B
Rhetoricof thelmage
advertising these signs are full, forr
the advertising image is frank, or at
ROLAND BARTHES
THn Tnnrn MEsslcrs
ccording to an ancient etymology, Ihe word image
should be linked to the root imitari. Thus we find ourselves immediately at the
heart of the most important problem facing the semiology of images: can analogical representation (the "copy") produce true systems of signs and not
merely simple agglutinations of symbols? Is it possible to conceive of an analogical "code"(as opposed to a digital one)?We know that linguists refuse the
status of language to all communication" by analogy-from the "language"
of bees to the "language" of gesture-the moment such communications are
not doubly articulated, are not founded on a combinatory system of digital
units as phonemes are. Nor are linguists the only ones to be suspicious as to
the linguistic nature of the image; general opinion too has a vague conception
of the image as an area of resistance to meaning-this in the name of a certain
mythical idea of Life: the image is re-presentatiory which is to say ultimately
resurrection, and, as we know, the intelligible is reputed antipathetic to lived
experience. Thus from both sides the image is felt to be weak in respect of
meaning: there are those who think that the image is an extremely rudimentary system in comparison with language and those who think that signification cannot exhaust the image's ineffable richness.Now even-and above all
if -the image is in a certain manner thelimit of meaning, it permits the consideration of a veritable ontology of the process of signification. How does
meaning get into the image? Where does it end? And if it ends, what is there
beyond?Such are the questions that I wish to raise by submitting the image to
a spectral analysis of the messagesit may contain. We will start by making it
considerably easier for ourselves:we will only study the advertising image.
Why? Because in advertising the signification of the image is undoubtedly
intentional; the signifieds of the advertising message are formed a priori by
certain attributes of the product and these signifieds have to be transmitted as
clearly as possible. If the image contains signs, we can be sure that in
From Image- Music - Text. Sei. and Trans. Stephen Heath. New York: Hill and Wang,
1,977.32-51,.
152
Here we have a Panzani advertisen
some tomatoes,onions, peppers/ a :
string bag, in yellows and greens c
off" the different messagesit contai
The image immediately yield:
guistic; its supports are the captior
being inserted into the natural disp
from which this messagehas been t
language;the only knowledge requ
ing and French.In fact, this messag
sign Panzani gives not simplv the n
an additional signified, that of "lu
twofold (at least in this particular
Since,however, we have here onlr'
ulated (written) language, it n'ill t'.
Putting aside the linguistic m
(even if the labels are part of it, .rr
vides a seriesof discontinuous sigr
signs are not linear), the idea that r'
return from the market. A signified
that of the freshness of the prodr
preparation for which they are dt
which lets the provisions spill out
first sign requires only a knon'lcdg
of the habits of a very widespread
self" is opposed to the hastv stocki
"mechanical" civilization. A secon
signifier is the bringing together oi
hues (yellow, green,red) of the post
This sign stands in a relation of rec'
guistic message(the Italian assona
edge it draws upon is alreadv mc
knowledge (an Italian would bareh
more probably than he would the it
a familiarity with certain tourist ste
(which is not to say that it is not er
difficulty in discovering at least trr
Iection of different objectstransmits
one hand as though Panzani furni
balanced dish and on the other a
equivalent to the natural producr
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a8uu
8
1,54
THE RHETORIC OF THE IMAGE
composition of the image, evoking the memory of innumerable alimentary
paintings, sends us to an aestheticsignified: the"nature morte" or, as it is better expressedin other languages,the "still I'fe"3; the knowledge on which this
sign depends is heavily cultural. It might be suggested that, in addition to
these four signs, there is a further in{ormation pointer, that which tells us that
this is an advertisement and which arises both from the place of the image in
the magazine and from the emphasis of the labels (not to mention the caption). This last in{ormation, however, is co-extensivewith the scene;it eludes
signification insofar as the advertising nature of the image is essentially functional: to utter something is not necessarilyto declare t am speaking,except in
a deliberately reflexive system such as literature.
Thus there are four signs for this image and we will assume that they
form a coherentwhole (for they are all discontinuous),require a generally cultural knowledge, and refer back to signifieds each of which is global (for
example, Italianicity),imbued with euphoric values. After the linguistic message,then, we can see a second, iconic message.Is that the end? If all these
signs are removed from the image, we are still left with a certain informationai matter; deprived of all knowledge, I continue to "read" the image, to
"understand" that it assemblesin a common spacea number of identifiable
(nameable)objects,not merely shapesand colors. The signifieds of this third
messageare constituted by the real objects in the scene,the signifiers by these
same objects photographed, for, given that the relation between thing signified and image signifying in analogical representation is not "arbitrary" (as it
is in language),it is no longer necessaryto dose the relay with a third term in
the guise of the psychic image of the object. What defines the third messageis
precisely that the relation between signified and signifier is quasi-tautological;
no doubt the photograph involves a certain arrangement of the scene (framing, reduction, flattening) but this transition is not a transformation(in the wav
a coding can be); we have here a loss of the equivalencecharacteristicof true
sign systems and a statement of quasi-identity. In other words, the sign of this
message is not drawn from an institutional stock, is not coded, and we are
without
brought up against the paradox (to which we will return) of a message
a code.aThis peculiarity can be seen again at the level of the knor,vledge invested in the reading of the message;in order to "read" this last (or first) level of
the image, all that is needed is the knowledge bound up with our perception.
That knowledge is not nil, for we need to know what an image is (children
only learn this at about the age of four) and what a tomato, a string-bag, a
packet of pasta are, but it is a matter of an almost anthropological knowledge.
