Nature of Linguistic Sign by Ferdinand de Saussure Essay Example for Free

Nature of Linguistic Sign by Ferdinand de Saussure Essay 1. Sign, Signified Signifier Some people regard language, when reduced to its elements as a naming-process onlya list of words, each corresponding to the thing that it names. For example: operationan assumption that is anything but true. But this rather naive approach can bring us near the truth by showing us that the linguistic unit is a double entity, one formed by the associating of two terms. We This conception is open to criticism at several points. It assumes that ready-made ideas exist before words; it does not tell us whether a name is vocal or psychological in nature (arbor, for instance, can be considered from either viewpoint); finally, it lets us assume that the linking of a name and a thing is a very simple have seen in considering the speaking-circuit that both terms involved in the linguistic sign are psychological and are united in the brain by an associative bond. This point must be emphasized. The linguistic sign unites, not a thing and a name, but a concept and a sound-image. The latter is not the material sound, a purely thing, but the psychological imprint of the sound, the impression that it makes on our senses. The sound-image is sensory, and if I happen to call it â€Å"material,† it is only in that sense, and by way of opposing it to the other term of the association, the concept, which is generally more abstract. The psychological character of our sound-images becomes apparent when we observe our own speech. Without moving our lips or tongue, we can talk to ourselves or recite mentally a selection of verse. Because we regard the words of our language as sound-images, we must avoid speaking of the â€Å"phonemes† that make up the words. This term, which suggests vocal activity, is applicable to the spoken word only, to the realization of the inner image in discourse. We can avoid that misunderstanding by speaking of the sounds and syllables of a word provided we remember that the names refer to the sound-image. The linguistic sign is then a two-sided psychological entity that can be represented by the drawing: The two elements are intimately united, and each recalls the other. Whether we try to find the meaning of the Latin word arbor or the word that Latin uses to designate the concept â€Å"tree,† it is clear that only the associations sanctioned by that languageappear to us to conform to reality, and we disregard whatever others might be imagined. Our definition of the linguistic sign poses an important question of terminology. I call the combination of a concept and a sound-image a sign, but in current usage the term generally designates only a sound-image, a word, for example (arbor, etc.). One tends to forget that arbor is called a sign only because it carries the concept â€Å"tree,† with the result that the idea of the sensory part implies the idea of the whole. Ambiguity would disappear if the three notions involved here were designated by three names, each suggesting and opposing the others. I propose to retain the word sign [signe] to designate the whole and to replace concept and sound-image respectively by signified [signifià ©] and signifier [signifiant]; the last two terms have the advantage of indicating the opposition that separates them from each other and from the whole of which they are parts. As regards sign, if I am satisfied with it, this is simply because I do not know of any word to replace it, the ordinary language suggesting no other. The linguistic sign, as defined, has two primordial characteristics. In enunciating them I am also positing the basic principles of any study of this type. 2. Principle I: the Arbitrary Nature of the Sign The bond between the signifier and the signified is arbitrary. Since I mean by sign the whole that results from the associating of the signifier with the signified, I can simply say: the linguistic sign is arbitrary. The idea of â€Å"sister† is not linked by any inner relationship to the succession of sounds s-ïÆ'Ëœ-r which serves as its signifier in French; that it could be represented equally by just any other sequence is proved by differences among languages and by the very existence of different languages: the signifiedâ€Å"ox† has as its signifier b-ïÆ'Ëœ-f on one side of the border and o-k-s (Ochs) on the other. No one disputes the principle of the arbitrary nature of the sign, but it is often easier to discover a truth than to assign to it its proper place. Principle I dominates all the linguistics of language; its consequences are numberless. It is true that not all of them are equally obvious at first glance; only after many detours does one discover them, and with them the primordial importance of the principle. One remark in passing: when semiology becomes organized as a science, the question will arise whether or not it properly includes modes of expression based on completely natural signs, such as pantomime. Supposing that the new science welcomes them, its main concern will still be the whole group of systems grounded on the arbitrariness of the sign. In fact, every means of expression used in society is based in principle on collective behavior orwhat amounts to the same thingon convention. Polite formulas, for instance, though often imbued with a certain natural expressiveness (as in the case of a Chinese who greets his emperor by bowing down to the ground nine times), are nonetheless fixed by rule; it is this rule and not the intrinsic value of the gestures that obliges one to use them. Signs that are wholly arbitrary realize better than the others the ideal of the semiological process; that is why language, the most complex and universal of all systems of expression, is also the most characteristic; in this sense linguistics can become the master-pattern for all branches of semiology although language is only one particular semiological system. The word symbol has been used to designate the linguistic sign, or more specifically, what is here called the signifier. Principle I in particular weighs against the use of this term. One characteristic of the symbol is that it is never wholly arbitrary; it is not empty, for there is the rudiment of a natural bond between the signifier and the signified. The symbol of justice, a pair of scales, could not be replaced by just any other symbol, such as a chariot. The word arbitrary also calls for comment. The term should not imply that the choice of the signifier is left entirely to the speaker (we shall see below that the individual does not have the power to change a sign in any way once it has become established in the linguistic community); I mean that it is unmotivated, i.e. arbitrary in that it actually has no natural connection with the signified. 3. Principle II: the Linear Nature of the Signifier The signifier, being auditory, is unfolded solely in time from which it gets the following characteristics: (a) it represents a span, and (b) the span is measurable in a single dimension; it is a line. While Principle II is obvious, apparently linguists have always neglected to state it, doubtless because they found it too simple; nevertheless, it is fundamental, and its consequences are incalculable. Its importance equals that of Principle I; the whole mechanism of language depends upon it. In contrast to visual signifiers (nautical signals, etc.) which can offer simultaneous groupings in several dimensions, auditory signifiers have at their command only the dimension of time. Their elements are presented in succession; they form a chain. This feature becomes readily apparent when they are represented in writing and the spatial line of graphic marks is substituted for succession in time. Sometimes the linear nature of the signifier is not obvious. When I accent a syllable, for instance, it seems that I am concentrating more than one significant element on the same point. But this is an illusion; the syllable and its accent constitute only one phonational act. There is no duality within the act but only different oppositions to what precedes and what follows.

