84 Matching Annotations
  1. Oct 2020
  2. Sep 2020
    1. Foucault and the discursive approach, but by no means everything it claims iscorrect and the theory is open to, and has attracted, many criticisms. Again. inlater chapters, as we encounter further developments in the theory ofrepresentation, and see the strengths and weaknesses of these positionsapplied in practice, we will come to appreciate more fully that we are only atthe beginning of the exciting task of exploring this process of meaning

      The purpose of this passage (and in the conclusion as a whole) is to review the ideas and concepts that were covered but to make clear that their "ideas in an unfinished project" making it clear that the theories are just a basis of initially understanding the various approaches of representation, and not something to completely adopt at "face value."

    2. There was much to learn from Saussureand Barthes, and we are still discovering ways of fruitfully applying theirinsights - without necessarily swallowing everything they said

      Hall indicates how he wants the reader to go about absorbing the information from the various theorists he includes.

    3. Notice that the chapter does not argue that the discursive approach overturnedeverything in the semiotic approach.

      Hall points out deliberate writing choices he made that might have gone unnoticed to the reader.

    4. In several examples, we triedto get you to work with these theories and to apply them.

      pointing out his purpose of making the audience familiar with the theories, enough to "apply them"

    5. I won't run through the finer points in these two approachesagain, since you can go back to them in the main body of the chapter andrefresh your memory.

      Hall here is directly speaking to his audience. He directs them of where to find the indicated information if more clarification is needed.

    6. We can translate them into language, make them 'speak', through the use ofsigns which stand for them - and thus talk, write, communicate about themto others

      Language contributes the formation of culture, by connecting our shared thoughts with others through forms of communication.

    7. We started with a fairly simple definition of representation. Representation is the process by which members of a culture use language (broadly defined as any system which deploys signs, any signifying system) to produce meaning.

      reiteration that orients the reader once again.

    8. any

      The discourse, referring to the composition of the painting which, by nature, caused the viewer/spectator to be a 'subject' that is being looked at from the point of view of the figures in the painting, requires the spectator(the veiwer of the painting) to allow themselves to be subjected to the painting.

    9. Far from being finally resolved into some absolute truth which is the meaning of the picture, the discourse of the painting quite deliberately keeps us in this state of suspended attention,

      regardless of the fact that everything that is painted in the painting stays the same, the way that it's being looked at contributes to it's meaning. "it keeps us in the state of suspension."

    10. orces us to oscillate between these two 'subjects' without ever finally deciding which one to identify with.

      maybe the composition is how it is painted in a way that either the subject of the painting is the sitter (the thing that everyone is looking at ie the two people in the mirror) or it's the infanta that is the direct centre and thing that draws attention. This is the discourse that is "forcing us" to waver between the two subjects.

    11. And the compositfon of the picture - its discourse -

      From this, we can assume the discourse represents the composition of the picture. But what exactly is composition referring to here?

    12. 58 REPRESENTATION: CULTURAL REPRESENTATIONS AND S1GNIFYING PRACTICES Las Meninas shows the interior of a room - perhaps the painter's studio or some other room in the Spanish Royal Palace, the Escorial. The scene, though ·in its deeper recesses rather dark. is bathed in light from a window on the right. 'We are looking at a picture in which. the painter is in tum looking out at us,' says Foucault (1970, p. 4). To the left, looking forwards, is the painter himself, Velasquez. He is in the act of painting and his brush is raised, 'perhaps ... considering whether to add some finishing touch to the canvas' (p. 3). He is looking at his model, who is sitting in the place from which we are looking, but we cannot see who the model is because the canvas on which Velasquez is painting has its back to us, its face resolutely turned away from our gaze. In the centre of the painting stands what tradition recognizes as the little princess, the Infanta Maxagarita, who has come to watch the proceedings. She is the centre of the picture we are looking at, but she is not the 'subject' of Velasquez' canvas. The Infanta has with her an •entourage of duennas, maids of honour, courtiers and dwarfs' and her dog (p. 9). The courtiers stand behind, towards the hack on the right. Her maids of honour stand on either side of her, framing her. To the right at the front are two dwarfs, one a famous court jester. The eyes of many of these figures, like that of the painter himself, are looking out towards the front of the picture at the sitters. Who are they - the figures at whom everyone is looking but whom we cannot look at and whose portraits on the canvas we are forbidden to see? In fact, though at first we think we cannot see them, the picture tells us who they are because, behind the Irifanta's head and a little to the left of the centre of the picture, surrounded hy a heavy wooden frame, is a mirror; and in the mirror -at last - are reflected the sitters, who are in fact seated in the position from which we are looking: 'a reflection that shows us quite simply what is lacking in everyone's gaze' (p. 15). The figures reflected in the mirror are, in fact, the King, Philip rv. and his wife, Mariana. Beside the mirror, to the right of it, in the back wall, is another 'frame', but this is not a mirror reflecting forwards; itis a doorway leading backwards out of the room. On the stair, his feet placed on different steps, 'a man stands out in full-length silhouette'. He has just entered or is just leaving the scene and is looking at it from behind, observing what is going on in it but 'content to surprise those within without being seen himself'