This messagecorresponds,as it were, to the letter of the image and we can
agree to call it the literal message, as opposed to the previous symbolic
'message.
If our reading is satisfactory, the photograph analyzed offers us three
messages:a linguistic message,a coded iconic message,and a non-coded
iconic message.The linguistic message can be readily separated from the
other two, but since the latter share the same (iconic) substance, to what
extent have we the right to separate them? It is certain that the distinction
betweenthe two iconic messagesis
ing: the viewer of the image recei
messageand the cultural message
in reading correspondsto the func
The distinction, however, has an oP
allows the distinction in the lingui:
though in reality no one is able I
e-xceptby recourseto the metalang
rnits us to describe the structure o
ion and if this description paves tf
irnage in society,we will take it to
sider each type of messageso as t(
sight of our aim of understanding
inter-relationship of the three mes
a "naive" analysisbut a structural
be modified a little by the inversi
message;of the two iconic messag
second:the literal messageaPPea
Hence, knowing that a sYstem r.r'h
in order to make them its signifier
immediately that the literal image
Successively,then, we shall look at
and the connoted image.
THn LNcutsrIC MESSAGE
Is the linguistic messageconstant?
around the image?In order to find
necessaryto go back to partiallrstate of the image. From the mom,
ing of text and image is frequent,
from a structural point of vieu'. \1
tion"? Does the image duPlicatece
a phenomenon of redundancv or (
image?The problem could be Pose
with its passionfor books with Pic
century that editions of La Fontait
authors such as Menestrier rthcr
betweenfigure and discourse.-To
appears that the linguistic messag
caption, accompanyingPressartlc
shows that it is not verY accuratet
still, and more than ever.a cir iliza
uing to be the full terms of the inf,
presenceof the linguistic messag
length seem to be Pertinent (.r lo
99I
pqolS alSurs e asrrdulor dpo deu 1xa13uo1 e) luauluad aq ol uraas t{}3ua1
slr rou uorqrsodslr raqllau .ro; 'slunor leql a8essau rrlsrn8url aql 1o aruasa.rd
aql dldurrs sr 1r /]rEJuI 'arnlrnrls I€uolleturotq aql Jo surrel IInJ aqtraq o1 Surn
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qluaalq8ra aql ul aiqe^laruo)ur se.rtil) sa.rnlrrd qll.tt sTooq ro; uotssed sll qll,rt
porrad le)rssplr aql spre8a; se dllerrrolsrq pasod aq plnoJ uralqord aq1 ;a8erur
e ppp lxal ar{l saop .ro ,{ruepunpar Jo uouaurouaqd e
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prn{+ sryl;o spar;ru81sar{I 'srolor p
alqerJrluapr laqunu e alpds uor.
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ual IIqs al
asoql JleJI Zpua aqt leql s1 'aBess
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roy) pqo13 sr qJrqM Jo Llrea sparlr
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daql leqr aurnsseIIrM aM pue a8e
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7
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8
1,56
rHE RHETORTCOF THE rMAGE
signified, thanks to connotation, and it is this signified which is put in relation
with the image). What are the functions of the linguistic messagewith regard
to the (twofold) iconic message?There appear to be two: anchorageand relny.
As will be seen more clearly in a moment, all images are polysemous;
they imply, underlying their signifiers, a "floating chain" of signifieds, the
reader able to choose some and ignore others. Polysemy poses a question of
meaning and this question always comes through as a dysfunction, even if
this dysfunction is recuperated by society as a tragic (silent, God provides no
possibility of choosing between signs) or a poetic (the panic "shudder of
meaning" of the Ancient Greeks) game; in the cinema itself, traumatic
images are bound up with an uncertainty (an anxiety) concerning the meaning of objects or attitudes. Hence in every society various techniques are
developed intended to fix the floating chain of signifieds in such a way as to
counter the terror of uncertain signs; the linguistic messageis one of these
techniques.At the level of the literal message,the text replies-in a more or
less direct, more or less partial manner - to the question: what is lf ? The text
helps to identify purely and simply the elements of the sceneand the scene
itself; it is a matter of a denoted description of the image (a description
which is often incomplete) or, in Hjelmslev's terminology, of an operation(as
opposed to connotation).eThe denominative function corresponds exactly to
an anchorageof all the possible (denoted) meanings of the object by recourse
to a nomenclature. Shown a plateful of something (in an Amieur advertisement), I may hesitate in identifying the forms and masses; the caption (" rice
and tuna fish zuithmushrooms")helps me to choose the correctleoelof perception, permits me to focus not simply my gaze but also my understanding.