Analysis of Burns Poem A Red, Red Rose :: Burn Red Red Rose Essays

Analysis of Burn's Poem A Red, Red Rose 'A Red, Red Rose', was first published in 1794 in A Selection of Scots Songs, edited by Peter Urbani. Written in ballad stanzas, the verse - read today as a poem – pieces together conventional ideas and images of love in a way that transcends the "low" or non-literary sources from which the poem is drawn. In it, the speaker compares his love first with a blooming rose in spring and then with a melody "sweetly play'd in tune." If these similes seem the typical fodder for love-song lyricists, the second and third stanzas introduce the subtler and more complex implications of time. In trying to quantify his feelings - and in searching for the perfect metaphor to describe the "eternal" nature of his love - the speaker inevitably comes up against love's greatest limitation, "the sands o' life." This image of the hour-glass forces the reader to reassess of the poem's first and loveliest image: A "red, red rose" is itself an object of an hour, "newly sprung" only "in June" and afterw ard subject to the decay of time. This treatment of time and beauty predicts the work of the later Romantic poets, who took Burns's work as an important influence. 'A Red, Red Rose' is written in four four-line stanzas, or quatrains, consisting of alternating tetrameter and trimeter lines. This means that the first and third lines of each stanza have four stressed syllables, or beats, while the second and fourth lines have three stressed syllables. Quatrains written in this manner are called ballad stanzas. The ballad is a old form of verse adapted for singing or recitation, originating in the days when most poetry existed in spoken rather than written form. The typical subject matter of most ballads reflects folk themes important to common people: love, courage, the mysterious, and the supernatural. Though the ballad is generally rich in musical qualities such as rhythm and repetition, it often portrays both ideas and feelings in overwrought but simplistic terms. The dominant meter of the ballad stanza is iambic, which means the poem's lines are constructed in two-syllable segments, called iambs, in which the first syllable is unstressed and the second is stressed. As an example of iambic meter, consider the following line from the poem with the stresses indicated: That's sweet / ly play'd / in tune.

