The Signifier And The Signified
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The Signifier and the Signified
Author: F. Noske
language: en
Publisher: Springer Science & Business Media
Release Date: 2012-12-06
The studies collected in this volume deal with the interpretation of opera. In most cases the results are based on structural analysis, a concept which may require some clarification in this context. During the past de cade 'structure' and 'structural' have become particularly fashionable terms lacking exact denotation and used for the most divergent purposes. As employed here, structural analysis is concerned with such concepts as 'relationship', 'coherence' and 'continuity', more or less in contrast to formal analysis which deals with measurable material. In other words, I have analysed the structure of an opera by seeking and examining factors in the musico-dramatic process, whereas analysts of form are generally preoccupied with the study of elements contained in the musical object. Though admittedly artificial, the dichotomy of form and structure may elucidate the present situation with regard to the study of opera. Today, nearly one hundred years after the death of Wagner, the proclaimed anti thesis of Oper und Drama is generally taken for what it really was: a means to propagate the philosophy of its inventor. The conception of opera (whether 'continuous' or composed of 'numbers') as a special form of drama is no longer contested. Nevertheless musical scholarship has failed to draw the consequences from this view and few scholars realize the need to study general theory of drama and more specifically the dramatic experience.
Elements of Semiology
"In his Course in General Linguistics, first published in 1916, Saussure postulated the existence of a general science of signs, or Semiology, of which linguistics would form only one part. Semiology, therefore aims to take in any system of signs, whatever their substance and limits; images, gestures, musical sounds, objects, and the complex associations of all these, which form the content of ritual, convention or public entertainment: these constitute, if not languages, at least systems of signification . . . The Elements here presented have as their sole aim the extraction from linguistics of analytical concepts which we think a priori to be sufficiently general to start semiological research on its way. In assembling them, it is not presupposed that they will remain intact during the course of research; nor that semiology will always be forced to follow the linguistic model closely. We are merely suggesting and elucidating a terminology in the hope that it may enable an initial (albeit provisional) order to be introduced into the heterogeneous mass of significant facts. In fact what we purport to do is furnish a principle of classification of the questions. These elements of semiology will therefore be grouped under four main headings borrowed from structural linguistics: I. Language and Speech; II. Signified and Signifier; III. Syntagm and System; IV. Denotation and Connotation."--Roland Barthes, from his Introduction
New Testament Semiotics
Focusing on linguistic signs, New Testament Semiotics navigates through different realist and nominalist traditions. From this perspective, Saussure’s and Peirce’s traditions exhibit similarities. Questioning Derrida’s and Eco’s semiotics based on their misuse of Peirce’s innovations, Dr. Privatdozent Timo Eskola rehabilitates Benveniste and Ricoeur. A sign is about conditions and functions. Sign as a role is a manifestation of participation. Serving as a sign entails participation in a web of relations, participation in a network of meanings, and adoption of a set of rules. We should focus on sentences and networks, not primitive reference or binary oppositions. Enunciations are postulations producing evanescent meanings. Finally, the study suggests a linguistic approach to metatheology that is based on hermeneutics of discursive resistance.