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Midterm Flashcrads > CCT210 Midterm > Flashcards

CCT210 Midterm Flashcards

1
Q

Ferdinand de Saussure

A

uses a model

  • sign is composed of signifier and signified

Signifer = the form of which the sign takes

Signified = the concept it represents

Sign = the whole that results from the association of the signifier with the signified

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2
Q

Saussure Example “open”

A

signifier: the word “open”

signified: the shop is “open” for business

Remember that you as the shopper/the person reading the sign have invested it with meaning

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3
Q

Saussure ‘Value’ of Sign

A
  • value’ of a sign depends on its relations with other signs within the system
  • a sign has no ‘absolute’ value independent of this context

-

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4
Q

For Saussure, the arbitrariness of the sign is related to the dependence of language on cultural convention. Saussure notes that in principle, every means of expression used in society is based on collective behaviour or convention

The Saussurean model… supports the notion that rather than reflecting reality, language plays a major role
in constructing it

A
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5
Q

Charles Sanders Peirce

A

3 part model

  1. The Representamen: (also called the Sign): This is the form the sign takes, such as a word, image, sound, or symbol. It’s the physical or observable part of the sign.
    • example: A red light facing traffic
  2. An Object: The actual thing or concept the sign refers to. It’s the reality or idea that the sign represents.
    • example: the vehicles actually stopping are the “object”
  3. An Interpretant: The understanding or interpretation of the sign in the mind of the person perceiving it. This is how the sign is understood or the meaning it creates.
    • example: When someone sees the red light, they understand that it means they should stop.
    • the idea that a read light indicated that vehicles must stop
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6
Q

Fundamental Division of Peirces Signs

A

Symbol/symbolic: the signifier does not resemble the signified, the relationship must be learnt
- example: evil eye in colossus

Icon/iconic: mode where the signifier is perceived as resembling or imitating the signified - being similar in possessing some of its qualities
- example: photo of tree is an icon because it visually resembles a tree

Index/indexical: signifier is not arbitrary but is directly connected in some way to signified
- example: some is an index to fire, pain is an index to illness

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7
Q

Roland Barthes

A
  • began demonstrating that using semiotics to study the mediascape could be valuable
  • this field of study became known as “critical analysis, a branch of cultural studies that examines the relationship between audiences and media genres, and “functional analysis”
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8
Q

Who are the main theorists of semiotics?

A
  1. Saussure
  2. Peirce
  3. Barthes
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9
Q

What is semiotics?

A

The study of signs

A way of looking at the production of meaning from a particular critical perspective

  • drawings, paintings, sounds, body language, smells, social media, news reports
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10
Q

Why study semiotics?

A
  • less likely to take reality for granted
  • It helps us become more aware of how signs shape our understanding and how we, along with others, contribute to creating social realities
  • In deconstructing and contesting the realities they represent, it can reveal whose realities are privileged and whose are suppressed
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11
Q

Representation

A

recording ideas, knowledge, messages in some physical way

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12
Q

Semiotics representation X=Y

A

X is the form and Y is what is called to attention by X; in other words; what idea or concept you get from X

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13
Q

Mediascape

A

images and messages constantly produced by mass media representations

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14
Q

MESSAGE AND MEANING ARE NOT THE SAME

A
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15
Q

What is Sign?

A
  • something that stands for something or someone else in some capacity
  • take the form of words, images, sounds, odours, flavours, acts or objects
  • have no intrinsic meaning and become signs only when we invest them with meaning
  • anything that conveys meaning
  • consists of signifier and signified
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16
Q

Reality for Theorists

A

Saussure: arbitrariness of the sign is related to the dependence of language on cultural convention
- every means of expression used in society is based on collective behaviour
- rather than reflecting reality, language plays a major role in constructing it

