By Jen Webb
ISBN-10: 1412919185
ISBN-13: 9781412919180
Understanding illustration offers an available, enticing, and really interdisciplinary creation to the concept that of illustration. Drawing jointly the tips, practices, and methods linked to the topic, this publication places them in old context and demonstrates their relevance to daily life. issues comprise linguistic and political illustration, paintings and media, and philosophical and cognitive ways.
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Additional info for Understanding Representation (Understanding Contemporary Culture series)
Example text
Having killed an albatross, against all the rules of the sea, the Mariner is condemned to wear it as a dead weight around his neck, and 40 UNDERSTANDING REPRESENTATION spend the rest of time telling his incomprehensible and tedious tale. The poem and the story of the Ancient Mariner are both wonderful analogies for the bleaker aspect of language: the fact that we cannot escape its rules, the compulsion we are under to use it, work it and rework it constantly, the role it plays as both social glue and social repellant.
This is a silly example, but it does demonstrate the multiple meanings possible from any reading, and the importance first of the context and then of the rules of the code in which any sign is used. Ideas about what a sign is, and can be, have been developed in several ways since Saussure's work, though they remain focused on signs and codes. C S . Peirce offers what is perhaps the best-known definition, writing that a sign is: something which stands to somebody for something in some respect or capacity It addresses somebody, that is, creates in the mind of that person an equivalent sign, or perhaps a more developed sign.
If rendered as a painting it would be pure resemblance. That description, though, provides us with the notion of a container for Harry, and this notion can be abstracted from the real-world perceptual domain to a more metaphorical one. We can then say, for instance, that 'Harry is in love'. Of course Harry is not in a physical container called clove' as he was in a physical container called cthe kitchen', but the idea of being in carries through. This second container is more abstract; you could not paint a picture of Harry in love that would simply and without additional information resemble 'love'.
Understanding Representation (Understanding Contemporary Culture series) by Jen Webb
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