opposing poles 'up' and 'down'.

Semantic field

A semantic field comprises all the meanings (semes) attached to a

particular signifier in the text. The signifier 'fame' may thus include the
meaning 'celebrity', 'stardom', 'repute', 'honour', 'glory' or 'eminence',
'illustriousness'; the semantic field of 'joke' might comprise 'witticism'
and 'anecdote' or 'prank', 'trick', etc.

The term semantic field is often interchangeable with that of lexical field.

The term semantics designates a branch of linguistics which deals with

the meaning given to words or syntagms. In other words, semantics
concerns itself with a scientific description of the level of the signified in
language rather than the signifier.

In the context of semiotic grammar, semantics represents one of its

main components, with syntax making up the other. Semantics, here,
relates to the three levels of meaning. Firstly, there is abstract or
conceptual semantics, which is concerned with meaning at the deep
level, the ab quo where signification starts. An example are elementary
abstract concepts underlying a text such as 'war' and 'peace', or 'virtue'
and 'sin', in other words, terms in opposition forming semantic
categories. Their organization and dynamics within a text, however, fall
under the heading of syntax.

Secondly, there is narrative semantics, actualizing values on the story

level, selecting them and placing them in conjunction or disjunction
with subjects, that is, setting up states of being ready to be transformed.
The fairy-tale Cinderella, for example, selects happiness and riches as
values to aim for, and places these initially in disjunction with the
heroine and in conjunction with the nasty sisters. The ensuing narrative
programme, on the other hand, the actual process of transformation, in
Cinderella's case the achievement of wealth and happiness, is subject to
narrative syntax.

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Finally, discursive semantics puts values into words by giving them Semic density
figurative and thematic shape. It is here that we encounter reality effects
such as references to the senses (vision, touch, etc.) as well as allusion
to concrete or abstract worlds. Using Cinderella again as an example,
we find wealth expressed in lavish clothes and sumptuous balls, and
happiness taking the shape of the love of a handsome prince. The
syntagmatic organization of these discursive elements belongs to
discursive syntax.

A seme is the smallest common denominator within a unit of meaning.

In the sentence The summer sun burnt our skin', 'heat' would be the
predominant seme; the film title Trains, Planes and Automobiles
illustrates the seme 'travel'.

A sememe is the totality of semes that are actualized by a term within a

given context. In Blake's poetry the following sememe could be
attached to the term 'city': industrial, black, crowded, poverty, pain, evil,
filth, noise.

The expression semic density relates to the greater or lesser number of

semes that enter the composition of a sememe. The greater the number
of themes actualized by a term within a given context, the greater is its
semic density. Stanza 2 of Tennyson's 'The Charge of the Light Brigade'
offers an example of high semic density: 'Some one had blunder'd: /
Their's not to make reply, / Their's not to reason why, / Their's but to
do and die.' These four lines evoke the semes of error, unreason,
proscription and death in connection with the main seme of obedience.

In contrast to semiotics, which is concerned with the theory and

analysis of the production of meaning, semiology refers to the study of
sign systems in operation such as codes, including those of linguistic
signs. Explicit meanings resulting from the conjunction of a signifier
and a signified are investigated. The traffic code is a case in point: to
those familiar with the conventions, 'red' means 'stop' and 'green'
means 'go'. Nonetheless, there are cases when semiology and semiotics
overlap.

The term semiology was coined by Saussure to cover the theory of sign
systems, and for a long time was used alongside semiotics with very
little difference in meaning. Today the Greimassian School distin-
guishes clearly between the study of sign systems (semiology) and the
study of the process of the generation of meaning (semiotics).

According to Saussure 'il n'y a de sens que dans la difference' and

according to Hjelmslev language is fundamentally a system of
relationships rather than signs. Thus, in the analysis of meaning,
semiotics proceeds from the recognition of differences to the definition
of the relationships underpinning them. In the event, the semiotic
square is no more than a visual representation of the elementary
structure of meaning. It is the logical expression of any semantic
category. This elementary structure is defined by three relationships:

1. Opposition or contrariety. Meaning is viewed essentially as a product

of opposition: there can be no 'up' without 'down', no 'good'
without 'evil'. In order to be in opposition or in a relationship of
contrariety, two terms (frequently referred to as SI and S2) must
have a feature in common, e.g. 'hot' and 'cold' have the notion of
temperature in common: temperature here is known as the complex
term. 'High' and 'low' have the notion of verticality in common, their
complex term is verticality. SI, therefore, presupposes the existence
ofS2.

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s1 s2 Semiotics

2. Contradiction. In order to move from SI to S2 you must first of all

negate SI (written —SI). If you want to go from 'high' to 'low', for
instance, you must move via 'non-high'. 'Non-high' ( — 51), then,
becomes the contradictory term. If SI is 'good', then —SI is 'non-
good'. If S2 is 'evil', — S2 is 'non-evil'.

s1 s2
GOOD EVIL

-s2 -s1
NON-EVI; NON-GOOD
3. The third relationship which seals the square is one of implication or
complementarity. This is built on the connection between a term and
the negation of its opposite: 'good' implies 'non-evil', 'high' implies
'non-low'. It is equivalent to the act of assertion, demonstrating the
coherence of meaning. For if 'good' does not imply 'non-evil', then
our original pair 'good/evil' with their contradictories belong to
different semantic categories. SI and — S2 or S2 and —SI are
therefore defined as complementary terms.
s1 s2

-s2 -s1

The semiotic square can be used as a tool in the analysis not only of
individual semantic concepts but also of longer units of meaning such
as paragraphs or whole texts. In this case fundamental semantic
oppositions underpinning the unit have to be extracted and placed in
the positions of SI and S2.

Semiotics

Semiotics is the theory of signification, that is, of the generation or

production of meaning. In contrast to semiology, which studies sign
systems and their organization (e.g. traffic codes, sign language),
semiotics concerns itself with how meaning is produced. In other

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Semiotics words, what interests the semiotician is what makes an utterance
meaningful, how it signifies and what precedes it on a deeper level to
result in the manifestation of meaning.

Semiotic theory is based on the belief that meaning is not inherent in

objects, that they do not signify by themselves, but that meaning is
constructed by a competent observer - a subject - capable of giving
'form' to objects. To give an example: confronted with an implement
from a different culture, say African or Asian, we would probably be
incapable of immediately grasping its significance. However, left alone
with it, we will give it a meaning that is based on what knowledge we
have and what will suit our purposes. The semiotician thus sees the
whole of our signifying universe - including statements about it - as
the product of a presupposed semiotic competence, the only one able
to construct its signification.

The semiotic working method derives from the assumption that the
structures underlying - and resulting in - the production of meaning
are susceptible to hypothetical representation in the shape of models.
The justness of particular models is confirmed or invalidated through
testing them against the semiotic object - such as a text - to which they
are meant to be applicable. Semiotic analysis by students of literature
makes use of such models to decode effects of meaning perceptible on
the surface of a text.

At first glance, passion, linked to ethics and conditions of the mind,

would seem to belong to the realms of classical philosophy, psychology
or sociology rather than semiotics. What rules could there be that
passion obeys, what models to describe passionate behaviour or its
simulacra?

Semiotics has from the very beginning recognized and incorporated

into its theory the contribution made by affective (thymic) states to the
production of meaning. Thus it has been accepted that positive or
negative assessment of values depends also on a subject's euphoric or
dysphoric frame of mind. This is borne out by statements such as 'I
know that you are right but I don't believe you'; it is also evident in the

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appreciation of an object - a car, a novel - whose acceptance or Semiotics of passion
rejection is usually based on a combination of practical/rational and
emotional/aesthetic considerations.

When it comes to passion, however, that is, strong feeling or agitation

of the mind, semiotic analysis on the narrative and discursive levels of
an utterance is more complex. Being related to states of mind/
conditions of the soul (etats d'dme) rather than action/doing (faire),
passion does not obey the pattern of the actantial and canonical
schemas of the narrative quest. Yet passion does play an important part
because it will affect the subject's doing in one of two ways: either
impassioned feelings will dominate the action (dominance pathe'mique)
or passion will be present yet on the surface be dominated by the
cognitive or actional dimensions (dominance cognitive) of the narrative.
Either way it is analysable on the structural and organizational level of
the discourse.

1. Passion dominating action/doing (faire) is illustrated by the crime

passionnel. A discursive utterance governed by passion is marked by:

- an unstable relationship between the narrative subject and

object. Apart from its position of object the latter may also adopt
those of sender or manipulator (e.g. 'Love' motivates the subject
or makes it do something); or even of subject of doing (the
object of a passion moves, disturbs, thereby acting on, even
transforming, the subject that becomes 'moved'). Thus the
subject itself may also take on the function of object (e.g.
become a 'victim' of jealousy). Finally, the subject is often
affected in its very core by the object of its passion and behaves
in an abnormal way (a gentle person having fits of rage or even
murdering). Thus we have a subject and an object with altered
and changing modal capacities.

- the importance attached to absence: the unstable relationship is

accompanied by a proliferation of images focusing on the
desired object and dwelling on the absence which it reveals but
which also reveals it. 'La sensibilite est une emotion de
I'absence' (Bertrand, 1988). 'How like a winter hath my
absence been / From thee, the pleasure of the fleeting year! /
What freezings have 1 felt, what dark days seen! / What old
December's bareness every where!' (Shakespeare, Sonnet 97).

