Below are the contents of the lecture in the laboratory of the Italian linguistic 21/04/2009. The main source is semiological adventure of Roland Barthes (Einaudi).
First, when working in an analytical texts, it is worth asking the following question. Why so much effort?
Here is a good answer:
"When you analyze a text, at any time, we must respond to the impression of evidence, "it goes without saying" what is written. Every sentence, as it may seem futile and normal, must be assessed on its structure through a test of mental switching of the story ... a good analyst must in some sense a countertext imagine, imagine the aberration from the text, what is scandalous narrative ... in this way you will have the courage to accept the often very trivial, heavy and clear analysis. "
Textual analysis and structural analysis are not the same thing. Since we are interested more in the text, however, worth the price of both theoretical framework. We can do this:
• Structural analysis applies primarily to the oral tale (myth)
• The textual analysis applies only to the story written analysis
• The two are not mutually exclusive nor the tools nor the method, can coexist
• It differs radically the end. The search for the structural analysis in relation to a fixed structure of the story grammar (langue). The textual analysis seeks the mobile structure and the explosion and dispersal of the story (words)
But what is, in semiotic terms, the purpose of textual analysis?
Starting from the definition of "significance" that is a root of meaning: ie, text, space, process of meaning at work ... this is the meaning of a text.
That said, the textual analysis does not attempt to describe the structure of a work ... but rather to produce a mobile structure of the text, to remain significant in the volume of the work, and then, precisely in its significance ( words) made of space, etc. processes.
method of textual analysis in a few steps below, lines of text analysis method.
1. Divide the text into numbered lexias
The subdivision should not be based in theory, because we are not in speech and language, we should not expect that there is homology between easy to perceive the meaning and significance ... in short, the frammetazione lexias is purely empirical, driven by convenience
2. We intend to observe the meaning
the connotations of the Lesse, ie the second meaning. They can be associations (physical description> character) or relationships (the result of correlations between distant places even text)
3. Consider the text progressively
Our reading will be in slow motion. We do not aim to reconstruct the structure of the text, but to follow its structure.
4. Forget the meaning
Forget some ways is somehow part Reading: we are interested in starting points of sense, not arrival
... The idea of \u200b\u200bthe combinatorial structure and infinite conjunction of these two postulates is imposed because the language is both structured and infinite.
not relevant in this perspective:
• the author •
its place in literary history,
• the fact that the text is a translation.
There are some elements that Barthes always places great attention. And that is the following: The title
• Each title has two functions: utterances (say) and deictic (points)
• Each title also has a function "aperitif" (the story is a commodity whose supply is preceded by a sales pitch by a security)
Proper names
• "A proper name should always be carefully analyzed, as the proper name is Prince of signifiers, its connotations are rich, social and symbolic "
• The presence of titles (Mr., Dr. etc.) of any kind means to socialize a textual object
unnecessary words (?)
• Some parts of the story serve mainly to "irritate the reader while waiting because of their insignificance
• What relevance has often related to the function aperitif
codes
• The term code should not be understood in the strict sense of the word. The codes are simply associative fields, the codes are types of already-seen, the code is already in the form of this association in the world of writing.
• The cultural codes are the codes of human knowledge: scientific code, rhetorical, chronological, socio-historical.
• The banality of coded notations shall not cause discomfort, it is indeed to make the story readable code
chronological timeline often
• The code provides a pure effect of reality: The number denotes the truth of the matter, what is clear is considered real. • Inserting
deictic shifter or embrayeur
Facts
• The facts are taken into paradigms that are opposed to the sham
• Often a combination of codes was established, for example, that of science (or record) with the enigma police
The "price" of the story
• The price of the story gets more things away dall'ovvietà
• The story of the news and scientific facts are often in exchange for a need for counter-error
I
The recitation of "I" narrator implies
• I • I
vs player you witness a fact vs other players in the history
• I vs. actor other actors
notations metalinguistic
• Announce what follows
• Advertise with value
• Speeches drink a speech on the facility / opportunity to make a speech
• Announcements, summaries, oratorical precautions
Structural analysis: features and general principles of
• It is based on linguistic
• Part of a theory: "a hypothetical model of description
• It is a scientific method" is hardly a method and certainly not a science "
• Covers a cultural language so it is inevitably ideological
General principles of structural analysis
1. Principle of formalization is based on
langue / words Saussure. Every story
apparently heterogeneous mass of short stories is the words. We can not nor should analyze a text in itself. The text is a word that refers to a code. The structural analysis is essentially comparative: looking for the forms, not content.
2. Principle of relevance
As in phonology, what matters is the difference.
The sense is therefore not a full meaning, but a related, connotations. When we analyze a text we must respond to the impression of the evidence.
3. Principle of plurality
The goal of structural analysis is to draw a locus, the locus of the possible text.
sense because plurality is not liberalism or agnosticism philological interpretation: the meaning is the diversity.
method of structural analysis
• Divide in less (arbitrary)
• Inventory codes in the text
• Establish links between units
EXAMPLE OF TEXTUAL ANALYSIS
shadow runs between us
A kind of So the devil is around the city, invisible, and is perhaps in preparation for new blood. The other night we were at the table for lunch when a few houses away a still young woman with an iron bar massacring rival and his three sons. Not a cry was heard. In the apartments were still close, between the clink of cutlery and tired dialogue, family dinners like nothing had happened, and then the lights went out one by one, only that one window was lit in the courtyard on the first floor, and the laggards, rising, thought that perhaps there was a sick child or a mother had stayed up late to work, or other scene, behind those glasses, night of domestic intimacy, and instead there all was silent and motionless, still horribly stones as the four bodies in the smaller sitting on the chair with his head cocked to one side as if to sleep suddenly, and without which the blood now trickles, like octopuses unclean shone less and less to the reflections of the lamp 25 candles, becoming more and more blacks. So the whole town watched, unconsciously, the mother and three children died without the sacrament, abandoned on the cold tiles, in all their bodily misery, until they returned the next day and played the nine there was no mercy to console anyone.
...
D. Buzzati "shadow runs between us," Il Corriere della Sera, 12/03/1946
ANALYSIS
Title Presence of an "us" of embrayage
semantic value of the term "shadow": the important thing is the first way is appealed Fort Rina, had almost lost the semblance of a human being
The use of the verb "turn" opens the semantics of the random field of evil from which no one is safe
Note that the overall title, as often happens, citation, is a cast syntax, almost true parallelism, the incipit of Marx's Capital
Presence of indefinite
"Sort of," "wandering", "invisibility", "maybe" in the first sentence Tresto to give an aura of uncertainty, insecurity. It 's a demon, but it is not. Is around, that moves in a non-specific direction. E 'invisible. We can prepare to shed blood again, but maybe not.
hypotyposis
In contrast to the vagueness of some elements of the first paragraph, a series of very specific elements dot the text hypotyposis. For example, "massacred with an iron bar," or "clink of cutlery and tired dialogue. To give force to the images is also a compact fabric often expressed through metaphorical similarities (note the" octopus the unclean and the baby's head bent "as a sleep onset").
The adjectives adjectives is quite dense, serving first three observations: 28 adjectives on 233 words. Above all, however, is significant often emphatic placement of adjectives: "tired dialogue" and "cold tiles.
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