Peirce: reality depends on the ultimate decision of the community

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17
Q

Codes

A
  • The meaning of a sign depends on the system of rules or “code” it belongs to, and these codes help signs make sense within a specific context.
  • codes can be verbal or non-verbal
    • language, painting, music
  • nonverbal communication involves signs
    • eye contact, gazing, facial expressions, gestures, touch
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18
Q

Endcode

A

using a code to create a sign

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19
Q

Decode

A

deciphering something on the basis of the code

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20
Q

Food as a Social Code

A

eating events are coded
- manners (learned from birth) are coded
- how spaghetti is eaten
- table manners are coded
- fast food restaurants are coded

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21
Q

Codes = Knowledge

A
  1. the world (social knowledge)
  2. the medium and the genre (textual knowledge)
    - the relationship between 1 and 2 known as modality judgment
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22
Q

Modality

A

the reality status accorded to or claimed by a sign, text, or genre

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23
Q

Modality Judgments

A

In making sense of a text, we make “modality judgments,” based on our knowledge of the world and of the medium

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24
Q

Roman Jakobson’s Basic Model of Communication

A
  • The addresser (the creator of the text)
  • The message (the message to be conveyed in that text)
  • The addressee (the intended receiver of the text)
  • The context (is what allows the audience to recognize and understand the text; its authenticity)
  • The mode of contact is the method by which the addresser and addressee are linked (the method by which the addresser and addressee are linked).
  • The code is the system of recurrent story elements that allow the audience to decipher a text.
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25
Q

Narratives

A
  • Narratives are texts
  • Made up of composite signifiers
  • Repeatedly arranged in terms of a specific code
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26
Q

Oral Culture

A
  • oral stories that were passed on were essentially mythological in nature
  • “knowledge system”
  • “archetypes” (e.g. trickster, hero)

These are used in constructing media narratives

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27
Q

Conceptual Metaphor

A

Conceptual metaphor here: people are machines.
“That guy’s built like a machine.”
“She acts like a robot.”

Conceptual metaphor here: people are animals.
“The professor is a snake.”
“My friend is a pig.”

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27
Q

Realism

A

Things don’t exist separately from the sign systems we use; the media, which seem to only represent reality, actually help create it.

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27
Q

Representations and Realism

A
  • representations are never really consistent with what they profess to be
  • it also asks us to reflect on the relationship
    between language, the representation, and
    the image.
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27
Q

Metaphors

A

Metaphor is the application of a name or descriptive term or phrase to an object or action to which it is imaginatively but not literally applicable.

  • “The professor is a snake.”
    1. the primary referent (professor), which is called the topic of the metaphor
    2. another referent (snake) which is known as the vehicle of the metaphor
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28
Q

Denotation (Barthes)

A

‘Denotation’ tends to be described as the definitional, ‘literal’, ‘obvious’ or ‘commonsense’ meaning of a sign. It is relatively self-contained. It is known as the first order of signification

  • explain exactly what you see
  • no looks like, can be, means. just simply what you see at face value
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29
Q

Connotation (Barthes)

A

The term ‘connotation’ is used to refer to the cultural, historical and ‘personal’ associations of the sign allowing us to expand application of signs creatively. The second order of signification (connotative) reflects ‘expressive’ values which are attached to a sign and can be defined as a meaning that has a particular cultural history behind it.

  • What certain things can mean in an image
  • cat w guy holding knife behind, could mean latin American people kill cats
30
Q

Signifier/Signified – Denotation/ Connotation

A
  • Denotation and connotation are terms describing the relationship between the signifier and its signified
  • an analytic distinction is made between two types of signifieds: a denotative signified and a connotative signified.
  • Meaning includes both denotation and connotation.
31
Q

Myth

A
  • third order of signification after denotation and connotation
  • cultural underpinnings of societies
  • Myths are concerned with the creation, maintenance and reproduction of values and cultural beliefs associated with the dominant order in society.
32
Q