Letter to the George Bush Team to Visit City Florence

Dear Sir, It is great honor for me to be a guide for George Bush in Florence. I will do my best to ensure that he remembers Florence as the most beautiful place on Earth and realizes why this city is literally a magnet attracting tourists from the most remote areas. Every person who is fond of art needs to visit this gorgeous spot at least once in his life. Florence gets visited by tourists in the millions because it offers them an astonishing variety of scenes. Even though one day of being in Florence is by no means enough to grasp the whole feeling of the city, it can still create an overwhelming delight in the person’s heart, and make him thirsty to see more during the following visits. It is my goal to help George Bush get immersed into Florence’s atmosphere from the very first minutes of the visit. He will be able to understand why Florence is one of the world’s most enjoyable cities. He will never forget this beautiful experience and keep desiring to return here many times in the future. Due to the short length of the visit, I have decided to pick out the most interesting sites for the President. We will have time to visit only three places of interest, but I can assure you that they will all tell a great deal about the history of Florence and its uniqueness. In our city, we have enough monuments to keep a tourist occupied for years, but even a day is enough to understand that there is no similar place on Earth to Florence, no matter how much you look. I want to organize this excursion in such a way that George Bush realizes why Florence is considered the cradle of Renaissance. Many people know that Florence was the Italian city which gave birth to Renaissance, but very few of them can actually explain why. In order to be able to answer this question, one needs to get acquainted with the masterpieces of Renaissance artists. They do not have any analogues in the world; they are absolutely unique. Every piece of art created during that epoch breathes with the feeling of freedom and unlimited inspiration which knows no borders. I want to show such pieces of art to George Bush so that he hears them talk to him through ages. The first place of interest which we are going to visit will be The Casa Buonarroti, the house in which outstanding artist Michelangelo lived; then we will proceeded to Romanesque baptistery which is famous for scenes from Old Testament created by Lorenzo Ghiberti on its doors; and finally we are going to visit Brancacci Chapel the frescos of which were gradually painted by Masolino, Masaccio and Filippino Lippi, the most famous Renaissance artists. All of these places are very unique, and they can tell a great deal about the Renaissance epoch. The Casa Buonarroti is going to be particularly interesting for the President because this is the place where Michelangelo lived and created his masterpieces. There can be nothing more extraordinary than starting to visit to Florence from visiting the house of the perhaps the most outstanding artist of Renaissance. Even though Michelangelo did not step in his house for many centuries, it is possible to feel his presence there many years after. The house was transformed into a museum by one of Michelangelo’s relatives, Michelangelo Buonarroti the Younger, in 17th century. The museum not only has created work of Michelangelo, but also painting of other famous artists depicting the scenes from his life and his virtues. It is impossible to avoid visiting this museum during the visit to Florence. Romanesque baptistery is going to impress George Bush due to many reasons; first, it is one of the oldest buildings in Florence and thus tells a lot about its history; second, it would appeal to the President’s interest in religion; third, it has scenes from Old Testament created by famous Lorenzo Ghiberti on its doors. Lorenzo Ghiberti is one of the most famous sculptors of his time. It is common truth that these days, some people would pass by this legendary building even without stop. Some young people do not appreciate these masterpieces as much as they should. However, Romanesque baptistery needs to be noticed and remembered by everybody because nothing can compare to Lorenzo Ghiberti’s creative work on its panels. The gates which he created into the baptistery were called â€Å"gates to paradise† by his contemporaries. One can easily tell which scenes from Bible the artist depicted. He worked most of his life on these pieces of art, and they impress tourists until these days. In the middle panel there is a scene of Jacob and Esau depicted. All of the characters of the Bible are painted in such a way as if they are alive and are almost going to jump off the panels. The last site which we are going to visit is Brancacci Chapel. It has very unique architecture and it famous for the frescos gradually painted by Masolino, Masaccio and Filippino Lippi. The history of painting frescos for this chapel is really impressive. In the beginning of 15th century a Florence ambassador to Egypt commissioned Masolino to paint the frescos for the cathedral. After completing some work, the famous artist charged his student Masaccio with this task, and Masaccio brilliantly coped with the part of the work which the master assigned to him. However, Masolino did not have a chance to finish the work entirely due to his death, therefore, the frescos remained unfinished until Filippino Lippi, another famous artist, added the last strokes to the paintings in the end of 15th century. This chapel will be particularly interesting for George Bush because it will tell him very much about the differences of styles of one of the most famous Italian painters of all times. One can easily capture slight differences between the strokes done by Masolino, Masaccio and Filippino Lippi because each of them had his own unique style. However, the frescos turned out completely extraordinary as the result of their combined work. I very much hope that the visit of George Bush to Florence turns out very enjoyable. All of the sites which I picked out for him are going to let him fall in love with Florence during one day, and look forward to going back soon. Bibliography. Art History Gardeners Art through Ages. Volume 2. Becker Marvin B. Florence in Transition – Vol. 1. Baltimore, Johns Hopkins Press, 1967. Cornelison Sally J. A French King and a Magic Ring: The Girolami and a Relic of St. Zenobius in Renaissance Florence. Renaissance Quarterly 55. 2002. Cornelison Sally J. Art Imitates Architecture: The Saint Philip Reliquary in Renaissance Florence. The Art Bulletin. Volume: 86. Issue: 4. 2004. Gani Martin.   The Gems of Florence. World and I. Volume: 13. Issue: 9. September 1998. Holmes George Florence, Rome, and the Origins of the Renaissance. Clarendon Press, 1986 Picano Felice.   Forever Florence: Felice Picano Rekindles the Forbidden Passion and Unmatched Glory of Tuscany's Perpetually Blooming Flower. The Advocate. August 17, 2004. Richard C. Trexler, â€Å"Ritual Behavior in Renaissance Florence: The Setting,† Medievalia et Humanistica 4. 1973.