When it comes to the "symbolic message,"the linguistic messageno longer
guides identification but interpretation, constituting a kind of vise which
holds the connoted meanings from proliferating, whether towards excessively individual regions (it limits, that is to say, the projective power of the
image) or towards dysphoric values. An advertisement (for d'Arcy preserves)shows a few fruits scatteredaround a ladder; the caption (" as if from
your oTringarden")banishes one possible signified (parsimony, the paucity of
the harvest) because of its unpleasantness and orientates the reading
towards a more flattering signified (the natural and personal character of
fruit from a private garden); it acts here as a counter-taboo, combatting the
disagreeable myth of the artificial usually associated with preserves. Of
course, elsewherethan in advertising, the anchoragemay be ideological and
indeed this is its principal function; the text directs the reader through the
signifieds of the image, causing him to avoid some and receive others; by
means of an often subtle dispatching,It remote-controls him towards a meaning chosen in advance. In all these casesof anchorage,language clearly has
a function of elucidation, but this elucidation is selective, a metalanguage
applied not to the totality of the iconic message but only to certain of its
signs. The text is indeed the creator's (and hence society's) right of inspection over the image; anchorage is a control, bearing a responsibility-in the
face of the projective power of pictures-for the use of the message.With
respectto the liberty of the signifie<
sii'evaluelo and we can see that it i:
ogy of a society are above all inves
Anchorage is the most frequenl
commonly found in PressPhotogr;
relay is less common (at least as far
seenparticularly in cartoonsand cc
of dialogue) and image stand in a c
the sameway as the images,are fral
unity of the messageis realized at
dote, the diegesis (which is amPle
treatedas an autonomoussYstem:
text becomesvery important in filn
elucidation but really does advance
of messages,meanings that are not
the two functions of the linguistir
whole, but the dominance of the c
general economy of a work. When
information is more costly,requirir
(the system of language);when it h
it is the image which detains the ir
analogical, the inJormation is then
for "quick" reading the diegesis is
gathering the attributive informat
typed status of the characters);the '
are made to coincide so that the hr
of verbal "descriPtions" which are
less "laborious" sYstem.
Tnr DnNouD IMAGE
We have seenthat in the image Pro
literal messageand the sYmbolic n
(at least in advertising) a literal im;
image were to be achieved,it u'oul
be completed bY a third-svmboli'
literal messagecannot be substant
speak, a messagebY eviction' con
the signs of connotation are ment;
ally to remove them for thev can ir
caseof the "still life comPosition"
to a plenitude of virtualities: it is ;
ings. Then again (and there is no c
it is a sufficient message,since it I
identification of the scenereprese
short to the first degree of intel
lgL
aar8ap lsrl; aql ol uor{s
plnoM Jap€ar aql q)rqM .ttolaq) dlrrqr8qlalur
1o
auars eql Jo uol+€rlJpuapl
ur spuodsanoc a8etur aql Jo JaIFI ar{l 1pa+uasarda,r
aql le SuluPalu auo lseal le s€q lI aruls 'aBessautlual)IJJns e sI lI
aql
Jo
la^al
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1sn[seq leqm q]lM uol]rlper]uo) ou sI araql pue) ure8e uaql
-uealu aql 11eJo IInJ SurueaurJo aruasqeue sr lI :saqrlenlrll;o apnlruald e o1
spuodsarrocdlerryeu alels aAIl)IAa srql '(,,uorlrsodruocaJIIIIps,, aql Jo aseJ
aql uI se 'a8eurr aql Jo aloq.Maql aleu8a.rdurlu€J daql .ro1uraql a^oura,ro1 dle
-nlJe alqrssodaq lou plnoM lr) palalap dgeluaw are uollelouuor;o su8rs aql
sr leqM dq pa1n14suo) 'uotlJtla dq a8essaure '1eads
uaqm a8eurr aql uI
Ual
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ol os 'lle Io lsrrJsl ll 'leuorlela.r
lnq leque}sqnsaq louuel a8essar.u
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pue llanreu yo u8rs ar{l ulof .{lalerparuurr plnoM lI 'palalq)€ aq ol areM a8eurt
'aqe1s
a.rnde ur a8erurIeralII € (Sursqra'rpeur 1sea1
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aql uaa,t,r+aq
uorlrurlsrp ar{}'8ul)€ads dl.radold aSeurraql ur +eql uaas aleq aM
fl5VWI CAIONIICIAHI
'uralsds,,snoIJoqel,,ssal
e oq des ol sr leql 'a8etut aql ol palsnJlua arp qr1{,lt ,,suo4dtrtsap,, I€qra^ }o
ruoparoq aql pa.redsaq deru rapeer palrrnq aql l€r{l os aplJuroJ ol ap€ur are
a8essatualrsrnJsrp aql pue a8essaurl11socaql 1(s.rape.reqraq1yo snle1spaddl
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a8eurr aql /lxa+ aql o+ ile a^oqe paurJuor sr srsa8arp ar{} Sulppar ,,4trnb,, toy
papualur sdrrls cruroc ureual ut;tlarzel,, uaql sI uoll€urJotul aql 'leJlSoleu€
Suraq a8erur aql'pu€ a8reqc leuoqeruroJur ar{} sup1ap r{rlqm a8eurr aq+ sI +I
'(1orluor'a8eloqrue) anlel alnlllsqns e ser{}r uar{M 1(a8en8uel;otualsds aq1)
apor plr8rp e ;o Surureal ar{l saop lr se Sur.rrnba.rd11sooarotu sI uoqeurroful
aql delar Jo anle^ orla8arp ar{l seq lxal aq} uaqM '>lrom e ;o dtuouooa leraua8
aql roJ acuanbasuoc Jo sr raqlo aql ro auo aql Jo aJueunuop ar{} lnq /aloqm
Jruof,r auo aql q lsya-oJ ueJ aSessar.urrlsrnSurl ar{l Jo suorlJunJ o1\{l ar{]
'dlsnornq6 'gas1raSeurraLIlq punoJ aq ol lou arc leql s8uruearu'sa8essaur;o
acuanbas aql ur 'lno 3ur11asdq uorlre arll aJue^pe saop dlear lnq uoqeplJnla
se dldurrs lou suorlcunt anSoprp araqm 'tullt uI luel.rodur dra,l satuoraq lxal
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srsaBarpar{} 'alop
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uI 'sproM aql ldlqsuollela,r d.reluauralduroce uI puels a8erul pue (anSoprp 1o
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aq ue) 111(pau.raruorsr a8erur paxlJ aql s€ r€J se 1sea1le) uoururor ssaysr delar
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Jo uoqounJ aql
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slql
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aql ur-dlrtrqrsuodsa.r e Surreaq
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seq dpeap a8enSuel ,a8eroq:ue
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aq1 q8norql rapear aql s1rrrrl,t\i
pue porSoloapr aq deru a8eroq,.