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Semiotics of passion Most love poetry could serve as an example, as indeed most
literature concerned with passion.
— aspectual indications: deep emotion, strong passion are usually
characterized by the suddenness of their discovery. One
moment the subject does not understand what is happening,
the next awareness strikes and all is clear. The very suddenness
of the revelation thus becomes a hallmark of the emotion as
well as of its strength.
2. Passion dominated by practical or cognitive action is illustrated by
subjects giving in to reason/advice in preference to passion. The
dutiful daughter complying with her parents' wishes not to marry her
unsuitable lover would be a case in point. A discursive utterance in
which passion is governed by the cognitive dimension is marked by:

- a stabilization of the object, which becomes, as it were,

'objective'. The object is held at a distance, considered
objectively and analysed. Thus after a major accident or a
personal tragedy provoking strong emotions, people tend to go
over what happened again and again, examining every detail as
though the exact re-structuring of the event were all-important.
— an epistemic subject concerned with accurate knowledge and
the establishment of truth. It is given over totally to a descriptive
and analytical competence. In La Prisonniere, for instance,
Proust's narrator scrutinizes and takes apart one insignificant
remark made by the heroine Albertine, endlessly searching it
and hypothesizing about its precise meaning. The underlying
motive for this cognitive investigation is, of course, of a
passionate nature, in this case: jealousy.
- a concern for veridiction is at stake. It matters to establish the
truth once and for all, thereby trying to dominate emotional
uncertainty. It is important to discover a truth that the subject
can believe. But this truth, says Stendhal, 'n'est en verite qu'un
soupir'.

Finally, it should be noted that passion does not only find expression
in verbal discourse. Passion can also be manifest in, for example,
spatial, visual or musical utterances.

The term semi-symbolic designates a particular relationship between

expression and content, or signifier and signified. Nodding one's head
to signify 'yes', would be an example, or shaking it to mean 'no'.

The term semi-symbolic is applied in particular to the visual arts, where

movement, gesture, colour, etc., acquire specific values. In a particular
picture, for instance, light colours and simplicity of outline may be
associated with happiness, whereas their opposite - dark colours and
blurred lines - may be associated with unhappiness.

The concept semi-symbolic differs from symbolic in that the relation-

ship between signifier and signified relates to categories rather than
units. Nodding yes or no, for example, uses the vertical axis to affirm
and the horizontal to deny, thus linking the category of spatial axes to
that of assertion versus negation. Or a semi-symbolic representation of
the category good versus evil may be found in nature where a mountain
is associated with God and an abyss with the devil. In the case of a
symbol, on the other hand, the relationship between expression and
content is one of two individual units: a set of scales symbolizes justice;
a rose symbolizes love.
See also semantic category and symbol.

Sender
The term sender normally belongs to the narrative level of an utterance,
where it represents the actantial instance (person or idea) that motivates
an action or causes something to happen. The sender not only institutes
the values to aim for but also transmits the desire or obligation to pursue
them to a subject. Any quest begins with an initial contract between a
sender and a receiver/subject accepting the mandate, and ends with a
sender's (not necessarily the same as the mandating sender) sanction,
that is, an evaluation of the subject's performance.

In their quest to defeat the Argentinians, the soldiers who took part in
the Falklands War had two senders: (a) an external sender in the
figures of Mrs Thatcher and the rest of the British Government, and (b)
an internal sender in the belief in patriotism and in the traditional
ideology of warfare.
See also receiver.

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Sender-adjudicator Sender-adjudicator

The sender normally occupies the positions of mandatory sender and

of sender-adjudicator.

At the beginning of a narrative programme, the sender establishes a

contract with the future subject and instigates the system of values in
accordance with which the subject must act. The sender here is
sometimes referred to as the mandatory sender to distinguish it from
the later role of sender-adjudicator. The latter is the sender who
intervenes at the stage of sanction or the glorifying test. At this point the
performance of the subject is being judged with regard to the original
mandate. In a fairy-tale, the king (as mandatory sender) asks the knight
to slay the dragon. At the end of the story he judges (as sender-
adjudicator) the deed to have been accomplished to his satisfaction by
giving him his daughter in marriage.

The roles of mandatory sender and of sender-adjudicator, however, are

not always held by the same actor. In a military conflict, the defeated
army is usually judged not by their mandating government (mandatory
sender) but by their victorious enemy (sender-adjudicator). Students in
higher education are often awarded degrees not by their teachers
(mandatory sender) but by State examiners (sender-adjudicator).

Shifter

Introduced by Jakobson, the term shifter is equivalent in meaning to

the semiotic terms engager or disengager. A disengager is a word that
shifts the discourse away from the point of enunciation by setting up an
action, a time and a place different from those of the person who is
speaking. For instance, 'at that time' (as opposed to the moment of
speaking) 'he' (as opposed to the speaker) 'was living in Paris' (as
opposed to the place of enunciation).

An engager, on the other hand, is a term that moves the discourse

towards the point of enunciation, that is, it sets up an action, a time and
a place that coincide with those of the person speaking such as T, 'here'
and 'now'. For instance, 'I have been living here for three years'.

According to Saussure, words are not symbols corresponding to

referents but signs made up of two components: a mark or signifier and
a concept or signified. Things themselves, therefore, play no part in the
language system. The significance of words is based solely on a system
of relationships.

Signifier and signified represent the two fundamental levels of

language. The term signifier refers principally to the concrete world
of sound and vision. The term signified, on the other hand, relates to
the concept or idea expressed by the sound or icon. The relationship of
the signifier to the signified has been described by Saussure as that
between the front and back of a piece of paper. In other words, the two
levels of language are in a relationship of reciprocal presupposition;
form and content cannot be disassociated. The word (linguistic sign)
'tree', to give an example, is made up of a sound or written mark
(signifier) and also of the idea or concept of a tree (signified).

The term simulacrum designates a semblance, an image of something

which it is not. According to semiotic theory, the production of models
or simulacra is the means by which we make sense of the world.

Semiotics itself uses the concept simulacrum when analysing reality

effects and attempting to visualize, or visually represent, structures of
meaning, or systems of interpretation. An example would be the
canonical narrative schema describing human interaction.

Singular

A singular event is an event that occurs once and is narrated once. An

example would be the death of Cathy in Wuthering Heights.

A singular event can be compared to a repeated and an iterative event.

The term sociolect designates a kind of sub-language that characterizes

a particular group or class of society and that contrasts one group with
another. Cockney English is a sociolect, as is argot in French.

Sociolect can be compared with the term idiolect. The study of

sociolects stems from the discipline of socio-semiotics.

Used to describe a figurative actor (character), the term somatic refers

to two types of physical activity:

(a) to bodily movements such as running or stealing, accomplished by

an actor and directed towards a goal. These movements constitute
events in the narrative.

(b) to physical gestures or attitudes or miming, that is, bodily activities

that signify in themselves (convey a message), that are commu-
nicative. For instance, shaking your head to signify 'no'. A
distinction can therefore be made between verbal communication
and somatic communication.

Spatial programming

Spatial programming refers to the relationship established in a narrative

between particular places and stages in the quest of an actor. For
Robinson Crusoe in Daniel Defoe's novel of that title, the decisive test is
associated with the island. Parallels may thus be established between
places and types of action: Robinson's home may be connected with
departure and return, and the island with struggle and confrontation.

The term spatialization designates the process whereby places and

locations are established in a discourse. Like actorialization and
temporalization it is a necessary ingredient for a referential illusion or
reality effect to work. In line with the temporal organization of

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discourse, spatial structuring serves the installation of narrative Structuralism
programmes and their sequence. Stages of Little Red Riding Hood's (French)
mission are thus linked to (1) her mother's house; (2) the wood; (3)
her grandmother's house.

The term strategy defines any long-term plan designed to achieve a

specific goal. A general follows a strategy when trying to defeat the
enemy. The government develops a strategy to cope with economic
difficulties.

According to semiotic theory, the notion of strategy presupposes a

situation of confrontation. It is thus defined in terms of interaction
between adversaries both attempting to manipulate the enemy in order
to thwart his/her aims and achieve one's own goal. In this sense,
strategy is contrasted with tactics, which relates to the technique of
manoeuvring. To give an example: in a chess game, the act of devising a
plan which plays on the opponent's presumed responses amounts to
strategy. The actual playing, or moving the pieces and using the rules to
one's advantage, involves tactics.
See also tactics.

Structuralism (French)

The term structuralism designates a range of research activities inspired

by linguists and carried out in France in the 1960s in a variety of
branches of knowledge. As an intellectual movement it takes as its
premise that the sign is made up of two parts (signified and signifier)
and that there can be no meaning without difference (Saussure). In
other words, elements do not signify in isolation: they only acquire
meaning by virtue of their contrast with other elements within a
structure. The structuralist method, therefore, is characterized by a
search for immanent (underlying) structures and/or the construction
of models. It is from the structuralist method that semiotics has
developed.

Because of its initial success, structuralist theory very quickly became a

kind of fashionable philosophy. As a result, it has frequently been

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Structuralism accused of being totalitarian, static or reductionist. In the late 1960s, a
(French) counter-movement originated, post-structuralism, which, based on the
discovery of the essentially unstable nature of signification, altered ana
refined the original theory.

The Swiss psychologist Jean Piaget defines structure as an arrangement

of entities that embodies the following fundamental ideas: (1)
wholeness, which means it is internally coherent; (2) transformation,
which means that it is not a static form but one capable of
transformational procedures, or that it is not only structured but also
structuring; (3) self-regulation, which means that in order to validate its
laws, it does not have to appeal beyond itself.

This definition of structure has been used extensively by the

structuralist movement.

Subject
In semiotic metalanguage, the subject (without any qualifying adjective)
normally denotes a narrative function (actant) in the actantial structure
of an utterance. In this context, the subject is defined on the one hand
by and opposite the object of value that is being pursued; on the other,
it exists in relation to the sender (source of values and mandator of the
quest).

In a narrative, the position of an actant/subject may be held by any

actor (character) who performs an action. The abbreviation, a capital S,
is frequently used to designate this role. In Robinson Crusoe, Robinson
Crusoe is the principal subject. In an article about the economic
situation of the country, the government, pursuing the goal of beating
the recession, is the main subject.

