An Overview Of Semiotics And Structuralism Drama Essay

An Overview Of Semiotics And Structuralism manoeuvre Es consecrateIn the early 20th Century Ferdinand de de Saussure veritable the linguistic possibility of semiology, the study of signs within wrangle and the tax deductions of these signs. This pertain the compendium of legers within school texts hardly after using could be utilize to only kinds of art, even paintings and music. The heart and souls and signs were discovered by studying wherefore a word had been chosen over a nonher, which in turn developed the whim of binary oppositions, for example it is cold beca function it is non hot. The signs within a text atomic number 18 differential, and it is classical to study the relationship between the signs that are creation springtimen, and in that respectfore in performance the audience are existence move galore(postnominal) pass ons from what they perceive and this flummoxs actually complex layers of importations as different signs connect with 1 a nonh er. Even chinking how the run-in are shed together, especially in old texts where the order is different to now, studying the sentences and which words are practice with unmatchable an different give a deeper meaning to the piece.Saussure introduced the idea of there being a sort and signified to disclose a sign. For example, the word tree would be a signifier, and hence in the receivers mind they would amaze their idea of a tree and this would be the signified, which when twain are put together produce the sign of an actual tree. in that location are many another(prenominal) arouse parts to this idea, for example the arbitrary call down of these signs, in that there is no intrinsic link between signifier and signified (Culler, 20) as there is no clear reason why a tree is called a tree. Most words send word be classed with this arbitrary argument (except onomatopoeia and words that are formed from two others, such as typewriter) and as a matter what is bring forw ard revealed is that because these words adopt no clear reason for use, e precise whizz has their own interpretation. As a result different words mean different things to different people, and therefore one person whitethorn offspring a certain(p) sign from an sight of a piece, whereas another persons interpretation could produce a completely divert sign from the aforementioned(prenominal) aspect. As there are so many cultures and no two people absorb the exact same experiences, all(prenominal) view of a piece will be rattling different. This does not make one readers interpretation more weighty, solely in occurrence all signs picked up by all readers of the piece have to be taken into account, making it more complex than even fair one person analysing it.Texts are made more complicated by the incident that they are diachronic, as they mean different things looking on when they are being read. For example, an antediluvian Greek prank would have different meanings to i t if seen by an ancient Greek in comparison to a contemporary audience. These contrasts in cultures increase even more signs to a piece, as it is the differences between the views that show that one audience is missing a significant part of the meaning, and what this lack of meaning will mean as a result. Consequently it is important to tell apart what would have been taken from the piece in its trustworthy fourth dimension and built in bed for cultural context.Theologists such as Charles Peirce produced another branch off these original ideas based on the idea of the arbitrary state, by analysing how arbitrary a signifier would be in relation to the sign. What he produced was three tiers symbols (such as a word) which were very arbitrary, indexes would be something more closely connected, (such as a musical note on paper) and moving pictures were the least arbitrary, for example a icon or an actor funing a grapheme. Even though this ramose off from Saussures semiology i deas, what was important to take from it was that even if a signifier was an icon and was very close to the sign, still a sign stands for something which is not surrender thus reinforcing the absence and metaphysical hollowness that haunt all signification. (Fortier, 22) In light of this, the whole of reality is questioned as if everyones interpretation of a stance is different, and no sign is more valid than another, what truly is reality, when nobody has the same view? This is what semiotics takes on as it is employ, as every pocketable thing is an interpretation to somebody, and therefore it is hard to see where to stop analysing, stellar(a) to unlimited semiosis, (22) as either everything mustiness have a meaning or nothing has. In light of this a performance can be probed as short as an audience enters the theatre space, if not earlier. Peirces ideas, though connected, did branch off significantly from Saussures original mildew, so for this canvas Peirces work is ackn owledged solely Saussures work will be put into use more.From semiology, Roland Barthes saw the significance of interpretation and chose to take this further in his own studies as he developed what is now known as structural anthropology. In his ideas, he tryd the Death of the Author it is language which speaks, not the author to write is, through a prerequisite impersonality to r individually that closure where only language acts, performs, and not me. (Barthes, Image, 143) In this light, the authors only function is to produce the text but the readers interpretation is that which brings the detail to the piece, activating jouissance, an orgasmic joy in the unbridled dissemination of meaning. (Fortier, 24) Similar to semiotics, the use of contrasting cultures can produce resistant reading in structuralism, for if a piece has been produced in the expressive style of one cultures codes, reading it using the codes of a different culture pith that the text can be read against itse lf. Codes were very important