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毕业设计（论文） 文 文 献 翻
译文题目：Word Introduction To Communication Studies 学生姓名： 贺娟 专 业： 汉语言文学 指导教师： 王玉
2012年4月23日
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外译
Word Introduction To Communication Studies CHAPER 5 SIGNIFICATION.
John Fiske
Saussure?s theories on the paradigmatic and syntagmatic relations of the sign take us only so far towards understanding how signs work. Saussure was interested primarily in the linguistic system, secondarily in how that system related to the reality to which it referred, and hardly at all in how it related to the reader and his or her socio-cultural position. He was interested in the complex ways in which a sentence can be constructed and in the way its form determines its meaning; he was much less interested in the fact that the same sentence may convey different meanings to different people in different situations.
In other words, he did not really envisage meaning as being a process of negotiation between writer/reader and text. He emphasized the text, not the way in which the signs in the text interact with the cultural and personal experience of the user (and it is not important here to distinguish between writer and reader), nor the way that the conventions in the text interact with the conventions experienced and expected by the user. It was Saussure?s follower, Roland Barthes, who first set up a systematic model by which this negotiating, interactive idea of meaning could be analysed. At the heart of Barthes?s theory is the idea of two orders of signification. Denotation
The first order of signification is the one on which Saussure worked. It describes the relationship between the signifier and signified within the sign, and of the sign with its referent in external reality. Barthes refers to this order as denotation. This refers to the common-sense, obvious meaning of the sign. A photograph of a street scene denotes that particular street; the word ?street? denotes an urban road lined with buildings. But I can photograph this same street in significantly different ways. I can use a colour film, pick a day of pale sunshine, use a soft focus and make the street appear a happy, warm, humane community for the children playing in it. Or I can use black-and-white film, hard focus, strong contrasts and make this same street appear cold, inhuman, inhospitable, and a destructive environment for the children playing in it. Those two photographs could have been taken at an identical moment with the cameras held with their lenses only centimetres apart. Their denotative meanings would be the same. The difference would be in their connotation. Connotation Basic concept
Connotation is the term Barthes uses to describe one of the three ways in which signs work in the second order of signification. It describes the interaction that occurs when the sign meets the feelings or emotions of the users and the values of their culture. This is when meanings move
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towards the subjective, or at least the intersubjective: it is when the interpretant is influenced as much by the interpreter as by the object or the sign. For Barthes, the critical factor in connotation is the signifier in the first order. The first-order signifier is the sign of the connotation. Our imaginary photographs are both of the same street; the difference between them lies in the form, the appearance of the photograph, that is, in the signifier. Barthes (1977) argues that in photography at least, the difference between connotation and denotation is clear. Denotation is the mechanical reproduction on film of the object at which the camera is pointed. Connotation is the human part of the process: it is the selection of what to include in the frame, of focus, aperture, camera angle, quality of film, and so on. Denotation is what is photographed; connotation is how it is photographed. Further implications
We can extend this idea further. Our tone of voice, how we speak, connotes the feelings or values about what we say; in music, the Italian direction allegro ma non troppo is the composer?s instruction about how to play the notes, about what connotative or emotional values to convey. The choice of words is often a choice of connotation—?dispute? or ?strike?, ?oiling the wheels of commerce? or ?bribery?. These examples show-emotional or subjective connotations, although we have to assume that others in our culture share at least a large part of them, that they are intersubjective. Other connotations may be much more social, less personal. A frequently used example is the signs of a high-ranking officer?s uniform. In a hierarchical society, one that emphasizes distinctions between classes or ranks and that consequently puts a high value on a high social position, these signs of rank are designed to connote high values. They are usually of gold, models of crowns or of laurel wreaths, and the more there are, the higher the rank they denote. Symbols But Barthes (1977) does refer to a third way of signifying in this order. This he terms the symbolic. An object becomes a symbol when it acquires through convention and use a meaning that enables it to stand for something else. A Rolls-Royce is a symbol of wealth, and a scene in a play in which a man is forced to sell his Rolls can be symbolic of the failure of his business and the loss of his fortune. Barthes uses the example of the young Tsar in Ivan the Terrible being baptized in gold coins as a symbolic scene in which gold is a symbol of wealth, power, and status. Barthes?s ideas of the symbolic are less systematically developed than those of connotation and myth, and are therefore less satisfactory. We might prefer Peirce?s terms. The Rolls-Royce is an index of wealth, but a symbol (Peirce?s use, not Barthes?s) of the owner?s social status. Gold is an index of wealth but a symbol of power. Or we might find it useful to leave the Saussurean tradition of linguistics altogether and turn to two other concepts which are widely used to describe aspects of semiosis. These are metaphor and metonymy. Jakobson (Jakobson and Halle 1956) believes that
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