The concepts of discursive and epistemological subjects refer to

different levels of an utterance: the discursive level and the deep level
respectively.

The expression subject of doing designates a subject who, in its

relationship with an object, brings about a transformation. In the
sentence 'Father bought a new car', 'Father' is the subject of doing
because he has transformed his position of being without a new car
into one of being in possession of a new car.

The subject of doing is also frequently referred to as 'agent' or

'operating agent'. It contrasts with the 'subject of state' or 'patient'.

The expression subject of state designates a subject whose relationship

with an object remains unchanged. This kind of relationship is
frequently shown in verbs of being or possessing. In the sentence 'My
father owns several properties', 'my father' is the subject of state,
illustrated by his possessions. Equally, in the sentence, 'Nordic women
are blue-eyed and have blond hair', 'Nordic women' is the subject of
state.

The term subject of state is also referred to as 'patient' in a narrative

programme. It contrasts with the 'subject of doing' (or operating agent)
whose performance causes a transformation of state.

In the vocabulary of Hjelmslev, the term substance denotes the

semantic charge assumed by a semiotic form in order to produce
meaning. Meaning, moreover, signifies only in the joint manifestation of
two distinct forms which correspond to the two planes (or levels) of
language: the level of content, composed of a/orm and a substance, and
the level of expression, also made up of a form and a substance.

In speech, for example, the sound we make represents the substance

while the separate words we pronounce are based on the linguistic
system giving form to the sound. Together, substance (sound) and
form (linguistic system) amount to our speech on the level of its
expression. Equally, the content of our speech is composed of general

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Substance ideas or semantic raw material - its substance - which is organized in
accordance with rules of grammar, that is, its form.

In traditional literary usage, a symbol relates a word or idea to a concrete

object, scene or action with which - though essentially different - it
entertains some kind of semantic connection. Thus, in a particular
culture, a rose may be a symbol of love, a bird of freedom, a forest of
madness, or water of life. A symbol, therefore, is based on a relationship
between two individual units - one figurative, one thematic - whereas a
semi-symbol is the product of the relationship between two categories.

In Peirce's semiotics, the term symbol denotes a sign (signifier) whose

relationship to its object (signified) is entirely arbitrary or based on
convention. An example would be the word 'cap' where there is no
causal physical link or resemblance between the sign (the word car)
and its object. In his system of classification, Peirce distinguishes signs
used as symbols from those used as icons or as indices (index).
See also icon, index and semi-symbolic.

Synchrony

The term synchrony denotes simultaneity of action or events. We talk

of synchronous occurrences when events coincide in point of time. For
instance, the event of President Kennedy being shot took place at the
same time as that of onlookers observing the assassination. The two
events therefore occurred in synchrony. Equally, a French film with
English subtitles requires synchronization of the two languages in
order to be fully understood by a monolingual English audience.

Synchrony is opposed to diachrony which refers to events arranged in

temporal sequence. Saussure used the couple synchrony/diachrony for
the description of language in a contemporary and a historical perspective.
In particular, he applied synchrony as a working concept with regard to a
coherent language system (fcwgue). Since any notion of time, however,
presents difficulties when applied to abstract systems, present-day
linguistics operates within an atemporal or achronic framework
See also achrony, diachrony and language.

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Synonym Syntax

A synonym is a word that has the same meaning as, or is very close in
meaning to, another word. Examples: 'She tried to run up the slope but
the incline was very steep'; 'He rushed to the bus stop although there
was no need to hurry'. In both sentences the underlined words are
synonyms.

Synonyms are frequently used to strengthen lexical cohesion within a

text.

The term syntagm designates two or more lexical units linked

consecutively to produce meaning. The combination of an adjective
and a noun - such as 'human life' or 'beautiful day' - offers an example
of a syntagm. The same applies to the joining of two nouns - as in
'desert wind' - or the sequence of words forming a whole sentence: 'we
shall go out'.

The term syntax designates the grammatical arrangement of words and

syntagms in a clause or sentence. Traditionally, the term refers to one of
the two constituent parts of grammar, the other being morphology, that
is, the study of the forms of words. The description of the relationship
between words or groups of words, on the other hand, and the
establishment of rules governing their organization in a sentence,
belong to syntax. Grammatical concepts like 'subject', 'object',
'predicate' or 'attribute' are thus part of the descriptive vocabulary of
syntax, just as is the classification of subordinate clauses.

Semiotic theory has adopted the term syntax to define one of the two
main components of semiotic grammar, with semantics forming the
other. Syntax, here, is relevant to the three levels of meaning. Firstly,
there is elementary syntax, which together with abstract or conceptual
semantics accounts for the production, functioning and understanding
of meaning at its deepest level. Camus's novel L'Etranger, for instance,

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Syntax deals on the deep level with the themes of 'life' and 'death'. Their
relationship and dynamics within the text, however, are illustrated by
deep-level syntax, which can be presented visually on a semiotic square.

Secondly, there is the level of story grammar or surface narrative syntax,

which, according to semiotic theory, underpins all discourse, be it
literary, scientific, sociological, artistic, etc. Semiotics, here, makes use of
two fundamental narrative models, the actantial narrative schema and
the canonical narrative schema, to describe basic structures articulating
the quest. In the fairy-tale Jack and the Beanstalk, the narrative syntax
exhibits positions and stages of action: the actant/subject Oack). the
actant/object of the quest (money and marriage), the actant/opponent
(the mayor), etc., or different stages of the quest, for example, that of
competence (getting and sowing the bean), or that of performance
(climbing the beanstalk and defeating the giant), etc.

Thirdly, there is discursive syntax. Here we are concerned with the

syntactical arrangement of discursive elements on the textual surface.
Narrative structures are put into words, given figurative and linguistic
shape and placed in sequence. The actant/subject of Jack and the
Beanstalk becomes 'Jack' and adopts the thematic roles of 'son' and
'lover'. His actions are arranged in chronological order and placed in a
particular space, for instance, at the bottom of the beanstalk or at its
top.

Generally speaking, the term system denotes a coherent whole of

interdependent elements. Saussure refined this definition by discover-
ing that the system in language resides not so much in its elements but
in the relationships they entertain with each other. According to him, a

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paradigm is made up of associative semantic fields which are System
differentiated by way of opposition to other fields in the same structure.
On the other hand, the relationship of similarity between parts of one
paradigm also functions to distinguish that particular paradigm from
other paradigms, which thus signify by opposition.

The term tactics designates the science or art of deploying forces or

performing manoeuvres in situations of confrontation. Thus a general
employs tactics in war; or a person might vote tactically, not to support
a party but to prevent the election of another party.

Semiotic theory contrasts the notion of tactics with that of strategy.

While tactics refers to a purposeful procedure or the means to achieve
an end, strategy relates to the stage of planning and manipulation.
Political strategy, for instance, aims to seduce the electorate with
promises. Fixing the date of a general election, on the other hand, is the
result of tactical manoeuvring.

The term temporalization denotes the process whereby the temporal

dimension is installed in a discourse. Like spatialization and
actorialization, it is a necessary ingredient for a referential illusion or
reality effect to work. Moreover, the element of time needs to be present
to turn a narrative arrangement into a story. If Cinderella's going to the
ball did not precede the search for the owner of the lost slipper and if
her happiness after the prince has found her was not opposed to her
earlier unhappiness, there would be no meaning to the story and no
tale.

A terminative term is an aspectual term describing the end of a process.

It indicates that a transformation is completed and is frequently
conveyed through the use of the simple past (the past historic and
perfect tense in French), or the narrative present: 'He left the room'; 'He
leaves the room'.

The beginning of a process, on the other hand, is indicated by the use

of an inchoative term.

The word text is used in linguistics to refer to any passage, spoken or

written, that as a result of the processes of cohesion and coherence
forms a unified whole.

An actor possesses a thematic role if s/he is described in terms of

'themes' such as those of doctor, teacher, carpenter, housewife. These
'themes' are socially defined, stereotyped functions. A character in a
story building a house has the thematic role of builder.

The expression thematic role relates to the figurative level of a text and
should therefore not be confused with that of actantial role, which is
more abstract and relates to the function of a narrative position.

The term thematization refers to the process whereby an enunciator or

enunciatee invests figurative discourse with abstract themes. When
reading a story mentioning 'clothes', for example, the expression
remains ambiguous until it is thematized, in other words, until the
enunciator tells us whether to interpret these clothes as a sign of
'wealth' or 'poverty'. A narrative about a poor man getting married and
finding employment might be said to establish the themes of success
and happiness finding their figurative expression in money earned and
a beautiful house.

Theme and rheme

Used widely in discourse analysis, these terms concern the arrange-

ment of information in a sentence or utterance and the importance that
the speaker/writer wishes to accord to a particular item.

Theme is a formal grammatical category which refers to the initial

element in a clause serving as the point of departure for the message. It

133
Theme and rheme is the element around which the sentence is organized and to which the
writer/speaker wishes to give prominence. Everything that follows the
theme, i.e. the remainder of the message or part in which the theme is
developed, is known as the rheme. A message, therefore, consists of a
theme combined with a rheme. Compare the following sentences:

(A) The boys mugged the old woman. (B) The old woman was
mugged by the boys.

In the first sentence the theme is 'the boys': it is the boys and what the
boys did that is of primary interest. Information about who was
mugged is secondary, i.e. the rheme. In the second sentence, on the
other hand, it is the fate of the victim, the old woman and what
happened to her, that is of primary interest (theme).

In semiotic theory, theme is opposed to figure. In other words, where

figurative elements in discourse are essential ingredients in the
construction of a reality effect, themes relate to concepts, to the
signified that cannot be perceived by the senses. Thus themes such as
'love', 'hate' and 'evil' are not perceptible in themselves, while their
expression in gestures of 'love' or 'hate', for instance, is figurativized
and perceived by the senses.