Roland Barthes MYTH

A

denotation and connotation combine to produce myths

33
Q

MYTHS are concerned with ranking values and beliefs as

A
  • masculinity
  • femininity
  • freedom
  • consumerism
  • racial, ethnic or national identity
34
Q

Power of MYTH

A
  • it makes ideas, ideologies or values ‘natural,’ ‘normal,’ or‘ commonplace.’
  • This places the mythical object beyond criticism or critique—it becomes no longer subject to questioning.
35
Q

Ideology

A

simply put is a shared set of cultural beliefs

  • term developed in the Marxist tradition to talk about how cultures are structured in ways that enable the group holding power to have the maximum control with the minimum of conflict.
36
Q

Difference between MYTH and IDEOLOGY

A
  • The social function of myth is to bind together social groups as wholes, or in other words to establish a social consensus. The social function of ideology is to segregate and serve special interests within societies in the competition of debate

example of myth: myth of femininity - our perceptions of gender roles

example of ideology: “a woman’s place is in the home” – now think of this in relation to what Halpern says above about ideology

So our myths often stem from our ideologies (or as Barthes says “myths are the ideologies of our time”

37
Q

Slef-Presentation

A
  • Self-presentation is the process of strategically concealing or revealing personal information to influence others’ perceptions
38
Q

“We” as sign vehicles: Social interactions and society

A
  • Society is based on the idea that if someone has certain social traits, they have the right to expect others to value and treat them accordingly.
  • Connected to this idea is another principle: if a person shows or claims to have certain social traits, others should respect this claim, and the person should genuinely be what they claim to be.
39
Q

Creating an online dating persona

A

“People are often pursued or ignored by potential romantic partners based on a quick look at their profile, so they are motivated to create versions of themselves that seem appealing to others.”

40
Q

Using signs in online dating

A
  • with online dating people have the opportunity to post images that show the best version of themselves
  • profile pictures do not always represent the most accurate image, but often the best
  • people are more likely to post photos that present their most ideal self
41
Q

According to Ellison there are three main factors to consider as a framework for online persona:

A
  1. Time-shifted nature of the profile
    • Profiles can be created and viewed anytime, allowing for more thoughtful presentation
  2. Reduced cues of the CMC environment
    • Online communication has fewer non-verbal signals (like body language) compared to face-to-face interactions
  3. Community-specific shared understandings
    • Each online community has its own norms and meanings that shape how people interact and present themselves.
42
Q

Are individuals with more physically beautified online dating profile pictures perceived as more or less trustworthy?

A

Women’s perception of men
- women rated men with an enhanced profile pic as more trust worthy than those with an unenhanced pic

Men’s perception of women
- perceived women with unenhanced profile pic to be more trustworthy than the beautified one

  • In other words, seeing an attractive woman in an online dating environment may increase suspicions regarding the accuracy of the picture and the trustworthiness of the individual.
43
Q

Ellison suggests that “the profile constitutes a promise made to an imagined audience that future face-to face interaction will take place with someone who does not differ fundamentally from the person represented by the profile”

A
44
Q

Social Media and Teen Identity

A
  • The rise of aesthetics and celebrity worship leads to unhealthy relationships and influences self exploration in teenagers.
  • Social media often misrepresents or underrepresents minority groups, hindering teenagers’ identity discovery.
  • As social media’s influence grows, so does the occurrence of identity crises among teens.
  • Social media pressures teenagers to conform to trendy identities instead of embracing their true selves.
  • Trends change frequently, complicating the process of defining one’s identity in a constantly evolving society.
  • Instead of forming identities through real experiences, teens face identity challenges influenced by mass media, resulting in a lack of consistency in their sense of self.
45
Q

Sign (X = Y) Saussure

A

Saussure’s model of the sign is ‘dyadic’ since it is a two-part model:

Signifier - the form which the sign takes.
Signified - the concept it represents.

A sign always contains both a signifier and signified.

46
Q

Sign, Peirce

A

Peirce‘s model of the sign is ‘triadic’ since it is a three-part model:

Sign (or Representamen) - the form which the sign takes.