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JO
aql Su4leqtuor'ooqel-raluno_r p
to Jal)€reqJ leuosrad pup Iprntr
Surpea.r aql saleluarro pup ss
yo llrcned aq1duor.urs.red)parlru
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Jo rappnqs,, crued aq1) rrlaod e :
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uo4elal ur 1nd sr qrlr{.t,rpar;n€rs sr
a & a u l a q ql o ) p o p r l v : S g H J 1 I V g ' 8
158
THE RHETORIC OF THE IMAGE
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,
it seems,account for the specific chi
assessmentof the anthropological r
The tvpe of consciousnessthe photc
.tented, since it establishesnot a cor
pvhich any coPY could Provoke) b
\Vhat we have is a new sPace-timec
anteriority, the photograph being a
,tow and the there-thenIt is thus at t
sage without code that the real uj
uriderstood: its unreality is that of t
experiencedas illusion, is in no rt ar
ocier of the photograPhic image mu
Jot in every photo
irts-been-there,
of this is how it was, givin2
",rid".,."
rvhich we are sheltered. This kind o
probably diminishes the projective
ical testsresort to photographs n'hil
i1vdefeatsthe lt's rre. If these remar
be related to a pure spectatorial,con
more "magical" fictional conscious
This would lend authoritY to the r:
photograph is not a simple differen
can no longer be seen as animated
way before a being-thereof the thi
there can be a historY of the cinema
arts of fiction, whereas the Photc
(despite the evolution of the techn
art) and represent a"flat" anthrop
definitively unsurpassable, humani
without a code'l{ence
lory messages
term of the great familY of images
in{ormational economies'
At all events,the denoted imal
any code (the casewith the adver
the general structure of the iconit
(returning to this questionafter '1is
image naturalizes the sYmboiic me
connotation,which is extremelv c
ttrePanzaniposter is full of "svmb'
tograph, insofar as the literal mcthereof obiects:nature seemsspont
A pseudo-truth is surreptitiouslv s
ly semantic systems; the absenc
becauseit seemsto found in naturr
an important historical parador: tl
of information (and notablv of in
69I
Io sueaur ar{l sapl^ord lI arour aq}'(sa8eurr ;o dlqelou pue) uorlerurotul Jo
uorsnJJrpaql sdola,LapdSolouqoal arour ar{l :xopered lerlro}slq luelrodrur ue
'arnllnr;o su8rsaql arnleu uI punoJ o} suraaslI asneJaq
lqnop lnor{}lm sI sIqJ
a8essaur aq+ sazrleq)allalulslp apor Jo aruasqe aq1 lsualsls r4ueruas d1
-uado
dlrprrcn aldurs arll roJ palnt4sqns dlsnorqrlda.rrnssI qln4-opnasd y
1o
'paluasa.rdarauars aql aonpo.rdo1dlsnoaueluods suraasarnl€u :spafqo a'Larll
lo
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sI qrlqm'uollelouuo)
q8noqllv'3utst1.ranpe ur dllenadsa 'asuap d1ar.ua.rlxa
Jo aJrJrue)queuras ar{} slua)ouur 1r'a8essarurqoquds aql sazll€Jnleua8eurt
palouap aq1:(a8essauprn{l ar{}}o uolssnrsrp rage uollsanb srql o} Sururnla;)
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ur alor lerrads e sdeld '(qderSoloqd Sursrllanpe aql qllrvr aseJ ar{l) apoc due
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'sanuouoJa
IeuolleruJotul
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pue ,taeu dlalnlosqe aruo l€ '1re; letrSolodo.rqlue ,,]r-II , e luasarda.r pue (ue
lqde.rSoloqd aql Jo suorllque pu€ sanbruqcal aqt to uoqnlo^a ar{+alrdsap)
drolsrq apnla asuas auros uI uec qde.rSoloqd aql searaqm 'uollrlt Jo slJe
snor.tald aql qlIM >learqIear duu lnoqlyvi'euraulJ aq+1o drolsrq € aq uec araql
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aql :sqderSoloqd paleurrue sp uaas aq ra8uol ou u€D
san? ata4q-uaaq-Bunarq
rulrC 'uo4rsoddo pcrper e 1nq aar8apto aruaraJJlpaldurrs€ +ousI qde.rSoioqd