Situated on the deep level of an utterance, the thymic category relates to

the world of feeling and of emotions. It spans the notion made up by
the two poles euphoria versus dysphoria and forms the basis of
positive/negative evaluation. In other words, it gives rise to an
axiological system - a characteristic of all discourse. To give an
example: believing a statement to be true involves not only weighing
what is being said for its accuracy but also evaluating it positively.

In recent years attention has been focused on the thymic dimension of

narrative. This relates to the feelings of euphoria or dysphoria (i.e.
pleasant or unpleasant) experienced by the actors. In other words, the
thymic dimension, on the narrative level, is concerned with states of
mind (etats d'dme) or feelings rather than with actions (which belong to
the pragmatic dimension) or knowledge concerning these actions
(which belongs to the cognitive dimension).

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When undertaking semiotic analysis, these states of mind or feelings Toponym
can be correlated with the stages of a narrative programme. They can,
for example, describe a state of disjunction or of conjunction with the
object of value. In the fairy-tale Cinderella, the young girl's lack of means
and of family sympathy is expressed in her disjunction from these
objects of value as well as in her feeling of unhappiness that
accompanies the disjunction. Equally, Cinderella's conjunction with
the prince, her love, at the end of the tale also shows the transformation
of her unhappiness into joy being accomplished.

Topic space itself can be divided into two categories:

(1) paratopic space: this is the space where the qualifying test takes
place. The sea journey in Treasure Island, or the beanstalk in jack
and the Beanstalk, can be considered paratopic spaces.

(2) utopic space: this is the space of the principal action where the
object of the quest is at stake. The island represents the utopic
space in Treasure Island, as does the giant's house in Jack and the
Beanstalk. In Cinderella's quest to go to the ball, the ballroom
constitutes an utopic space.

A toponym is a designation of space by a proper noun. The words

'Paris', 'Jupiter', 'Mount of Olives' or 'the Mediterranean Sea', for
example, are toponyms. Together with the names of people and time
notations, toponyms contribute to the construction of a referential
illusion (illusion of the real). They are associated, therefore, with the
figurative level of meaning.

The traitor or false hero designates one of Propp's seven spheres of

action. These were later reduced by Greimas to three pairs of opposed
actants (the actantial schema). The semiotic terms 'opponent' and 'anti-
subject' subsume the Proppian categories of villain and traitor (false
hero).

A transformation is the passage from one state of affairs (State 1) to

another, its opposite (State 2).

State 1 T State 2

The theft of John's money from his house can be expressed thus:

Presence of money Theft Absence of money

State 1 T State 2

The transformation can correspond to the performance of the subject,

who thereby becomes a subject of doing. In order for there to be any
story (a narrative) there must be a transformation.

Truth

In general terms, the word truth designates conformity with fact,

agreement with reality. In semiotic theory, the notion of truth is
replaced with that of truth-telling or veridiction. The process of truth-
telling here is connected with the circulation of knowledge and the
modes of being (etre) and seeming (paraitre). Thus any utterance
exhibits signs which allow for it being read as true, false, pretending or
a downright lie. Whether or not we believe a political statement to be
true, for example, depends on our knowledge of the subject-matter
and/or on whether the politician seems truthful to us.

Within the context of truth-telling, the semiotic square of veridiction

establishes truth as the metaterm generated by the opposing terms
being (etre) and seeming (parattre), both of which illustrate different
sides of the concept of truth.

Example: Mother is certain her child is at school = she believes him to

be there and does not believe him not to be there. However, the child is
not certain his mother is at home - it is probable that she has gone out
shopping.

The different (or changing) positions of certainty and uncertainty of the

two actors (mother and child) can be plotted on the above square.

The term utterance designates any entity that is endowed with

meaning. It is usually employed with the broad meaning of statement,
both oral and written.

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Utterance According to semiotic theory, an utterance can be made by any actant
able to produce meaning. Thus a spatial utterance would be a
statement made about space, objects, their relationship and transforma-
tion: e.g. The road meanders through the village', or The sun burns
down from a lead blue sky. The earth is thirsty'. A visual utterance may
signify through shape and colours.

138
Value
V
See object of value.

Veridiction

The term veridiction designates the process of truth-telling in a story.

This is connected to the circulation of knowledge, or lack of it,
within a text: some actors know more than others about what is
happening in the narrative; some are being deceived, others
misunderstand, etc. The reader (enunciatee) may also be enligh-
tened or kept in the dark. In Agatha Christie's novels the enunciator
witholds vital information from the enunciatee (reader) until the
very end. The modal categories of truth, falsehood, of secret and of
illusion thus come into play. The following semiotic square of
veridiction emerges. It is based on the changing modes of being
(etre) and seeming (paraftre):
Truth

Being Seeming

Secret Illusion

Non-seeming Non-being

Falsehood

This square allows us to situate modal positions and plot potential

trajectories of knowledge. Thus, for example, the detective in a murder
story investigates a suspect who seems to have committed the deed but
who is not guilty. The true murderer, on the other hand, may at first not
seem to be the killer he actually is but is eventually revealed to combine
both being and seeming to be a murderer.
See also modalities and semiotic square.

Villain

In Propp's terminology, the villain belongs to one of the seven spheres

of action of the folk-tale. Its principal function is the fight or struggle
with the hero. In semiotics, the term villain has been replaced with those
of opponent and anti-subject Both opponent and anti-subject are part

139
Villain of the three pairs of opposed actants to which Greimas has reduced and
regularized Propp's seven spheres of action of the folk-tale.

Most stories present two narrative trajectories, that of the hero (the
subject) and that of the villain (the anti-subject); they are only
differentiated by their euphoric or dysphoric moralizing connotation.
In the film Batman, Batman is the hero and the Joker plays the part of
the anti-hero. In Star Wars, Luke Skywalker's quest is to save the
universe from the Emperor and from Darth Vader whose goal it is to
take it over. Subject and anti-subject here have their own narrative
programmes. We speak of opponent when a villain's main function is
to hinder or obstruct the subject's quest without having a conflicting
quest of its own. A locked door is an opponent if you are trying to get
out. A storm can be an opponent if you want to reach a port.

Taking language as an example, virtual existence characterizes the

paradigmatic axis and actual existence the syntagmatic axis. To put it
another way: virtual existence is represented by the language system
(langue) as opposed to its actualization in the process of speaking
(parole). The category virtual/actual thus characterizes the relationship
between system and process.

With regard to the semiotic model of the narrative, the couple

virtualization/actualization has been replaced by the ternary virtualiza-
tion/actualization/realization in order to describe accurately all possible
modes of junction between a subject and an object. Thus before any
junction has taken place, subjects and objects are said to occupy virtual
positions; they are actualized when the two actants are disjoined; and
they are realized once subject and object are conjoined. A person and a
car are in virtual positions while the person is only wishing to possess

140
it. We speak of realization once the car has been acquired and of mere Virtualization
actualization if the money has been saved but the car not yet purchased,
or if - for non-payment for example - it has been reclaimed by its
vendor.

The term zoomorphic refers to the attribution of the form or nature of

an animal to something, especially a god or superhuman being. In
general terms, zoomorphic defines something as having the form of an
animal. Characters in fairy-tales taking the form of animals are an
example of zoomorphism.

142
A Semiotic Analysis
of
Sleeping Beauty
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Sleeping Beauty*

There once lived a King and Queen who were very unhappy because
they had no children. They had been married a long time and had
almost given up hope when, to the Queen's great joy, she found she
was going to have a baby.
Not long after the baby, a beautiful daughter, was born, the King
and Queen arranged a huge Christening party. All the fairies in the
kingdom were invited, for the King and Queen knew that they would
each give a wonderful gift to the new princess. All that is, except one,
whom nobody liked because she was so bad-tempered.
After a magnificent feast, the fairies began to offer their gifts. The first
fairy gave the gift of Beauty, the second gave Happiness, the others gave
Goodness, Health, Gracefulness and Kindness. The seventh fairy was
just stepping forward when the door burst open. In rushed the bad-
tempered fairy, furious that she had not been invited to the Christening.
Everyone shrank back as she rushed up to the cradle.
'On your sixteenth birthday you will prick your finger with a spindle
and die', she hissed spitefully at the baby princess, before disappearing
in a puff of smoke. Everyone shivered with horror, but at that moment
the seventh fairy, who was also the youngest, stepped forward.
'Take heart', she said to the King and Queen. 'Your daughter will not
die. My magic isn't strong enough to break the wicked spell but I can
weaken the evil. Instead of dying, the princess will fall asleep for a
hundred years.'
The King, hoping to save his daughter, immediately ordered every
spinning wheel and spindle in the land to be burned.
For fifteen years, everything went well. The princess grew into the
most beautiful, the kindest, the most graceful child anyone had ever
seen.
At last, the day of her sixteenth birthday arrived. The King and
Queen held a magnificent party for her in their castle. They thought

* Taken from Tim and Jenny Wood, Favourite Fairy Tales (London: Conran
Octopus, 1988), pp. 4-7.