      Everything that Hall says here can be observed by the reader but he still writes up everything that can be seen in the painting. The whole point of Hall thoroughly explaining what is going on in the painting is to simply state the topic, the thing that is being discussed and structurally set up the analysis that's about to follow.

    13. It was part of the Spanish court's royal collection and hung in the palace in a room which was subsequently destroyed by fire. It was dated '1656' by Velasquez' success

      all this is contextual background on the painting. Shows that its not just a random painting, but the histiry behind it

    14. The reason I am using it here is because. as all the critics agree, the painting itself does raise certain questions about the natme of representation,

      Purpose

    15. The reason I am using it here is because. as all the critics agree, the painting itself does raise certain questions about the natme of representation, and Foucault himself uses it to talk about these wider issues of the subject.

      explanation/orienting the reader

    16. It suggests that, although other people may misunderstand us, we always understand ourselves because we were the source of meaning in thefirst place.

      this is a reference to power/knowledge-- the person who says the idea will have the upper hand in terms of having the most understanding.

    17. the 'core' of the self, and the independent, authentic source of action and meaning. According to this conception, when we hear ourselves speak, we feel we are identical with what has been said.

      chocot says youre not stable or autonomous if youre opinion is being imacted by some other form of power.

    18. Foucault did include the subject in his theorizing, though he did not restore the subject to its position as the centre and author of representation

      not sure I understand this point.

    19. he semiotic approach, representation was understood on the basis of the way words functioned as signs within language. But, for a start, in a culture, meaning often depends on larger units of analysis -

      Hall addressing a interpretive problem

    20. In the first, the signifiers (the elements of the image) and the signifieds (the concepts - soldier, flag and so on} unite to form a sign with a simple denoted message: a black soldier is giving the French flag a salute. At the second stage, this completed message or sign is linked to a second set of signifieds -a broad. ideological theme about French colonialism. The first, completed meaning functions as the signifier in the second stage of the representation process, and when li�ed with a Vvider theme by a reader, yields a second, more elaborate and ideologically framed message or meaning. Barthes gives this second concept or theme a name - he calls it 'a purposeful mixture of "French imperiallty" and "militariness"'. This, he says, adds up to a 'message' about French colonialism and her faithful Negro soldier-sons. Barthes calls this second level of signification the level of myth. In this reading, he adds, 'French imperiality is the very drive behind the myth.

      Hall not only includes an example but also goes into deep analysis on it.

    21. These signs enable clothes to convey meaning and to function like a language - 'the language of fashion'. How do they do t

      This set of signs is, like most signs arbitrary. However, it's accepted among a large cultural group.

    22. But she cannot 'decide' whether or not to use the rules of language, if she wants to be understood

      The author must abide to the rules of language in order to be understood by others. exemplifies 'social phenomenon'

    23. parole inevitably lacked those structural properties - forming a closed and limited set - which would have enabled us to study it 'scientifically'.

      It may be much more difficult, but maybe I think certain aspects of it could still be studies (ex. comparing the parole of different families within a culture etc.)