Object (or Semiotic Object) - the concept it represents.

Interpretant (or Interpretant Sign) – a sign’s meaning

47
Q

Semiotics – Basic Terminology

A

Signifier: the form of a representation, X, is generally called the signifier.

Signified: the meaning or meanings, Y, that it generates (obvious or not) is called the signified,

Signification: the kinds of meanings that can potentially be extracted from representation (X = Y).

48
Q

memeification of politics

A

the turning of politics more into a collection of signals and symbols than discussions of content or policy

49
Q

A code can be compared to a recipe

A

It contains instructions (directions for making food or drink) that someone must follow to create the actual dish or drink. Usually, there is an ideal code or combination of codes that works best for a specific way of representing something.

50
Q

Social codes (In a broader sense all semiotic codes are ‘social codes’)

A
  • verbal language
  • bodily codes (bodily contact, proximity, physical orientation etc.)
  • commodity codes (fashions, clothing, cars);
  • behavioural codes (protocols, rituals, role-playing, games).
51
Q

Textual codes (Representational codes)

A
  • scientific codes, including mathematics;
  • aesthetic codes (poetry, drama, painting, etc.)
  • genre, and stylistic codes (plot, character, action, dialogue, etc.)
  • mass media codes (photographic, televisual, filmic, radio, etc.)
52
Q

Interpretative codes (less agreement about these as semiotic codes)

A
  • perceptual codes
  • ideological codes: (include codes for ‘encoding’ and ‘decoding’ texts)
53
Q

The Superman Code (Superman Recipe?)

What are the “ingredients” we need to tell a coherent story about Superman?

A
  1. Superman lives a double life as hero and as reporter Clark Kent.
  2. He is adored by Lois Lane. As Superman he ignores her advances. However, as Clark Kent he shows amorous interest in her.
  3. As Clark Kent he dresses like a typical American male reporter. He changes into his Superman costume (away from the public eye) only when the situation calls for heroic intervention.
  4. Given his tragic flaw, Superman may become momentarily overpowered by some villain who comes into possession of kryptonite.
  5. He has all the qualities and virtues of heroes.
54
Q

The semiotician and linguist Roman Jakobson (1896-1982) argued persuasively that context is a key component of any model of communication,
along with the notions of addresser, message, addressee, contact, and code. Using Superman as a case-in-point, these terms can be defined as follows:

A
  • The addresser is the creator of a particular Superman story.
  • The message is what the specific story is designed to convey.
  • The addressee is the audience, the intended receiver of the Superman episode.
  • The context is the actual medium used, permitting an audience to recognize that the episode is authentic and leading to an interpretation. If the
    story is found in an adventure comic book, then it will be interpreted as a genuine Superman story. If the episode is in a satirical movie, it will be interpreted instead as a “parody of the Superman story.”
  • The mode of contact is how the addresser and addressee are linked through the medium used. A Superman story can be delivered in comic book, TV, radio, movie, or website form. Each one allows the addresser to contact the addressee in some specific physical or psychological way.
  • The code, as we saw above, is the system of recurrent story elements that allow audiences to decipher a Superman text as an adventure
    story extolling heroism.
55
Q

Denotation and connotation are terms describing the relationship between the signifier and its signified, and an analytic distinction is made between two types of signifieds: a denotative signified and a connotative signified.

Meaning includes both denotation and connotation.

A
56
Q

Denotation, Denotative Meaning

A

Essentially, it is the ‘face value’ linkage established between a sign and its referent.