pue urlrt uaaMlaq uor+)u4srp ar{l l€r{l ,{,\aIAaql o1 dlr;oqlne pual plnom sIt{J
'spuadap a3le1 pue lq *lU q)IqM uo ssausnolrsuoJ
Ieuoq)I; ,,1ecr8eru,,arour
'arrrloafordaJoruar{l ol }ou pue ssausnolJsuoc'1etrolelrads
a.rnde ol pal€lar aq
'aw s,l! aql slea;ap dp
'lrarroJ
lsnu qderSoloqd aql
IIe le are $lr€urar asaql JI
-sea
:(s8ura,terp
asn dueru apq.tr sqde.rSoloqd ol +rosarslsal IerI
sam
su1l
aql
os
-Soloqcdsd
.vra1
d.ra,L)
a8eurr aql ;o la.ra.oda,trlcaford aql saqsruIrurp dlqeqord
wnuqtynba le,rodurel Jo puDI sltlJ 'parallaqs are a,r,t.qrlqm
(atatlq-uaaq-Butaa4)
r,uo,r;dlrlear e 'alcelrur snonerd e dq 'sn SurnrB 'samil moq st stt4lJo a)uaplla
Surd;adn1s sdea,r,1eaql sl araql qderSoloqd d.ra,l,a uI roJ 'ata4q-uaaq-3u1
-aaq a:qtJo leql dlrpal s1r1(palegap aq lsnur a8eurr orqderSoloqd arll 'o ralre
-reqc leor8eur aql ol se surrelc) acuasatde derr.tou uI sI'uolsnll se pacuar'radxa
ranau sr qde€o1oqd aql roJ 'ltou-ata4 aql Jo leql sr dlrlea.run sll :poo+srapun
dlny aq ue; qde.rSoloqd aql 1o rtylaatun luat aqr teqt apo) lnoqty* a8es
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-anq aql uaaMlaq uoqcunfuor prrSolp ue Suraq qderSoloqd aql dllrolralue
lerodural pue drerpaurtur lerleds :dro8aleo arurl-a;eds Mau € sI aleq ar't l€t{M
'atatlq-uaaq-3utau1
s+r
Jo ssauareMe ue ]nq (a4o,Lo.rdppoo ddoc due qcrq,tr)
aql Jo ssausnolJsuor€ lou seqsqqelsalI a)uls'paluap
3urq1aql 1o ata4y-8uraq
-arardun d1n.4 paapur sr sanlolur qderSoloqd ar{l ssausnolrsuo) Jo adfi aq1
drolsrq s,ueur ur sluasarda.rlI uollnlolar prrSolodo,rqlue aq+ Jo luarussassP
aql .ta.oll€pue qder8oloqd aql Jo ral)ereq) rryrads aql roJ lunoJr€ 'sutaas 1r
'ueJ apoJ-uou
JeJnleuaql pup af
JeJnllnJe urory ul\llJp su8rs rrli
uaql-plno,l,t ueur qrrqu uo (re..r
(uerdoln uana) Burtrur8aqaql
1
o18uo1aqdlanqcaga (paads;s
1p
aLIlul suorluanralurs,uetrr;.(.i1r.
dperunq
dlprrueqJollr
1ou
peJnl
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sar.ro;rrrar
i1
Jo lnq ,,uorJeurJoJsueJl,,
Jo aurr
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aql lou sr Sur.rae;p
ar{l
Jo
,,rrLit-.
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Lrlrr,.rr
lr :partrporu{lpunoyo;d sr saFes.
slr s,{eldsrp
B u r , u e . r p l ls p r p l L r
o
L
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,o ,,uorlnp sar{srlqe}sa
aJUOle lr aJursLro:
;o Surpoc aql +eql ureJra) s1tl .a:r
a8essaurpalouap
aqtr
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lear8 e palnqrJile
arnssne5)
,,-irr1
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11ea{ll
lnorly rr :,r
leLF uelll arnd ssaysr Bur,uer1.;ri1
pr4_dq ldacxa) ;rafqo aq1 rrri;:.,
lurod s1g'lta{qns s}r asool{) Llpr lr Li
3uor1s e aq oi ,Jala.l,ror{€ursu.r-..
3un11/itaaa
arnpo.rda;rJoLrsaop ;-u:
aql uaa-4qaquorsr^rp urelJaf p salp
aLI+ uorlerado
.{...
aql
dipuora5
to
-snl aJe uorlrsodsue.rl
sapor
.rl{l
Jo
ou sI aJaLIllsuorlrsodsueJl
/rJtl.r.r.:
e ro lrafqo ue arnpordar o1 ,.i11sr
Jo aJnlpu papoJ aLJJ.a8essaurl.rrpr
aql o1 pasoddo aq snql
lsnLll ,ap()-eLuJoJsueJ+
Jo saplJ pue su8rs sn,,
LlorJeurJofu(leralq)
aqJ
llusLrrrrj
!
spurT ar{+IIe Jo roJ,a;er1uaray.1rp
1:nr
P lnor{lrM a8essoure a}nlr}slrol r)l
anl;r,r .,{q,(a1e1s
s1r
ur)
rlrieriot
1era1r1
aq1 ,{q paJJoJurar
dlqe"raprstror
.r u
'lualouut ,srsdJeue
lseJarll rrlro
'suorlelouuoJ
.rt-J1
sJryo d11etnrer.
lrulT e se readde upr a8eur palou.rf
,}uarfrJ]ns
noolsrapun aq
lr
III.4{
Pup .l
rloru solraJJad
pue
.
1etr8o1ocio.n11
-sodsrpsderurlu
dlanos
leal p LuorJal
'PnllI^
s u r E u l a&
l l l l q l 3 l l l " l 1 . ,s, r r l t' r q
a&aula4qlo ryop4[ :SEHruvs 8
160
rHE RHETORTCOF THE rMAGE
masking the constructed meaning under the appearance of the given
meaning.