145
Dictionary of that this would stop her from finding a spindle on that day and so
semiotics protect her from the wicked fairy's curse. After the feast, the princess
asked if they could all play hide-and-seek.
When it was her turn to hide, the princess ran to the far corner of
the castle and found a small doorway she had never seen before. She
climbed a spiral staircase to a high tower thinking that this would be a
wonderful place to hide. When she reached the top, she found a little
room. Inside was an old woman sitting at a spinning wheel.
'What are you doing?' asked the princess, fascinated by the twirling
wheel and the whirling spindle, for, of course, she had never seen
anything like it.
'I am spinning', replied the old lady cunningly, for she was the
wicked fairy in disguise. 'Would you like to try?'
The princess sat down and took the spindle. No sooner had she
picked it up than the point of the spindle pricked her finger. At once
she fell to the ground as if she were dead. The wicked fairy's curse had
come true.
But the good fairy's spell came true, too, for the princess was not
dead, only sleeping. Immediately everyone else in the castle fell asleep
as well. The King and Queen nodded off on their thrones. The guests
dozed off as they looked for the princess. The cook started snoring in
front of her oven. All over the castle, nothing could be heard but the
gentle sounds of hundreds of people sleeping.
As the years passed by, a great hedge of thorns grew up around the
castle. Nearly everyone forgot about the King and Queen and their
beautiful daughter.
But one day, a hundred years later, a young prince rode by and saw
the great hedge of thorns. He stopped and asked an old man what was
behind it. The old man told the prince about the castle. The prince was
excited by the story and, impatient to find out whether it was true, he
drew his sword and started to hack at the briars.
To his surprise, the thorns seemed to part in front of him and in a
very short time he had reached the castle. He went through the open
door and was amazed to see all the people inside fast asleep. Every
single thing was covered in dust and there were huge cobwebs hanging
from the ceiling. He explored all the rooms in turn and finally climbed
a spiral staircase to the top of a high tower. There, in a small room, lying
on the floor, was the most beautiful girl he had ever seen. She was so
lovely that, without thinking, he leaned forward and kissed her.

146
Immediately his lips touched hers, the spell was broken and the Sleeping Beauty
princess opened her eyes. The first thing she saw was the handsome
prince. As the prince and princess gazed at each other, they fell in love
on the spot.
The prince led the princess gently down the spiral staircase. All
around them they could hear the sound of the castle coming to life. The
prince asked the King and Queen for permission to marry their
beautiful daughter. They agreed, and soon plans were being made for
the wedding.
The seven good fairies were invited to the wedding feast. They
wished the princess and her prince a long and happy life together.
As for the wicked fairy, nobody knew what happened to her, but she
was never heard of again!

147
A semiotic analysis of the fairy-tale
Sleeping Beauty

The semiotic method presented below has been used for several years
now in the teaching of literature to university and other students. The
approach has yielded outstanding results, proving itself to be
particularly effective in the uncovering of the multiplicity of meanings
within - and beyond - the text. When applied to opening paragraphs,
the method has also provided a means of access to difficult and
challenging works (Calvino, Sartre, etc.). The intention of the present
authors, however, is not to be prescriptive: semiotic analysis is open-
ended and flexible and can be adopted to meet specific requirements.
For instance, a student may wish to concentrate on a particular aspect
of a novel such as the treatment of place or of time. In this case the
analysis — especially of the discursive level — will restrict itself to these
components and it will not be necessary to list all the figurative
isotopies. Similarly, depending on the nature of the text, a student may
wish to concentrate more time and energy on one level of meaning (see
below) than another. S/he may even feel it necessary to omit a
particular methodological device (e.g. the semiotic square) if its
application to the text yields little of interest or relevance.
Our semiotic analysis of Sleeping Beauty, then, will start with a
reminder that, in contrast to more traditional literary approaches,
semiotics postulates the existence of different levels of meaning. Any
analysis of a story will begin, therefore, with what is known as the
discursive level, that is, with an examination of the specific words -
grammatical items/structures - that are visible on the surface of the
text. It will then proceed through a process of decoding to uncover ever
deeper and more abstract layers of meaning until we arrive at what
Greimas terms the elementary structure of meaning. For precise details
on the models used in the analysis of the different textual levels, please
turn to the Introduction (pp. 7-13). We will now begin with an
examination of the discursive level and focus in the first place on the
figurative component of the text.

148
The discursive level A semiotic analysis
of Sleeping Beauty

The figurative component

Figurative elements are those elements in a text that correspond to the
concrete physical world and that can be apprehended by the five
senses. They are essential ingredients in the construction of a reality
effect or illusion of a real world. In other words, their primary function
is to create an impression of time, of place and of character.
Let us begin by exploring the vocabulary of Sleeping Beauty and
grouping together notations relating to place (including objects), time
and actors (characters). These groupings of words with similar
meanings (i.e. with at least one meaning in common) are known as
lexical fields, or, in more strictly semiotic terms, figurative isotopies.
The words 'house', 'shop', 'street', for instance, have the meaning 'city'
in common ('city' is the common denominator): we say, therefore, that
these lexical items belong to the isotopy of the 'city'.

Figurative isotopies in Sleeping Beauty (page numbers)

Place Objects
kingdom 145 gift 145 (3 x )
land 145 spindle 145 (2 x ), 146 (4 x )
cradle 145 spinning wheel 145, 146
castle 145, 146 (6 x), 147 thrones 146
door/doorway 145, 146 (2 x ) oven 146
place to hide 146 dust 146
inside 146 (2 x ) cobwebs 146
top 146 (2 x ) sword 146
room 146 (3 x ) every single thing 146
spiral staircase 146 (2 x), thorns 146 (3 x )
147 briars 146
floor 146
ceiling 146
ground 146
down 146, 147
high tower 146 (2 x )

149
Dictionary of Time
semiotics once 145, 146 after the feast 146
a long time 145 no sooner 146
at that moment 145 at once 146
sixteenth birthday 145 (2 x ) in a very short time 146
for fifteen years 145 finally 146
a hundred years 145, 146 as the years passed 146
immediately 145, 146, 147 but one day 146
on that day 146

Actors (characters)
King 145 (6 x ), 146 (2 x ), everyone 145 (2 x ), 146 (2 x )
147 nobody 145, 147
Queen 145 (7 x ), guests 146
146 ( 2 x ) , 147 cook 146
children 145 hundreds of people 146
baby 145 (3 x ) prince 146 (3 x ), 147 (5 x )
daughter 145 (3 x), 146, old man 146 (2 x )
147 all 145 (2 x ), 146 (2 x )
princess 145 (4 x ), all the people 146
146 (6 x ), 147 (4 x ) old woman/lady 146 (2 x )
the fairies 145 (2 x ) girl 146
seven good fairies 147
bad-tempered fairy 145 (2 x )
wicked fairy 146 (3 x ), 147
seventh fairy 145 (2 x )

The following isotopies also contribute to the construction of a reality

effect-

States of being
born 145 opened her eyes 147
will fall asleep 145 and die 145
only sleeping 146 as if she were dead 146
fell asleep 146 fast asleep 146
hundreds of people nodded off 146
sleeping 146 snoring 146

150
Social events/celebrations A semiotic analysis
Christening 145 (2 x ) marry 147 of Sleeping Beauty
feast 145, 146, 147 wedding 147 (2 x )
party 145 (2 x )
Looking back at these lists of figurative isotopies, the reader may be
struck by the relatively sparse nature of the references to place and to
objects. Indeed, in keeping with the timeless nature of fairy-tales, it is
left to the reader's imagination to fill in the descriptive details -
appearance of actors, etc. - and to locate the action within a more
specific cultural and historical setting.
Having extracted and made lists of the principal isotopies, the next
stage in our analysis will be to look for oppositions. These oppositions
can be found (a) either within the individual isotopies or (b) between
one isotopy and another.

Oppositions
Place: within this isotopy the following oppositions can be discerned:
(1) high versus low
high tower castle
the top ground
ceiling floor
up down
(2) wild/natural versus cultivated/artificial
briars castle
hedge of thorns door/doorway
hacked room/tower
spiral staircase
(3) outside versus inside
outside inside
hedge of thorns castle
door/doorway

With indications of time, there is an opposition between durativeness (a

continual process) and punctuality (happening at one particular
moment in time):

151
Dictionary of durativeness versus punctuality
semiotics a long time on your sixteenth birthday
for fifteen years the day ... arrived
as the years passed by at once
one day ... a hundred
years later

For actors, the key oppositions that emerge are old versus young, fairies
versus humans, male versus female:

old versus young

old woman/lady baby
old man daughter
new princess
baby princess
young prince
girl

fairies versus humans

all the fairies King and Queen
seventh fairy daughter/princess
bad-tempered/ old lady/guests/cook
wicked fairy prince/old man
male versus female
king Queen
prince daughter/princess
old man bad-tempered fairy
old lady

Within this isotopy of the actors there is also an opposition between

plural and singular. Notations such as 'all the fairies', 'everyone', 'all the
people', 'all the rooms' are contrasted with references to individual
people and places.

And finally, within the isotopy of states of being, notations of 'death' are
contrasted with those of 'life'; notations of 'sleep' with those of 'awake'.

We must now ask ourselves: What do these oppositions signify? With

what values are they being invested by the narrator? As Denis
Bertrand has commented,1 the figurative level makes no sense on its

152
own, it only acquires meaning in relationship to a subject - the A semiotic analysis
narrator - and to the feelings and judgements of this narrator. It is at of Sleeping Beauty
this point in our analysis, therefore, that we bring to bear what is
known as the thymic category - the category related to the world of
emotions/feelings and situated at the deep level of the utterance. This
category is articulated in the opposition euphoria versus dysphoria
(pleasant versus unpleasant) and gives rise to a basic positive/
negative evaluation.
In Sleeping Beauty the opposition euphoria versus dysphoria is of
particular significance in the construction of the actors. As is customary
in the fairy-tale, divisions between pleasant and unpleasant, happy and
sad, positive and negative are very clear-cut and unambiguous. The
reader is left in no doubt as to where her/his sympathies should lie.
Bearing this in mind, we can extract the following isotopies and
oppositions:
(1) The isotopy of the emotions with the opposition euphoria versus
dyphoria:
euphoria versus dysphoria
joy unhappy
happiness bad-tempered
excited furious
surprise spitefully
amazed hissed
fell in love with horror
happy life
Here positive emotions are associated with one group of actors - the
King, Queen, Princess, Prince and seven fairies - whereas the negative
are linked (with one exception at the beginning) with the wicked fairy.
A process of evaluation is clearly taking place, producing a second
grouping:
(2) The isotopy of evaluative terms (physical and moral) with the
opposition positive versus negative:
positive versus negative
physical beautiful
beauty
lovely
wonderful

153
Dictionary of positive versus negative
semiotics magnificent
graceful
gentle
handsome
health
moral goodness evil
kindness wicked
kindest curse
good cunningly

Positive physical terms are associated with the princess - beauty, grace,
health. These are coupled with positive moral terms: goodness,
kindness. The prince is described as handsome but he is not invested
explicitly with any moral attributes. Implicitly, however, he could be
linked to curiosity ('impatient to find out whether it was true', p. 146)
and determination. The other actors in the story are devoid of any
physical attributes. The fairies, for example, are evoked in exclusively
moral terms: the seven good fairies and the one wicked one.