to Barthes, seen as cultural definitions, for example to the Western world a cow is lots seen unspoiled as an animal that produces milk and beef, but to a Hindoo culture cows are sacred, so even something as unsophisticated as this has hugely contrasting meanings to different cultures, and so codes are put into place to help with this analysis.In his work S/Z, Barthes produced five important Narrative Codes, which were proairetic, which indicated actions hermeneutic, providing suspense in questions within the text cultural, using fond norms to define information nigh vulcanized fibers, referencing outside the text to knowledge that should be common to certain cultures semic or connotative, which detail characters through theme, connected to the final exam code, symbolic, which goes further than this to binary pairings and larger themes to create a more exposit image for the reader. (Barry, 51)It is clear that semiotics and structuralism overlap and connect with each other greatly and so can be used together in analysing a piece of text, artwork or similar. In their development it seems as if they fed off each other, each building on the same ideas and creating similar ideas. until now the main difference appears to be that semiotics are very concentrateed, studying in detail cultural inferences, whereas structuralism is such(prenominal) broader and looks more at the overall effects of the play. By spirit these systems and theories of how all aspects of a text are codes and symbols for the reader to interpret, they can consequently be used on a play, such as the knightly play Everyman. Written in the late 15th Century, it is generally view that this plays origin is the Dutch play Elckerlijc, written roughly the same epoch (Patterson, 142). Interestingly in the idea of the Death of the Author, the author is unknown for this piece. As a result any personal influences are immediately govern out and simply the readers interpretation can be focused on.In this play, Everyman is preparing to die after a prate from Death, and so asks different map outative figures to join him on his journey to his final resting place. All of these figures represent certain characteristics of humans, such as Goods, Kindness or Strength, but are vividly fleshed out, for the playwright gives these characters traits and behaviours that make them powerfully real and recognizable as individuals on the stage rather than as abstract moral emblems. (Worthen, 236) As a result the use of gestures and the language style that each character uses would emphasise these traits or attributes, and so semiotics can be used to analyse these in detail. unhappily in this text there are very limited stage directions as with most pieces of that era, so much of the work has to be found within the text itself. This reminds us that a play text is arguably not complete in its own state, as it is simply a tool to be used to produce a perform ance.In medieval times God was much more dramatic than nowadays, and so for God to appear in a play in such a expression would have had a significant bear on on the audience as a square moral lesson in the dwindling ways of peoples behaviour. However in contemporary audiences who are much more atheist, the full significance of the situation may be lost, as an afterlife is believed in less and less, so this means that the moral must come out of not the religious side of the play but of the morals, to simply encourage people to be better in their way of living rather than to emphasise the preparation of arriving at heavens doors.God, in this play, only appears at the beginning of the play to send Death on his mission but as he is the first proper character to appear his moment is made even more prominent. What is notable about the version in Pattersons Wadsworth Anthology is that when God finishes speaking he withdraws ( field 71) whereas all other characters such as Death exit (1 83). This contrast in word choice implies that God never truly exits, and is therefore still involved in the action on stage, a very subtle religious message to the audience that God is always watching. The text also suggests something about the character of God, as he says they forget clean (30) and clean devastate me (35). Using the word clean as he describes sinners is very symbolic as it reflects Gods willingness to forgive and see people as naturally dandy people who are corrupted, but the clean argumentationss of their souls is still evident.In contrast to God, Deaths language seems simpler and more to the point when speaking to him, as he takes no time to talk about himself but offers himself up fully for Gods will Your order to fulfill (65). An audiences first view of this character would see a very obedient character that was sharp and swift, which portrays death in reality, which is often sudden and sharp, striking at an unexpected moment. Already within the first 70 l ines the reader has experienced very powerful messages, some of which may have only been absorbed subconsciously but will be brought up incessantly throughout the play.Everyman, the human representative in the play, is very provoke to study. He gives off a style of conversation that is very hermeneutic, constantly asking questions until he finally gets the answers he needs. His inquisition suggests that he is very confused and placeled by the appearance of Death, as would any human, as well as doubtful of what is happening. However as soon as he understands he seems sorrowful and it is clear that he does believe what he is being told by Death as the questions become less frequent. Sadly though, he seems nave of reality, saying Death giveth no warning (132) but this seems foolish as death never gives warnings in real life. His precaution of death is shown through his desperation, as he offers Death a megabyte pounds if his fate could be delayed, again a sign of naivety. Overall this seems to represent a man who does have faith, who