Critical Account of Mill’s Liberty Principle Essay

There are essentially two polar views in relation to the liberty of people within society. Anarchist fundamentally believe that the state should have no power to impose limits on its people, whilst those in favour of total government control, believe that liberty should be disregarded and the state allowed to implement any law or policy that it so chooses. In his work ‘On Liberty (1859), John Stuart Mill outlines an alternative, which is a mix of these polar policies. He produced a formula which allows freedom of the individual with some limitations, which is now known as the ‘Liberty Principle. He disregards tyranny as a suitable form of government, but reasons that total freedom would allow abuses to occur. However, Mill’s work was†¦show more content†¦However, this can only exist under the conditions of free speech and expression, limited only by the potential harm that may affect another. If society adheres to these measures then it would effectively b e following the Liberty Principle. (Mill, 1984) Throughout the text, Mill makes it clear that the only time government can intervene in individual lives is to prevent harm that they may cause to others. In chapter 5 he raises some examples that rank as ‘harm.’ He states explicably that using drugs or owing poison should not be banned as long as the individual does not place anyone in harm’s way. The police can limit certain actions that can cause harm, such as forcing violent drunks not to drink. Notably, he claimed that there are acts which performed in private are acceptable, but if those actions where performed in public they may be offensive to others which allows it to fall within the sphere of harm, such as sexually activities. (Mill, 1984) However, this then begs the question, how offensive must an action be to fall within harm’s sphere? He ruled ‘public indecency’ as offensive but it is difficult to see how this causes ‘harm’ based on the his earlier premise that mere offense is not harm. Would persons of different sexually orientations or religions cause harm to others who are against that type of lifestyle? Critics believe that in this instance Mill had allowed his own morals toShow MoreRelatedPhilosophical Approach Of John Stuart Mill1686 Words   |  7 Pagesconception of liberty is? Liberty has the ability to challenge ideas of the past into new ones. Mill expressed his understanding about liberty in several ways in his essay named, On Liberty. In this paper, I will strongly explain the significance of quotation, assumptions mills argument depends upon, limitations in the right of free speech and agreement with Mill’s points of view. Without further ado; let me activate th e critical analysis of Mill’s approach regarding liberty. 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