    24. However, if meaning changes, historically, and is never finally fixed, then it follows that 'taking the meaning' must involve an active process of interpretation. Meaning has to he actively 'read' or 'interpreted'. Consequently. there is a necessary and inevitable imprecision about language. The meaning we take, as viewers, readers or audiences, is never exactly the meaning which has been given by the speaker or writer or by other

      The problem is, if the meaning of something is constantly changing and evolving over history, then determining the meaning requires a certain level of interpretation. Furthermore, because the meaning of something is always left up to interpretation, it leaves a lot of room for inconsistency within language as a whole. As a result, the person who reads/views something is likely to get a different takeaway, in terms of meaning, than others would and even differently than how the author intended. Additionally, It would be very difficult to express something meaningful without the effects of all the meanings from previous eras influencing it;There's no way of completely erasing the knowledge of all those previous meanings, and therefore, they can very possibly distort the meaning which is trying to be conveyed. For example, the word 'Black' has certain negative connotations that would be hard to competently ignore when reading the headline,'WEDNESDAY-- A BLACK DAY ON THE STOCK EXCHANGE'. Even if this headline is meant to convey the word 'Black' positively, it's hard to do this because of the associated negative meanings that came before. When a person wants to express meaning in something, that meaning now becomes altered due to the other inescapable meanings which influence or overshadow your idea. Furthermore, because interpretation is so crucial here, the reader is equally as important as the writer when giving something meaning. If a sign has not been interpreted in an intelligent way, it is not considered 'meaningful'.

    25. The implications of this argument are very far-reaching for a theory of representation and for our understanding of culture.

      Halls response/argument to Saussures approach.

    26. BLACK -with everything that is dark, evil, forbidding, devilish, dangerous and sinful. And yet, think of how the perception of black people in America in the 1960s changed after the phrase 'Black is Beautiful' became a popular slogan - where the signifier, BLACK, was made to signify the exact opposite meaning (signified) to its previous associations.

      This example shows how meaning is not fixed. At first the sign 'Black' signified one thing and then through time and perspective it changed to a different one.

    27. Thus 'the sign is the union of a form which signifies {signifier) ... and an idea signified (signified). Though we may speak ... as if they are separate entities, they exist only as components of the sign

      Both elements (the signifier and signified) are two parts of the term sign, two signs of the same coin.

    28. influence of the Swiss linguist, Saussure, who was horn in Geneva in· 185 7, did much of his work in Paris, and died in 1913. He is known as the 'father of modern linguistics'.

      Contextual background of who Saussure was. Orients the reader.

    29. CHAPTER I T

      page 29 passage 1:

      "codes are crucial for meaning and representation." Codes are crucial in our culture because they are part of "our shared 'maps of meaning' -- which is learned unconsciously as one becomes a part of a culture.

    30. signs themselvescannot fix meaning. Instead. meaning depends on the relation between a signand a concept which is fixed by a code. Meaning, the constructionists wouldsay, is 'relational

      To a constructionist, the meaning is determined based on the direct relation of a sign and concept.

    31. If youcouldn't differentiate between Red and Green

      although the colors (in terms of language) red and green are arbitrary, it is intention within this system that they are chosen because they can be differentiated between each other

    32. The language of traffic lights

      passage 1: Discusses 'the language of colors' how we identify or label different colors (red, yellow, green) whereas other cultures that speak different colors will use their language to identify them.

      passage 2: Colors dont have 'true' inherent meanings to them (red doesnt mean stop any more than green means go) but these are meanings that have meen assigned to them. Its arbitrary. This 'language code' is a complete mystery to anyone who does not know it

    33. Theories of representation

      3 approaches:

      reflective- language acts like a mirror to reflect the true meaning as it already exists in the world. this theory is 'Mimetic"

      Intentional- words mean what the author intends they should mean. The flaw is that we can't be the sole meanings of source in language-- would make it private languages. 'The essence of language is communication" so it must be shared.

      Constructionist - "neither the things in themselves or the individuals users of language can fix meaning." Its the system we use to represent our concepts.

    34. 24

      page 24 passage 1 "Social and linguistic conventions do change over time"

      This is true and very much so with social media and terms that teenagers create (ex. slang words)

    35. here are many more than in English, making much finer and more complex distinctions.

      different cultures may have a wider 'language' for things when it comes to something that is prevalent in that culture. For example, the amount of words for snow that Inuit have.

    36. You may find it easier to understand, now, why meaning, language and representation are such critical elements in the study of culture. To belong to a culture is to belong to roughly the same conceptual and linguistic universe, to know how concepts and ideas translate into different languages, and how language can be interpreted to refer to or reference the world.