Runtonrc oF THEIuecE
It was seen that the signs of the third message(the "symbolic" message,cultural or connoted) were discontinuous. Even when the signifier seems to
extend over the whole image, it is nonetheless a sign separated from the others: the "composition" carries an aestheticsignified, in much the same way as
intonation although suprasegmental is a separate signifier in language. Thus
we are here dealing with a normal system whose signs are drawn from a cultural code (even if the linking together of the elements of the sign appears
more or less analogical). What gives this system its originality is that the number of readings of the same lexical unit or lexia (of the same image) varies
according to individuals. In the Panzaniadvertisement analyzed, four connotative signs have been identified; probably there are others (the net bag, lor
example, can signify the miraculous draught of fishes, plenty, etc.). The variation in readings is not, however, anarchic; it depends on the different kinds
of knowledge-practical, national, cultural, aesthetic-invested in the image
and these can be classified, brought into a typology. It is as though the image
presented itself to the reading of several different people who can perfectly
well co-exist in a single individual: the one lexia mobilizesdifferentlexicons.
What is a lexicon? A portion of the symbolic plane (of language) which corresponds to a body of practices and techniques.l2This is the casefor the different
readings of the image: each sign corresponds to a body of "attitudes" - tourism,
housekeeping, knowledge of art - certainty of which may obviously be lacking in this or that individual. There is a plurality and a co-existenceof lexicons
in one and the same person, the number and identity of these lexicons forming in some sort a person's idiolect.l3The image, in its connotation, is thus constituted by an architecture of signs drawn from a variable depth of lexicons
(of idiolects); each lexicory no matter how "deep," still being coded, if, as is
thought today, the psycheitself is articulated like a language; indeed, the further one "descends" into the psychic depths of an individual, the more rarified and the more classifiable the signs become-what could be more
systematic than the readings of Rorschach tests? The variability of readings,
therefore, is no threat to the "langu age" of the image if it be admitted that that
language is composed of idiolects, lexicons and sub-codes.The image is penetrated through and through by the system of meaning, in exactly the same
way as man is articulated to the very depths of his being in distinct languages.
The language of the image is not merely the totality of utterances emitted (for
example at the level of the combiner of the signs or creator of the message),it
is also the totality of utterances received:14the language must include the
"surprises" of meaning.
Another difficulty in analyzing connotation is that there is no particular
analytical language corresponding to the particularity of its signifieds-how
are the signifieds of connotation to be named? For one of them we ventured
the term ltalianicity, but the others
ordinary language (culinary prePlr
n'hich has to take charge of then
specialized.This is a difficultv for tl
nature: as a seme of connotation, "p
the denoted sense; the signifier of
condensationof the produce) is likr
ties, of the purest idea of plentl'' Tht
lor it is always caught uP in a con
ithat of verbal discourse),oriented
language;the seme "PlentY," on the
off from any syntagm, dePrived of ;
theatrical state of meaning, or, bette
svntagm), to an exqosedmeaning.
would therefore require a sPecial
barisms ol the Italianlclly kind as bt
of connotatiory the suffix -icity deri
Italianicityis not Italy, it is the cond
Italian, from spaghetti to painting.
if needs be barbarouslY-the namir
sis of their form will be rendered e
ciative fields, in paradigmatic art
according to certain defined paths c
Italianicity beloni
tain semic axes:16
side Frenchicity, Germanicitv or
axes-which may eventuallv be il
only be possibleonce a massivein
been carried out, an inventor-" no
image but also of those of other su
nifiers dependent on the differer
objects,modes of behaviour) it ho
signifieds are to be found in the rr
tures (which is why semiologv ca
framework). This common domair
which cannot but be sinS
ideology,
what signifiers of connotation it nr
To the general ideologr', thal
which are specifiedaccording to th
called connotatorsand the set of cr-as the signifying aspect of ideolol
stance(herearticulated sound, the
essarilyby their form; it is even P
form, cotrrrrronfor instance to clrea
ric of the image (that is to sar', the
to the extent that it is subject to tl
for example, from Phonatorv con
L9L
'aldurexa ro;
aql ler{l +ualxa aLIl ol I€raua8 lnq (slurerlsuor .,fuo1euoqdruor;
aql ol
sr
,luaragrp)
uorsrn
to slur€Jlsuoc prrsdqd ar{+ol lJalqns lI leq] ]ua]xa
aql des otrsr 1€r{l)a8eurraq11o cu
,grr"ar.t (srolelouuor sll Jo uoIlEJItISSelJ
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uana sl ]I lruro; rraql dq dp'ressa
alqeqoJd
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araql 'punos paleln)Ig€ araq) acuels
-rn ,lor, ltq (.rana1eq,,r,t
