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Rhetoricof thelmage
ROLAND BARTHES
THn Tnnrn MEsslcrs
From Image- Music - Text. Sei. and Trans. Stephen Heath. New York: Hill and Wang,
1,977.32-51,.
152
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158
perceive only lines, forms, and colors), but this intelligibility remains virtual
by reason of its very poverty, for everyone from a real society always disposes of a knowledge superior to the merely anthropological and perceivesmore
than just the letter.Sinceit is both evictive and sufficient, it will be understood
that from an aestheticpoint of view the denoted image can appear as a kind
of Edenic state of the image; cieared utopianically of its connotations, the
image would become radically objective,ot in the last analysis,innocent.
This utopian character of denotation is considerably reinforced by the
paradox already mentioned, that the photograph (in its literal state),by virtue
of its absoluteiy analogical nature, seems to constitute a messagewithout a
code. Here, however, structurai analysismust differentiate,for of all the kinds
of image only the photograph is able to transmit the (literal) hrformation
without forming it by means of cliscontinuoussigns and ruies of transformation. The photograph, messagervithout a code, must thus be opposed to the
message.The coded nature of
drawing which, even rvhen denotecl,is a cclcJed
the drawing can be seen at three lel'els. Firstiv to reproduce an object or a
transpositions; there is no
scenein a dra.,ving requires a set of rule-goz,ented
essentialnature of the pictorial copv and the codes of transpositiorr are historical (notably those concerning perspective).Secondly,the operation of the
drawing (the codir-rg)immediately necessitatesa certain division between the
significant and the insignificant: the drawing does not reproduce euerything
(often it reproduces very little), u'ithout its ceasing,however, to be a strong
message;whereas the photograph, aithough it can chooseits subject,its point
of view and its angle, cannot intervene n:itlin the object (except by trick
effects).In other words, the denotation of the clrawing is less pure than that
of the photograph, for there is no drawing without styie. Finally, iike all
codes, the drawing demands an apprenticeship (Sausslrreattributed a great
importance to this semiologicalfact). Does the coding of the denoted message
have consequencesfor the connoted message?It is certain that the coding of
the literal prepares and facilitates comotation since it at once establishesa
certain discontinuity in the image: the "execution" of a drawing itself constitutes a connotation. But at the same time, insofar as the clrawing displays its
coding, the relationship between the two messagesis profoundly modified: it
is no longer the relationship between a nature and a culture (as with the photograph) but that between two cultures; the "ethic" of the drawing is not the
same as that of the photograph.
In the photograph-at least at the ievel of the literal message-the relationship of signifieds to signifiers is not one of "transformation" but of
"recording," and the absenceof a code clearly reinforces the myth of photographic "naturainess": the sceneis there,captured mechanically,not humanly
(the mechanical is here a guaranteeof objectivity). Man's interventions in the
photograph (framing, distance,lighting, focus, speed)all effectively belong to
the plane of connotation; it is as though in the beginning (even if utopian)
there were a brute photograph (frontal and clear) on which man would then
lay out, with the aid o{ various techniques,the signs drawn from a cultural
code. Only the opposition of the cultural code and the naturai non-code can,
69I
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L62
rHE RHETORTC
OFrHE rMAGE
"figures" are never more than formal relations of elements. This rhetoric
could only be establishedon the basis of a quite considerableinventory, but it
is possibie nor,rrto foresee that one will find in it some of the figures formerly
identified by the Ancients and the Classics:18the tomato, for example, signifies ltalianicify by metonymy and in another advertisement the seguence of
three scenes (coffee in beans, coffee in powder, coffee sipped in the cup)
releasesa certain logical relationship in the same way as an asyndeton. It is
probable indeed that among the metabolas (or figures of the substitution of
one signifier for anotherle), it is metonymy which furnishes the image with
the greatest number of its connotators, and that among the parataxes (or syntagmatic figures), it is asyndeton which predominates.
The most important thing, however, at least for the moment, is not to
inventorize the connotators but to understand that in the total image they
constitute discontinuousor better still scatteredtraits. The connotators do not
fill the whole of the lexia, reading them does not exhaust it. In other words
(and this would be a valid proposition for semiology in general),not all the
elements of the lexia can be transformed into connotators; there always
remaining in the discourse a certain denotation without which, precisely, the
discoursewould not be possible.Which brings us back to the secondmessage
or denoted image. ln the Panzanl advertisement, the Mediterranean vegetables, the color, the composition, the very profusion rise up as so many scattered blocks, at once isolated and mounted in a general scene which has its
own space and, as was seen, its "meaning": they are " set" in a syntagm which
is not theirsand which is that of thedenotation.This last proposition is important
for it permits us to found (retroactively) the structural distinction between the
second or literal message and the third or symbolic message and to give a
more exact description of the naturalizing function of the denotation with
respect to the connotation. We can now understand that it is preciselythe syntagm of the denotedmessage
which "naturalizes" the systemof the connotedmessage.
Or again: connotation is only system, can only be defined in paradigmatic
terms; iconic denotation is only syntagm, associates elements without any
system: the discontinuous connotators are connected, actualized, "spoken"
through the syntagm of the denotation, the discontinuous world of symbols
plunges into the story of the denoted scene as though into a lustral bath of
innocence.
It can thus be seen that in the total system of the image the structural
functions are polarized: on the one hand there is a sort of paradigmatic condensation at the level of the connotators (that is, broadly speaking, of the
symbols), which are strong signs, scattered,"reified"; on the other a syntagmatic'flow'at the level of the denotation-it will not be forgotten that the
syntagm is always very closeto speech,and it is indeed the iconic "discourse"
which naturalizes its symbols. Without wishing to infer too quickly from the
image to semiology in general, one can nevertheless venture that the world of
total meaning is torn internally (structurally) between the system as culture
and the syntagm as nature: the works of mass communications all combine,
through diverse and diversely successful dialectics, the fascination of a
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