Figurativity and grammatical/syntactical features

The illusion of the real may be strengthened through the use of
linguistic devices such as repetition, ellipsis, active/passive, nominaliza-
tion and cohesive markers. In our particular version of Sleeping Beauty,
adapted for very young children, the sentence structure is very simple.
What is striking is the frequent use of temporal connectors, particularly
at the beginning of sentences, for instance: 'there once', 'not long after',
'after a magnificent feast', 'on your sixteenth birthday', 'for fifteen years',
'at last', 'no sooner', 'at once', 'immediately', 'as the years passed by'.
The effect is to heighten the drama and pace of a narrative in which the
passage of time is itself an important theme.
Another interesting device is the use of repetition - a characteristic
feature of writing for children. Nouns are frequently employed to refer
to people where it would be more customary to use a pronoun. For
instance, the terms 'the wicked fairy' and 'the good fairy' are repeated in
close proximity. The effect once more is to heighten the drama by
foregrounding the opposition between good and evil. A sense of
symmetry is conveyed, of a universe that is highly ordered. The almost
incantatory repetition of these two sets of terms in the last paragraph

154
has the effect of reassuring the child that the threat has been lifted, and A semiotic analysis
that the good is restored. of Sleeping Beauty
Further linguistic devices worthy of attention include the use of lists
(e.g. The King and Queen ..., The guests ..., The cook ...', p. 146), the
frequent positioning of the subject (human) at the beginning of a
sentence and finally, the marked preference for the active voice.

The enunciative component

The enunciative strategies are clearly those of traditional story-telling. The
narrator is third-person and extra-diegetic (i.e. not an actor in the story).
This hidden narrator is also omniscient in that the reader has access to
the thoughts and emotions of all the actors. The story is told in the past,
we are kept at a distance from the events recounted; indeed, telling itself
becomes a narrative motif: it is the old man's account of what happened
in the castle that prompts the prince to embark on his quest.
Looking at the use of modality - the degree of the speaker's
adherence to a statement - the utterances are of a categorical nature.
They express certainty on the part of the narrator, there are no tentative
utterances suggesting probability or possibility. An impression of
narratorial distance and of complete objectivity is thereby conveyed.
At the same time, however, the presence of a narrator — of a
subjectivity - can be discerned indirectly in the abundant use of
evaluative terms. The sharp divisions between positive and negative,
good and evil that we analysed above suggest a particular interpretation
of reality or vision of the world.
The enunciative strategies employed in Sleeping Beauty thus
contribute to a strong sense of reality and to a fictive world whose
authenticity is never open to doubt or to questioning. The explicit and
clearly delineated categorization - whether in terms of space, time or
the actors - serves to reassure the reader, and the child in particular,
suggesting a world that is stable and inherently meaningful.

The narrative level

The next stage in our analysis will be an examination of what is known
as the narrative level. More abstract than the figurative, this is the level
of story-structure proper, that is, the level at which operate underlying
universal narrative models. (See also Introduction, pp. 9-12.)

155
Dictionary of These models can be applied globally to a whole story and/or they
semiotics can be applied to smaller units or episodes. In order to decide on our
approach, it may be helpful to answer the following question: What is
(are) the principal event(s)? In other words, what is (are) the principal
transformation(s)? If we are having difficulty in selecting key
transformations, it may be useful to try to summarize the plot in one
or two sentences. It may also help to look at the end of the story - the
final event - and compare it with the beginning.
In Sleeping Beauty two principal transformations are apparent:

(1) the princess pricks her finger and falls to sleep for a hundred
years;

(2) after a hundred years a prince arrives, wakes her (breaks the spell)
and marries her.

These transformations are also marked on the surface level by actorial

and temporal disjunctions: after the feast (her birthday party), the
princess meets an apparently new actor (an old woman) who gives her
the spindle with which she pricks her finger (p. 146); another new actor
(the prince) arrives on the scene 'one day, a hundred years later' (p. 146).
The story thus falls neatly into two parts or two major episodes (narrative
programmes). Our analysis will therefore mirror this pattern. The
divisions will be: Part 1: from the beginning to 'Nearly everyone forgot
about the King and Queen and their beautiful daughter' (p. 146); Part 2:
from 'But one day, a hundred years later' (p. 146) to the end.
We begin by examining the distribution in each of the two parts of
the text of the six/seven key narrative roles outlined in the actantial
narrative schema (see also Introduction, pp. 9-10):

sender object receiver

helper subject opponent

and anti-subject

The following questions should be asked of the text:

1. Who (person or persons) is the subject of the quest? The subject is

usually the main protagonist but the role can also be enacted by a
group of people such as the miners in Zola's Germinal.

156
2. Who or what is the object of the quest? Is there more than one A semiotic analysis
object? The object may be concrete, such as money, or abstract, such of Sleeping Beauty
as knowledge.

3. Does the subject have helpers and/or opponents? If so, who or what
are they?

4. Who is the anti-subject and what is the goal of the anti-subject's

quest? An anti-subject, unlike an opponent, possesses its own goal
or quest which is in opposition to that of the subject.

5. Who or what is the sender? In other words: what motivates the

quest of the subject?

In Part 1 of Sleeping Beauty the distribution of narrative roles can be

envisaged as follows:

Subject: the subject of the quest is the collective actor, the King and
Queen.

Object: the quest has two objects, one concrete (or pragmatic) and
one abstract (or cognitive). Concrete: to preserve the life of their
daughter and to prevent the wicked fairy's spell from coming true.
Abstract: to protect their daughter from all evil and to preserve the gifts/
values of Beauty, Happiness, Goodness, Health, Gracefulness and
Kindness that she embodies. To see the triumph of good over evil.

Helper: an implied helper are the subjects of the King and Queen who
try to burn all the spinning wheels in the land. The magnificent party
on the princess's sixteenth birthday is also designed as a helper: 'they
thought that this would stop her from finding a spindle on that day'
(pp. 145-6).

Opponent: the princess's desire to play hide-and-seek as well as her

curiosity concerning the spinning wheel function as opponents.

Sender: the sender of the parents' quest to preserve the life of their
daughter is the wicked fairy's curse that the good fairy can only weaken.

Anti-subject: the principal anti-subject is the wicked fairy herself, who,

in the guise of an old woman, lures the princess into touching the

157
Dictionary of spinning wheel. The object of her quest is the destruction of the
semiotics princess's life, that is, her goal is in conflict with that of the King and
Queen. Her own sender is her desire for revenge.

The quest of the King and Queen fails: they do not succeed in
protecting their daughter from evil. The quest of the wicked fairy
succeeds (partially) in that the princess pricks her finger and falls to the
ground 'as if she were dead' (p. 146). The quest of the good fairy also
succeeds, however, in that the princess sleeps rather than dies. To put
more abstractly, the values of Beauty, Happiness, Goodness, Heath,
Gracefulness and Kindness lie dormant rather than being destroyed
altogether.

Having examined the distribution of narrative roles in Part 1 of Sleeping

Beauty, we go on to divide the quest into a number of logical stages in
accordance with the canonical narrative schema. (See also Introduction,
pp. 11-12.) These stages are:

The contract
The contract is enacted in two episodes in the text: (1) the wicked
fairy's curse and (2) the good fairy's desire to weaken the curse by
changing death to sleep. By pronouncing the curse whose effect the
good fairy can only mitigate, the wicked fairy incites in the King and
Queen the desire and necessity to protect their daughter (both from
death and falling to sleep): 'hoping to save his daughter' (p. 145) and
implicitly to preserve the gifts she embodies. The King and Queen, now
in possession of the modality of wanting-to-do and of having-to-do,
become virtual subjects of a global narrative programme or quest.

The qualifying test

Hoping to acquire the ability to carry out his quest (a being-able-to-do),
the King orders every spindle in the land to be burnt. However, his
efforts meet only with partial success: we learn later that not all the
spindles are destroyed. His competence is undermined by an anti-
subject, the wicked fairy. Her intention is to harm the princess and,
being in possession of supernatural, magic powers, she is stronger than
the King.

158
The decisive test A semiotic analysis
of Sleeping Beauty
The arrival and celebration of the princess's sixteenth birthday is the
principal event (transformation) towards which the whole story has
been moving; it is also the moment of confrontation between two
opposing parties or forces. In this confrontation it is the wicked fairy -
with her lure - who prevails over the father's attempts to protect his
daughter.

The glorifying test

It is at this stage in the quest that the reader learns of the outcome of
the decisive test, whether, for example, it has failed or succeeded. In
other words, it is at this point that the decisive action is being evaluated.
The princess falls asleep: it can be said, therefore, that the parents have
failed in their quest to protect their daughter from the effects of evil.
The narrator interprets the action of falling asleep as follows: 'At once
she fell to the ground as if she were dead. The wicked fairy's curse had
come true.' And the next paragraph adds: 'But the good fairy's spell
came true, too, for the princess was not dead, only sleeping' (p. 146).