ro 'arnlsa8
-qns rraql iq d.re,,'d1qn1t,o".tts)Irolaq' dSoloapr Jo lradse Suld;ru8rs aql se
palle)
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Surreaddesnr{l rrro}aqr
aq IIIM s;arJru8rsasaql'acuelsqns uasoq) aql ol Sulproccepar;tcadsar€ r{rlq1'r
/sI leq] 'd8o1oapr
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lerauaS aql oI
uoll€louuoJ
;o
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'(4rorrtarue.l;
aql Jo ur€urop uoululoJ srql
Jo l€r{l sr uor}€Jouuot ;o spar;ru8rs
dpo uer dSolonuas dqzvrsr qrrq''r't) sarnl
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lr"B r,rolrn aql ro a8eu4 aq1'ssard uanlr,lr aql uI punot acl ol ale spar;ru8rs
'slle[qo
aures ar{l :uoururor ur spat;ru8rs sll ile sploq 1r (rnorneqaq to sapou
'a8en8uel 'a8etur) pazlllln saru€+sqns luaraJJlp aql uo luapuadap sraltlu
-8rs pcrddl spq uoqelouuor JI ro; 'sacuelsqns raqlo Jo asoql Jo osp lnq a8etur
'lno
uaaq
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aq dpo
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dpealc llrm-rer{+ou€ auo ol uorlrsoddo ur aq d1pryua't'a deur r{f,ItlM-saxe
apIS
qrns to uollnlllsuora.r aq1 dlrcrqsruedg ro dlrcrueuuaS dlnrqruarC
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-osse ur pazrue8ro ar€ saurasasar{I sr'Jalseapalapuar aq IIIM ruloJ JIar{}to sIS
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-r€q q+I^{ Ual ale a^{ pu€ a8en8ue1e1aurprcads e arrnbar aroJaraql plnoM
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uorlelouuoJ Jo sauras asaql ssardxa o1
'Sutueaur
Jo ale}s I€JIJ}€aql
€ lnor{ll6 u$rs e ;o uoqsanb e sr 1raculs) rapaq'Io
'ur8eluds due ruo't;5o
yo 1ro, e o1 Surpuodsarro) pue lxaluo) due 1o pa'trrdap
aurasar{} la8en8uel
,rr,'"1n5 arnd e ur ldacrror e sr'dre,4uocar{}uo ,,'f,qua1d,,
spr€Mol paluarro '(as'rnocsrpleqra^ Jo leql)
;o d1r,tr1rsuerlprrtrcerd ul€uar e
'aJuEralln lua8urluoc B ur dn lq8nel sde'tr1esI lI Jot
ru8eluds snonulluoJ €
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ar{l
ar{l pup uorsnlord aql aJaq) uoqe}ouuoJ 1o rar;ru8rs aql lasuas palouap
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Jo auras € se :arnleu
w ,,t(1ua1d,,.ranordllrexa +ou saop ,,f,1ua1d,,
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a8reqo a>lel ol seq qrIrIM
1ou sr srsdleue aql 'o luaurour aql le uaql Jo
'uot4andatd rtuurlnc) a8en8uel dreurpro
a'qa:(/huad 'rh unt
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rural aql
*or; ,pio^ dq paleu8rsap aq dpo uer srar{}o aql lnq
a?nwlaqttortroqqd:Sf HIUVg
paJnlua^ a,\^ruar{l Jo auo roJ c
,tt.orl- sparJru8rss1r;o dlrrelnrrlr
relnrrlred ou sr aJar{l}eql sr uoll
aql apnlJur
aSen8uel aql
lsnw
'(a8essatuaql rol€an ro su€
1r
Jo
.ro;)paqltua sa)uerallnJo ^lrlpto
'sa8en8uel
lJurlsrp ur Suraqsrq lo
aures eql dlDexa ur 'Surueau 1o
-uad sr a8eruraql 'sapoJ-qnspu
paprtupe aq
a8prul r
teqt
1er{}
ll
1
's8urpearyo dlryrqer"re.l.
aql Zsls
aJour aq plnoJ
leqM-aruo)aq
-Ir€J aJouraql'Fnpr^rpur ue
Jo
-mJ aq]'paapur la8en8uel e aIII
sr se Jr'papof, Suraqp1s ,,,daa
suorrxal;o qldap alqerre^ e uror
-uo) snql sr'uoqelouuol slr ur ,a
-urro; suoJrxalasaql .{lrguaprp
;o
suoJrxalJo afualsrxa-oJe pup Alrl
-{Jel aq dlsnornqo detu qrrq.u yo
'ulSIJnol-,,sapnlBlP,, ,{poqe o
Jo
luaralJrp ar{l roJ aser ar{l sr srqf _r
-arror r.{JTLIM
(a8en8uel;o) aueld
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Tuatafip sazqtqowoual a
dltroay.rad
uer oll.ll. aldoad luareJ
a8eruraql q8noql sp sr ll d8o1od
a8eurraql ur palsalur-Jrlaqlsae
spuq
aL{luo
spuadap
luare1;Ip
lr
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;o 1
rc1 '?eq lau aql) srar{lo ar€ ararll
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sarre.L(a8ewl aures aql yo) rrral
-runu aql leqq sr llreur8r;o slr ua1
sreadde u8rs aq+ to struauala aql
-lnJ e uror; u,r,rpJpa;e su8rsasoq.
snq; 'aBen8uelur rar;ru8rsalere
,par;ru8
se dervlaures aql q)nur
ur
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u8rs
e
ss
o+ suraas rar;ru8rs
aql
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ua.
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g
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
nature, that of story, diegesis, svn
n'ithdrawn into a few discontinur
shelter of their living speech.
NOTES
L T h e d e s c r i p l i oot rf t h e p h o t o g r a p l rr metalanguage.The reader is asked to refcr t
2 . B t t y p t c a .! i g r l t s m e a t r tt h e . i g r r , ' : . r
stance: the r.erbal sign, the iconic sign, thc g
3. In French, the expression nnttrrt rr,'
such as a skull, in certain pictures.
4. Cf. "The photographic message,' ai
and Trans.StephenHeath. New York: llill .r
5. "Na:ive" analvsis is an enutneratirrr
relation of these elements !y r.irtue of the ':r
a structure:if one term changes,so also .l(r t
6. Cf. R. Barthes, El1nrcntsde sirrlo,i..
Seniology,London 1967& Nerv York 1965.;
1t-S7. Menestrier,L'Art deserablinres,
8. lmages without words can certainlr
the absenceof rarordsahr.ays covers an ent{
9. El1rnentsde shniologie,pp. 131-1 ltr.:
10. This can be seenclearlv in the p..1;
t o t l r e l e x t a n d n h e r e , c o n s e q u c t r t l vt r r . .
rn,hichrt'ants to communicate that in suri-. .r
in powder fom and thai it will thus irt' ;.:r
proposition, a tin of colfee nitir a chrir .