  • definitional, ‘literal’, ‘obvious’ or ‘commonsense’ meaning of a sign
  • what all viewers from any culture and at any time would recognize the image as depicting
57
Q

Connotation, Connotative Meaning

A

A meaning that has a particular cultural history behind it

  • such meanings can only be created and understood within a signifying order
  • is used to refer to the socio-cultural and ‘personal’ associations (ideological, emotional etc.) of the sign
  • is used to refer to the socio-cultural and ‘personal’ associations (ideological, emotional etc.) of the sign.
  • these are typically related to the interpreters class, age, gender, ethnicity and so on
58
Q

Connotation - Polysemy

A

Signs are more polysemic - more open to interpretation - in their connotations than their denotations.

59
Q

Denotation vs. Connotation

A
  • Connotations are not purely ‘personal’ meanings - they are determined by the codes that the interpreter knows
  • Cultural codes provide a connotational framework since they are ‘organized around key oppositions and equations’, each term being ‘aligned with a cluster of symbolic attributes’
60
Q

MYTH
(relationship between language and the power of dominant social institutions to influence ‘instant’ connotative readings)

A
61
Q

Myth - Barthes

A
  • denotation and connotation combine to produce myths
  • Ideology: the shared set of values and beliefs that exist within a given society and through which we live our lives
  • Myths are concerned with the creation, maintenance and reproduction of values and cultural beliefs associated with the dominant order in society.
62
Q

The power of MYTH is that it makes ideas, ideologies or values ‘natural,’ ‘normal,’ or ‘commonplace.’

A
63
Q

MYTH X (always) equals Y

A
64
Q

Naturalisation Signs, Codes, Metaphors

A
  • Signs and codes are generated by myths and in turn serve to maintain them.
  • Myths can be seen as extended metaphors. Like metaphors, myths help us to make sense of our experiences within a culture.
65
Q

Naturalisation

A

Naturalisation leads to the silencing of both interpretation and difference.

66
Q

Modality

A
  • in our daily behaviour we routinely act on the basis that some representations of reality are more reliable than others
  • e.g. mike tyson punching us in the face compared to a cartoon character
  • we do so in part with reference to cues within texts which semioticians (following linguists) call ‘modality markers’
67
Q

(Multi)modality

A

Modality refers to the reality status accorded to or claimed by a sign, text or genre.

68
Q

Interpretative Codes and Modality Judgments

A
  1. The world (social knowledge)
  2. The medium and the genre (textual
    knowledge)
  3. the relationship between (1) and (2) (modality judgments).
69
Q

Image Analysis: List all signs (denotation and connotation)

A

Modality Judgments?
Codes?
Metaphors?
Myth?

  1. Identifying the text (medium, genre)
  2. What are the purposes of the text?
  3. What are the important signifiers?
  4. Modality (reality claims, realism)
  5. Intertextuality (does it refer to other texts)
70
Q

Superman video played in class - metaphor

A

used metaphor to explain Superman

“faster than a speeding bullet.”
“more powerful than a locomotive”

71
Q

I love lucy clip - myth

A
  • 2 women get jobs at a factory to buy a bag
  • the manager has a harsh authoritarian male persona with a deep voice (even tho a woman is in charge
  • women cant keep up with their jobs and go back home telling their husbands how hard work is and how they appreciate them
72
Q

TedX video - self presentation

A
  • teens talk about social media taking over who they are
  • people try to fit a glorified persona or aesthetic trend abandoning who they are and their interests to fit the mould
73
Q

Realism

A

“Things do not exist independently of the sign systems which we use; ‘reality’ is created by the media which seem simply to represent it”

Media seems to show you what they filmed and thats it nothing more, even tho it may be unrealistic and bias

74
Q

Re-presentations

A

Re = what has been showed to us (seen, dealt, touched by someone)

Presentation = original

  • e.g.. unless you went to the raptors game and saw it live, you are watching a representation
  • Any time you see something in media it has been mediated in some way with media markers
75
Q

modality markers

A

E.g.. documentaries - can see camera shaking

In our day-to-day actions, we regularly act on the basis that some representations of reality are more reliable than others. And we do so in part with reference to cues. These cues are known as “modality markers”

Midterm Flashcrads (37 decks)

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