This global narrative programme of the quest in the first part of the
story is preceded by a couple of significant episodes (smaller narrative
programmes). We recall here that a narrative programme designates a
narrative unit expressing a transformation in the relationship between a
subject and an object.
At the very beginning of the tale, the King and Queen are introduced
as disjoined from their objects of value: a child and happiness. At the
end of the paragraph, they are presented as conjoined with these
objects: a baby and joy. This is followed by an episode conveying a
similar narrative programme. The subject, the seven fairies, give to the
princess a number of gifts which she thus acquires through a process of
attribution. It is these objects (Beauty, Health, etc.) that, as we have
seen, are at stake when the wicked fairy triggers the quest.

Let us now look at the second half of Sleeping Beauty, Pan 2, commencing
with the arrival of the prince (p. 146) and continuing to the end.
In the distribution of narrative roles in this section, the following
pattern emerges:

159
Dictionary of Subject: the prince.
semiotics
Object(s) of the quest: he wishes to discover if the old man's story about
the princess is true. His aim, therefore, is to see the princess and implicitly
(by reference to other familiar versions of the tale) to be the one who
awakens her with a kiss. The object of his quest, again implicitly, may also
be the pursuit of the values of Beauty, Kindness, etc., that is, the values
represented by the gifts of the fairies, as well as that of love.

Helpers): the prince's own impatience and impetuosity, 'impatient to

find out whether it was true' (p. 146), together with his sword, are helpers.

Opponents): the thorns and briars are initially his opponents: he

'started to hack at the briars' (p. 146), only to be transformed into
helpers: 'the thorns seemed to part in front of him' (p. 146).

Sender: with his story of the princess, the old man implants in the
prince the desire to go on this quest.

Anti-subject: the prince meets with no resistance. A potential anti-

subject, the wicked fairy, does not appear on the scene.
Let us now divide the prince's quest into the logical stages of the
canonical narrative schema:

The contract
The old man arouses in the prince the desire to go on a quest. The
prince accepts the contract and decides to act on his desire.

The qualifying test

The prince chops down the briars and thorns. By overcoming this
obstacle he acquires the ability (a being-able-to-do) to attain his goal. In
other words, he possesses the necessary competence enabling him to
reach the castle and the princess.

The decisive test

The arrival in the small room in the high tower of the castle and kissing
the princess constitute the decisive test or principal performance.

160
The glorifying test A semiotic analysis
of Sleeping Beauty
We learn that the decisive test has been successful: the princess wakes
up, the spell is broken, prince and princess fall in love. The marriage, a
further episode in the glorifying test, can be considered a reward for the
prince and a confirmation of the triumph of good - love and happiness
- over evil. The wicked fairy's curse no longer has any power: 'nobody
knew what happened to her, but she was never heard of again' (p. 147).

Finally, a global view of the whole story - Part 1 plus Part 2 - still defines
the King and Queen as the subject of a quest to protect their daughter
from evil and death. In this perspective, however, the prince and his
actions function as helper and the overall quest can be deemed successful.

The deep level

After analysing the discursive and narrative levels of meaning, we go on
to examine the deep level, known also as the thematic level. This is the
level of the abstract or conceptual: it relates to the inner world of the
mind as opposed to the outer physical world of the figurative level.
Most importantly, it is the level at which are articulated the
fundamental values of the text. But how do we arrive at these values?
Let us begin by looking for the fundamental opposition(s) or
transformation(s) underlying the text. To facilitate this task, it may be
helpful to ask the following questions:
— Can we reduce all the oppositions found on the figurative and
narrative levels to one or two basic umbrella oppositions that can
function as a common denominator for the text?
— What are the two most abstract poles of meaning between which the
text moves?
— What fundamental transformation of values is at stake? Here it
might help to bear in might the object of the quest(s).
In Sleeping Beauty, a key opposition is that between evil and good. This
opposition can be seen as an umbrella term encompassing on the
figurative level the passage from high to low, sleep to awake, individual
isolation to community.
The fundamental transformation between two poles of abstract
meaning can be mapped out on a semiotic square (see also Introduction,
pp. 12-13). With regard to evil and good, the diagram illustrates

161
Dictionary of relationships of contrariety and of contradiction (evil and non-evil). It
semiotics also allows for the transformation in the story to be plotted.

S1 S2
evil good
curse, power of wicked lifting of the curse
fairy power of good fairy
-S1
non-evil
(intervention of good fairy)

This transformation between evil and good parallels that between death
and life:

S1 S2
death life
curse: princess loses curse lifted:
consciousness princess regains
consciousness
-S1
non-death
(intervention of good fairy:
princess remains asleep - in limbo - for 100 years)

A third semiotic square could express these transformations in terms of

the more specific values represented by the princess:

S1 S2
threat to values of affirmation of values
Beauty, Happiness,
Goodness, etc.
(curse) (lifting of curse)
-S1
non-threat to values
(intervention of good fairy
and prince)

162
Text and context A semiotic analysis
of Sleeping Beauty
Having ascertained the universal values underlying the text, we then
open up the analysis to broader considerations of socio-political and
cultural context. What additional values can be brought to bear on the
text by the contemporary reader? How relevant is Sleeping Beauty to us
today? Does the story, like many fairy-tales, lend itself to a multiplicity
of levels of interpretation?
We would like to suggest, by way of introduction to this wider
canvas of meaning, the following readings which are, of course, by no
means exclusive.2

A. Sleeping Beauty can be envisaged as the

embodiment of stereotypical attitudes
As such, the story becomes a vehicle for strengthening social prejudice
and social inequality in contemporary society. These attitudes - those
generally associated with the traditional fairy-tale and with nineteenth-
century romantic fiction - are prevalent in today's media and
entertainment literature:

1. Men are active and women are passive. A woman needs the love of a
man in order to truly exist, to bring out qualities that lie dormant. It
is of course the prince who brings about the key transformation in
Sleeping Beauty. He also possesses two important actantial roles, that
of subject of a quest and of helper. This contrasts with the princess,
who appears uniquely in the role of object of someone else's quest
(be it that of the parents, the wicked fairy or the prince). In her
versions of well-known fairy-tales, Angela Carter challenges this
traditional distribution of gender roles: in Bluebeard's The Bloody
Chamber, for example, it is the mother, arriving on her gallant steed,
who finally rescues the heroine from the clutches of her husband.3

2. The story attaches great importance to the value of physical beauty -

we noted the recurrence of this term in our examination of the
figurative component. Implicitly, therefore, it is the beautiful people
(the princess and the prince) who are successful in life and who
attain their heart's desire. The text thereby legitimizes certain
current practices: the tendency, for example, to offer the best jobs to
the best-looking. It thus ignores any contemporary concern with the

163
Dictionary of notion of human/civil rights (rights of the disabled, etc.). As the
semiotics concept of beauty is itself largely culturally determined, its
overvaluation could fuel feelings of racism and xenophobia.

3. The story also links moral worth with physical beauty. As a baby, the
princess is given the gifts of Beauty, Goodness and Kindness (in
addition to those of Happiness, etc.). The handsome prince is
implicitly associated with bravery: he has the courage and temerity to
hack down the thorns around the castle. This linking of beauty with
moral value is itself, of course, challenged by some conventional fairy-
tales such as Beauty and the Beast (although the Beast eventually turns
back into a handsome prince). It is further subverted by Angela Carter
in, for example, her story The Tiger's Bride: here Beauty, far from being
presented as good, is clearly attracted by acts of violence, sado-
masochism and sexual perversion.4

4. Sleeping Beauty also associates beauty with, on the one hand, youth
and, on the other, sexual love. From this point of view, too, the text
can be said to reinforce a dominant ideology in Western society: it
encourages an overestimation of youth and an accompanying
devaluation of the later equally important stages in human life. Such
attitudes lead to the dismissal and disparagement of older people in
particular. These assumptions are forcefully challenged by, inter alia,
Gabriel Garcia Marquez in Love in the Time of Cholera, where old age
sees the blossoming of physical love, beauty and passion.5

5. The text can furthermore be said to enact a number of fantasies.

Most significant perhaps is the desire for eternal youth, recalling the
Faust story. This desire in turn reflects an underlying and all-too-
human fear of growing old, of change and of death.

6. In its focus on 'love at first sight', the story finally reinforces a

number of stereotyped assumptions concerning the nature of love.
The outcome of events - marriage followed by a long and happy life
- rests on the supposition that love (together with physical beauty)
will endure the test of time.

As a reflection of stereotypical attitudes and fantasies, Sleeping

Beauty - and similar stories - have an important function within the
contemporary debate concerning human/civil rights and how to foster
in the younger generation the notion of world citizenship.6 The story is

164
not a text for passive consumption but demands a critical reading on A semiotic analysis
the part of the reader - be it an adult or a child. As we have seen, this of Sleeping Beauty
critical reading will necessarily go beyond the confines of the text itself.
It should stimulate active discussion encompassing the wider canvas of
contemporary social and philosophical issues.

B. The impact of Sleeping Beauty on the

reader is not, however, entirely negative
Indeed, certain aspects of the text call for a positive, more 'Hberatory'
interpretation, one that is not without its own contemporary relevance.
The story presents a self-contained meaningful universe in which the
boundaries of good and evil are clearly delineated. In his seminal work
Language and Silence, George Steiner relates the increasing tendencies
in our language usage to blur ethical frontiers to the growth of
widespread political inhumanity in the twentieth century (e.g. the
Holocaust).7 In his novel Le Chercheur d'or (The Seeker for Gold) the
contemporary French writer J. M. G. Le Clezio links the survival of
being human, and of meaning itself, to a memory of this vital
distinction between good and evil - a memory that is perpetuated in
myth and in the fairy-tale.8
Not only, however, is the distinction between good and evil clear-cut
and unambiguous. As we would also expect from a traditional fairy story,
the unfolding of events heralds the triumph of good over evil, the
possibility that our goals may be achieved, that our dreams may come
true. It thus foregrounds the value of hope - for many the mainspring of
all human action - offering a healthy antidote to current tendencies to
cynicism. Moreover, this triumph of positive values, be they aesthetic
(Beauty), spiritual (Goodness, Kindness) or personal/psychological,
takes place against all odds - the power of the wicked fairy is stronger
than that of the good one - that is, it takes place against a backdrop of a
realistic acceptance of the power of destructive forces within con-
temporary society. But, however strong these forces, positive qualities
and creative energy can never be entirely destroyed. These values remain
in a virtual state, in limbo (dormant) waiting to be activated through the
initiative of the individual. We may note here the theme of memory in
Sleeping Beauty and its role in preserving these values from eventual
oblivion and death: it is the recounting of the past by the old man that
awakens the prince's curiosity to embark on the quest.