is naturally good, but who has got lost in life and has been distracted by worldly things rather than higher meanings.On line 184, Everyman says regrettably, I may weep with sighs deep This is a very poetic moment as there is an internal rhyme and a accepted rhythm to the line, and we can learn a lot just from these words. It gives a general feeling of original sorrow, punctuate by Alas but he also seems a softened character, by the use of weep. Where sob or cry may have been used, the author has provided us with a softer sounding word that creates poetry. The beautiful result is that of grace and compassion, and so the reader feels for and relates closely to the character of Everyman, which is obviously the point of the play.We, as readers, then experience the arrival of the first moral figure Fellowship. Death has just left but clearly the impending doom still lingers in the air, as Fellowship even though oblivious to the recent events uses many words connected to death, such as lifes end (213), die (220), say no more (223) and hell (232). This could be seen as dramatic irony, as these words would sting Everyman because of his most recent experience. As a character he is very friendly and his first words on line 206 (good morrow, by this day) are of enthusiasm and amity. These emphasised, optimistic words suggest that Everyman will be safe after all, and Fellowship vows his lodge to Everyman with words suggesting he would die for the friendship, wanting nothing in return. However in discovery of what is needed, Fellowship fails Everyman and refuses to commit to the journey, even in true friendship. This seems like a comment on human actions, questioning whether all humans are like Fellowship, willing to be dedicated and incorruptible until a true time of need comes and we have to sacrifice something important to ourselves. The despair that comes over Everyman in realisation of the fleeting, worthle ss relationship would strike throughout an audience as they realise their own decisions in life. some of the characters are like this, giving Everyman hope at first but letting him down at the true moment of need. Even quintuple Wits, Beauty, Discretion and Strength, who all appear to be dedicated to him, fail him at the moment when he reaches the grave. All of these are comments on human observations, as we fail one another in the same way and depend on the wrong things in life. Strength is a very interesting character to analyse as every time he speaks he uses several proairetic words, for example We will bring him all thither, / To his help and comfort, ye may believe me (lines 675-6). This suggests that this strength is to represent both mental and physical strength, as his words are active as well as emotive, as help and comfort have dual functions. The physical aspect is emphasised by reference to Judas Maccabaeus, a Jewish historical warrior, so there is a true feeling of commoveing and power which is encouraged further by his words such as in battle fight on the ground (685). However, as Strength leaves, it reflects on how fear would down Everyman at this point, finally coming to terms with his mortality and feebleness as a human as well as despairing in his inevitable fate.Knowledge, on the other hand, is the figure that saves and guides Everyman in the end. He acts as a helping hand to the protagonist, as he can give him information and provide logic and clear decisions, such as suggesting the visit to Confession. This pushes Everyman forward where he may have been lost before, having not theory to call on Knowledge but was suggested by Good Deeds. This is used within the text to show how when fear arrives, humans struggle to focus and think logically, so the arrival of Knowledge is vital to Everymans continued journey, who soon realises the value of this companion and depends on him give me cognition (538) so the message of the true worth of kn owledge is passed on to the readers.Our final character come to is that of the Doctor, who sums up the whole significance of the tale for the reader. In reality a doctor is a scientific, logical person who can be certain and is responsible for saving others, so the image of a doctor at the end is very official and makes the meaning that more important to try to. Stating the point of the play very clearly, he addresses the audience directly (ye hearers, line 903), drawing in the spectators to emphasise the connection between Everyman and every man. He stresses the importance of understanding the moral of the play by saying take it of worth (903) while the word worth plays on the idea of our true values in life and what things are really worth to us.This play has constant religious intonations throughout, a significant example is that it opens with the words I pray and the last line says Amen. This is suggesting that the whole text is a prayer, from start to finish. Additional to t his is the constant references to Jesus such as on lines 751 and 894 as well as a variety of other religious figures, which supports the theory that a monk or cleric wrote it. (Patterson, 236) Furthermore, the use of the Angel who uses very soft sounds rather than having words chosen with sharp endings or jolting starts, we get a very peaceful feeling of this character as appears only briefly and suggests a soothing impact on our Everyman. Overall, by analysis we can see deeper emphasises of the various figures and their significance within this invention as well as the story of life. Semiosis and structuralism allow us to question words with a more scientific mind to see hidden layers of meaning, giving the whole play a stronger feeling of implication on our own life. The author, although unknown, may have written it as a message on his own views, or may have been channelling a message from above, but whether in text or performance the reader is taught that this life is fleeting and we must not hesitate to discover our true priorities on Earth.