("locked in") is taken litelalll'(a n'ell-krtr'.'.
is read first and the text {rorn n hich tirc i;:r.:
of one signified among others.The rt'pre-.:.
iz:+inn
n t t' ^h' ' p r^ "l_e" "s_ _cba- u p
11. Cf. Claude Bremoncl,"Le mes'.r:.
1 2 . C f . A . J . G t e i r n a s ," l - e s p h i r . r ! r r
Lexicologle,1.,1959, p. 63.
13. Cf . El1mentsde sdnioiogie,p ')5 ::.r
1 4 . l n t h e S a u s s u r r apne r s p c . t i \ L - : '
d r a r rn f r o m t h e l a n g u a g e - srrt c l n { . r n . l : r :
notion of language llnng uel, especialI r i:. ::abstraction" of the messagesemittetl .;,:.;'
15. Forntin the precisesensegir en r: !.
3 q - 1 l l ) ,a s t h e [ u r t c t i o n aolr g a t r i z a t t t, : : i '
1 6 . A . J . G r e i t n a s ,C o u r s i e - i . , ' : . , ' : :
Sup6rieurede Saint-Cloud).
'Rem.rr.rr:.r
17. Cf. Ernile Benveniste,
1,1956,pp. 3- 16 i:t:::
enne', La Psrlchanalyse
Paris 1966,Chapter 7; translateclas li, r .
rhetoric needs to be rt:lr
18. C-lassical
progress);it will then perhaps bc possir'.. :
fiers of connotation, valic1for articul.rtr.i -.
.16.
(Aider6moire)', ComnttLnicntiotis 1'r.
19. We prefer here to er.adeIako5..':
m e t o n \m \ b v i t s o r i g i n i . a f i 8 u r . ' r \ L ' : : r
the signifier, that is as a metaphor.
€9L
'JoL{dPtetx
P <P sl lPql ldtjlttSls
dql
'tr1p8guor
p
1o arn8rl sr ur8rro s1riq 'iru'iuolatu
Io alnlqsqns e sP illEr,IIJ suol+Jun; ssalaql.ralau +1
j, ,oy i*ioo1"..t pue ro ldelaur uaai\\1aq uotlrsoddo s,uostloTel ape^a ol a'rat1'ra;ard ar1161
'
L Ju' , ( a : l o u t g u - a p t y )
O L 6 L9' I s uo l la J l u1 1 M o
'a8etul'punos palelnJqru Jot plle^'uollPlouuoJ Jo slalJ
auuartue,'L aag ':1a 'a'rnlsaF
anbrro19q11
P qsr'q€}sa o1 alclrssodaq sduqrad uaq} 1''n 1r :(ssa'r€ord
-FBi.
sr4sin3uri',o :"rro1aq'r
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".{i;"
8l
ur lJoM e;o 1:a[qoaq] sr slql) slura+Iernlfnlls ut lqbnoq+araq ol spaau llJo]aql IelIssEI-)
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le]ol
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,aolili rnirpr"EuU ip-siuta,1o.t11,atsrlra.\Lrag
E ur palur:da.rl9l-€ dd
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' (pnol)-+ules aP a'rnalrgdnS
'anb\trtttua5ap slno) 'selular3 I v 9r
aleurroN alorf aq+ .iq pad,loauo: salou) tr961
.sa.\lasrualil Suoue spar;ruBrsaLIl lo uoqezFre8ro IeuollJun] aql sp /([l]-68
'dd 'sue.q] gg1 d '.rr3o1orar,;s
ap slltrllt?l1 ;:) ,ra1su1a[giq ]l ua^r8 asuas asDard aq] uI lrlloJ 9l
'paoz)aipuu pallrura saBessatuaLIl ,,uol+)er+sqe
Jo
a8en8trelJo tlo4ou
aql sr aBenBupl:MaIAJo lurod rrluetuasaqi rLIoJJ.\11er:adsa'IarlSrruJ]
3urzr1e1oi,,
aql ruor; u,vrerp
pue) ruals.,is-a8en8uel
sr 1I (urntar ul +l8u1+n1llsuor
#rn1.i" oj,iepol .i.ressarau
'allrads:ad uer:nssnug aql uI il
"qi
'pa+lrlla sr Lirr-l^{ +eql
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96
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'l96L 1l SUoll1illttnLauoJ
,,';11er:euab€ssaurr1,,
uorsSardaraq.1 sraqlo Suoue parlru8rs auo Jo
l€upq p Se]uarua^our JplnJlr) aLIlur ure8e luasard Sr
arroqr alduls aql pua arll ur saruoJaqpalJnrlsuo: sr aHeruIarll LIJItl,uUIOJJ+xal ar{} puE }snlJpeal st
ua1e1sr (,,ur pa{rol,,)
s; lr Ja^a,\ oq'+truj ur l(aL\ap rnaod ur\ou{lla'n e) ,i11e'ra111
qriq.* n8n-i
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"q;
aq+ 'a.raH lr punor pillped pu€ uIPqJ e qllm aaJJol Jo LIq e
:oqdnl"- r,lsrn3u,I
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uaqr\{ arall} ,{11oq,uaq snq} llr.4 lI l'qtr pue utrol rap'rtod ur
.rqt
""gor' "q1
"noqn
u ler{} a}eJlunururotr ol slu€M qJIr{M
lrnpord aql ,,ul pa)Jol,, sI €ltroJe aq+aaJ]o) E r.{Jnspu€ qJns 'AlluanbasuoJ
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