165
Dictionary of In addition to these predominantly moral and socio-political
semiotics readings of the text, a more strictly mythical/religious interpretation
is possible. Our analysis of the figurative component noted the division
of space into 'high' and 'low'. This configuration (division) possesses
symbolic and, according to Gaston Bachelard, archetypal connota-
tions.9 The 'high' is linked with semes of myth and magic (the princess
pricks her finger and falls asleep). It also represents the spiritual
dimension of eternal and universal values - those of Kindness,
Goodness, etc. - that cannot be altered or destroyed by time. In
contrast, the 'low' is associated with the historic space of social
ceremony (christening, marriage, etc.). The princess, herself, inhabits
both these dimensions.
Sleeping Beauty presents, therefore, a mythical non-Cartesian view of
the world. Like many fairy-tales, it challenges the hegemony of reason,
suggesting the workings of powerful unseen and irrational forces. Its
insights - meanings - are clearly of relevance to contemporary debates
on the nature of the human subject. Indeed, present-day psychologists
and philosophers, in their attempt to elaborate ever more complex
models of the self, increasingly draw upon folk-tales and myth for their
source of inspiration.

Notes
1. Denis Bertrand, 'Narrativity and Discursivity', in Paris School
Semiotics, vol. 1, trans, and ed. by P. Perron and F. Collins
(Amsterdam/Philadelphia: Benjamins, 1989).
2. Sleeping Beauty lends itself, for example, to psychological readings.
See inter aha Bruno Bettelheim, The Uses of Enchantment: The Power
and Importance of Fairy Tales (London: Thames and Hudson, 1976).
3. Angela Carter, The Bloody Chamber and Other Stories (Harmonds-
worth: Penguin, 1979).
4. Ibid., pp. 51-67.
5. Gabriel Garcia Marquez, Love in the Time of Cholera, trans, by Edith
Grossman (Harmondsworth: Penguin, 1985).
6. The philosopher Jiirgen Habermas, for example, links the concept of
world citizenship to an agreed acceptance amongst all nations of a
number of key moral values/codes.
7. George Steiner, Language and Silence (Harmondsworth: Pelican
Books, 1969).

166
8. J. M. G. Le Clezio, Le Chercheur d'or (Paris: Gallimard, 1985). A semiotic analysis
9. For Bachelard the enclosed space of the attic is also linked to the of Sleeping Beauty
semes of intimacy and of refuge. See La Poetique de I'espace (Paris:
Presses Universitaires de France, 1957).

167
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172
Index

A axiology 28
axiomatic 28
absence 17
abstract 17
achrony 17
B
acquisition 18 Bachelard, Gaston 166
actant 18 Barthes, Roland 2, 94
actantial narrative schema being 29
9-10, 19, 156-8 being-able 29-30
action 19-20 believing-to-be 30-1
actor 20 Benveniste, Emile 66
actorialization 20 Bertrand, Denis 119,152
actualization 21-2 binarism 31
adjudicator 22 binary 31
aesthetics 22
agent 23 C
alethic modalities 23
canonical narrative schema
anachronism 23
11-12,32-3
analysis 24
cataphora 33
anaphora 24
category 33
anthropomorphic 24
certainty 33
anthroponym 25
chrononym 33
antiphrasis 25
classeme 34
anti-sender 25
code 34
anti-subject 25
cognitive 34
antonym 26
coherence 35
aphoria 26
cohesion 35-6
appropriation 26-7
collective 36
aspectualization 27
collocation 36
attribution 27
communication model 36-7
Austin, J. L. 74,100,
comparative reference 37
101
competence 38
author 28
complementary 39

173
Index conative function 39 durative 55
conceptual 39 dysphoria 55
concrete 39-40
configuration 40
confrontation 40-1
E
elementary utterance 56
conjunction 41
ellipsis 56
conjunction and
disjunction 41-2 embedding 56
connector 42 embroyage/engagement 57
emotion 57
connotation 42-3
content 3, 43 enunciative subject 57-8
context 43-4, 162-6 enunciator/enunciatee 58-9
contract 32, 44-5, 158, 160 episteme 59
contradiction 45 epistemic modalities 59-60
contrary 46 epistemological subject 60
correlation 46 epistemology 60
culture 46 euphoria 61
evaluative 61
expression and content 3,
D 61-2
debrayage/disengagement 47 expressive function 62
decisive test 11, 32, 47,
159, 160 F
deixis 47-8
demonstrative reference 48-9 Fairclough, Norman 96
denotation 49 figurative 64
descriptive 49 figurativization 64
diachrony 50 figure 64
dialogue 50 focalization 64-5
diegesis 51 focalizer 65
discourse 51 form 3, 65
discursive level 6, 8-9, 51-2, Foucault, Michel 59
149-55 function 3, 66
discursive subject 52
discursive units 53 G
discursivization 53 generative trajectory 67
disjunction and conjunction 53 Genette, Gerard 51, 94
doing/faire 54 genre 67
donor 54 gift 68

174
glorifying test 12, 33, 68, 159, interoceptive/exteroceptive 76 Index
161 interpretation 76-7
grammar 69 isotopy 9, 77
Greimas, A. J. 2,4-7, 22, 59,67, iterative 77
72,92,94,105,107,116,136,
139-40
J
Jakobson, Roman 31, 34, 36-7,
H 66, 122
Halliday, Michael 35,36,41,42,
51,96, 109, 110 K
Hasan, Ruqaiya 41, 42
knowing-how-to-do 78
having-to-be 70
having-to-do 70
helper 70 L
hermeneutics 70 lack 79
hero 71 language 2-3, 79
heterotopic space 71 language act 80
hierarchy 71-2 Levi-Strauss, Claude 2, 3, 46,
Hjelmslev, Louis 2,3,43,61-2, 89,95
65,66,79,83,84, 104, 116, lexeme 80
127, 130 lexia 80
homologation 72 lexical cohesion 81
hypotactic 72 lexical field 81
lexicology 81
I life/death 81-2
listener 82
icon 73
Locke, John 1
iconicity 73
identity 73
ideology 73-4 M
idiolect 74 manifestation 83
illocutionary act 74-5 Martinet, A. 66
illusion 75 matter 83
immanence and metalanguage 83
manifestation 75 metalingual function 83
inchoative 75 metaphor 84
index 76 metasemiotics 84
individual 76 metaterm 84-5

175
Index metonomy 85 personification 101
modal 85 persuasive doing 101
modalities 5, 85-7 phatic function 101-2
modalization 87-8 phoneme 102
morpheme 88 phonemics 102
morphology 88-9 phonetics 102
motif 89 Piaget.Jean 126
myth 89-90 poetic or aesthetic
function 102-3
N polysemy 103
positive 103
narrative pivot point 91
Pettier, B. 80
narrative programme 9,91-2
pragmatic 103-4
narrative subject 92
process 3, 104
narrative trajectory 92
Propp, Vladimir 2, 3-4, 5, 54,
narrative utterance 92-3
66, 79, 89, 105, 136, 139-40
narratology 93-4
narrator/narratee 94
nature 95 Q
negative 95 qualification 103
nominalization 96 qualifying test 11, 32, 106-7,
158, 160
O quest 107

object of value 97
onomatopoeia 97 R
opponent 97 reader 108
reality 108
p realization 108-9
receiver 109
paradigm 98
reference 109
paraphrase 98
referent 109-10
paratopic 98
referential cohesion 110
passion 98-9
referential function 110
pathematic role 99
reiteration 111
patient 99-100
renunciation 111
Peirce, C. S. 1, 73, 76, 128
repeated event 111
performance 100
rhetoric 111-12
performative 100
perlocutionary act 101

176
S symbol 128
synchrony 2, 128
Index

sanction 113 synonym 129

Saussure, Ferdinand de 2-3, 50, syntagm 129
65,79, 102, 116, 123, 125, syntax 129-30
130-1 system 3, 130-1
Searle, John 80
secret 113
seeming 113
T
semantic category 113-14 tactics 132
semantic field 114 temporalization 132
semantics 114-15 terminative 132
seme 115 text 133
sememe 115 thematic role 133
semic density 115 thematization 133
semiology 2, 116 theme and rheme 133-4
semiotic square 5-6,12-13, Thompson, Stith 89
116-17, 161 thymic 134-5
semiotics 1-2,7-13,117-18 Todorov, Tzvetan 94
semiotics of passion 118-20 topic space 135
semi-symbolic 121 toponym 135
sender 121 traitor 136
sender-adjudicator 122 transformation 136
shifter 122 truth 136
signifier and signified 3, 123
simulacrum 123 u
singular 123 uncertainty 137
sociolect 124-5 utopic space 137
somatic doing 124 utterance 137
spatial programming 124
spatialization 124-5
Steiner, George 165
V
strategy 125 value 139
structuralism (French) 125 veridiction 139
structure 126 villain 139-40
subject 126 virtualization 140-1
subject of doing 127
subject of state 127 z
substance 3, 127-8 zoomorphic 142

177

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