Linguistic message

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Linguistic messages (according to Roland Barthes : le message linguistique ) are written statements that are related to iconic messages based on signs . They belong to the science of semiotics , which deals with all kinds of sign systems, such as gestures or traffic signs. Examples are captions, slogans on posters , speech bubbles in comics , newspaper articles or written information such as dialogues about film images. They are considered full members of an information structure .

Linguistic messages always answer the question, “What is it that I see?” They are the denoted description of the image and they limit the projective power of the image: “At the level of the symbolic message, the linguistic message no longer guides identification but the interpretation ; it creates a kind of limiting pressure that prevents the connoted meaning from overflowing into overly personal areas. "

According to Roland Barthes, every “society develops various techniques to fix the fluctuating chain of signifieds in order to fight against the horror of uncertain signs: the linguistic message [ le message linguistique ] is one of these techniques.” Two functions should be emphasized: that of connection ( de relais ) and those of anchoring ( d'ancrage ). In mass culture , the linguistic message mostly serves to anchor, the most common function of the linguistic message. “You can usually find them in press photography and advertising. The relay function is less common (at least with the still picture); you can find them especially in the humorous drawings and in the comics. "

The most important social function of anchoring is ideological , as it directs the meaning and the decisions for what is perceived. Linguistic messages reduce thinking. In contrast, the relay word is important in the film: the “relay word becomes very important in the film where the dialogue has no mere illuminating function and where it actually drives the action forward by adding meanings to the sequence of messages that are in the picture do not appear. ”In L'Empire des signes (The Realm of Signs) Barthes works with the interlacing of image and text, which is equivalent to this relay function.

literature

  • Roland Barthes: The rhetoric of the image . In: Roland Barthes: The oncoming and the dull sense, Frankfurt / M .: Suhrkamp 1990 [Original: Rhétorique de l'image ]
  • Roland Barthes: shock photos. In: Roland Barthes: Myths of everyday life. Frankfurt / Main 1964
  • The bright chamber . ISBN 3-518-57731-X [La chambre claire, Paris 1980]

swell

  1. ↑ On the translation problem and the use of the term linguistic message instead of the linguistic message as here in the Suhrkamp translation, see Gabriele Röttger-Denker: Roland Barthes for an introduction. See literature.
  2. ^ Roland Barthes: Rhétorique de l'image in the translation by Gabriele Röttger-Denker. In Gabriele Röttger-Denker: Roland Barthes for an introduction. See literature. Translation page 133, original page 20.
  3. ↑ Roland Barthes: Rhetoric of the picture. In: Roland Barthes: The oncoming and the dull sense, Frankfurt / M .: Suhrkamp 1990, p. 35
  4. ↑ Roland Barthes: Rhetoric of the picture. In: Roland Barthes: The oncoming and the dull sense, Frankfurt / M .: Suhrkamp 1990, p. 37.
  5. ↑ See Gabriele Röttger-Denker. In Gabriele Röttger-Denker: Roland Barthes for an introduction. See literature. Page 20; see. for the analysis of "crazy, dangerous" photographs and their political impact, because they make you think: Roland Barthes: The bright chamber .
  6. ↑ Roland Barthes: Rhetoric of the picture. In: Roland Barthes: The oncoming and the dull sense, Frankfurt / M .: Suhrkamp 1990, p. 37.
  7. ↑ Kentaro Kawashima: ... close to the smile. The photographed face in Roland Barthes' Das Reich derzeichen. In .: parapluie no. 23. [1] .