      Hall uses Logos here to illustrate the importance of the terms he is discussing (meaning, language and representation) within the topic of culture.

    37. Not because such knowledge is imprinted in their genes, but because they learn· its conventions and so gradually became 'cultured persons'

      Over time a person learns, not born with it.

    38. (remember, 'linguistic' in a broad sense)

      again Hall reiterates-- remembering that linguistic doesn't simply mean written or spoken language but in an even broader sense.

    39. They bear no obvious relationship at all to the things to which they refer.

      Iconic signs are visual signs that bear some level of resemblance to the thing referenced ( ex. photo of a tree)

      *Indexical signs** don't show any obvious resemblance to the thing (ex. letters T,R,E,E don't look like a tree)

    40. THE WORK OF

      1.1 page 18/19 last passage: Hall reiterates that the term 'Language' is used "in a very broad and inclusive way", not just in the classical linguistic sense but in other ways as well. ex. Facial expressions, gestures, fashion, clothes, traffic lights.

    41. 18

      1.1 passage 2 page 18 On the one hand a persons conceptual map is unique and individual, however, we are still able to communicate with each other because we broadly share the same conceptual maps and thus are able to understand eachother.

    42. two

      Meaning is personalized to the specific person and the objects, people, events etc. that they will carry inside their heads. This can be different depending the person

    43. Look at any familiar object in the room.

      Here, Hall engages with his audience by having them be an active participant in terms of understanding his idea. Rather than just explaining it he has us do the action. This also provides some Pathos as a way of connecting with the audience.

    44. The figures in the painting stand in the place of. and at the same time, standfor the story of Cain and Abel. Likewise, the cross simply consists of two wooden planks nailed together; but in the context of Christian belief and teaching, it takes on, symbolizes or comes to stand for a wider set of meanings about the crucifixion of the Son of God, and this is a concept we can put into words and pictures.

      Analysis explaining the two definitions provided.

    45. 'Is that all?' Well, yes and no.

      Stuart Hall offers a definition of the term representation but also addresses its complexity and that there's more to it. This is a way of showing purpose in that his is trying to educate/inform and also introduces that topic.

    46. 15 I CHAPTER I THE WORK OF REPRESENT A TlON Representation, meaning and language In this chapter we will be concentrating on one of the key processes in the 'cultural circuit' {see du. Gay, Ha.ll et al., 1997, and the Introduction to this volume) - the practices of representation. The aim of this chapter is to introduce you to this topic, and to explain what it is about and why we give it such importance in cultural studies

      Hall states his purpose

    47. INTRODUC

      page 5 passage 1 summary: defining what he means by the term 'language'... "languages work through representation" not just something that is spoken or written-- something that communicates/expresses a thought, idea, or concept (ex. music has musical notes, fashion has clothes etc.)

    48. r

      page 5 passage 2 summary: a list of examples are given to help illustrate different forms of 'language' and how it is used as a way of representation. Some included are: photography, exhibition/display in a museum, music.

      Hall also gives the example of even getting decked out in sports attire with body paint and signs-- saying its a way of expression to the idea of belonging to a national culture. Possibly using Pathos by tailoring to a specific audience that might resonate with the idea of having sport team pride and understand this experience in specific.

    49. 4

      Hall references/ quotes other scholars as sources from their writings as a way of showing ethos and giving his ideas credibility. (ex. du Gay 1997, Mackay 1997, Thompson 1997)

    50. 4

      end of page 3 last passage; Stuart hall uses logos to explain how meaning is being circulated much more and much faster than ever compared in history due to the complex technologies which enable this.

    51. 2

      First passage on page 2: The different ways of defining 'culture' is discussed. "High culture versus Popular culture was, for many years, the classic way of framing the debate about culture). This gives some context as to what the definition used to be widely known as. more recent years: Culture is used to refer to whatever is distinctive about the 'way of life' of a people, community, nation or social group-- known as 'anthropological' definition.

    52. Introduction

      The first passage of the introduction introduces the Topic of representation, and highlights language as one of the key components of meaning/ culture.

    53. Introduction

      Second passage starts to introduce more of the topic that will be discussed throughout the text "Representation through language is therefore central to the processes by which meaning is produced"

  3. Aug 2020