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 B Rhetoricof thelmage advertising these signs are full, forr
the advertising image is frank, or at
ROLAND BARTHES
THn Tnnrn MEsslcrs

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
ccording to an ancient etymology, Ihe word image ing and French.In fact, this messag
should be linked to the root imitari. Thus we find ourselves immediately at the sign Panzani gives not simplv the n
heart of the most important problem facing the semiology of images: can ana- an additional signified, that of "lu
logical representation (the "copy") produce true systems of signs and not twofold (at least in this particular
merely simple agglutinations of symbols? Is it possible to conceive of an ana- Since,however, we have here onlr'
logical "code"(as opposed to a digital one)?We know that linguists refuse the ulated (written) language, it n'ill t'.
status of language to all communication" by analogy-from the "language" Putting aside the linguistic m
of bees to the "language" of gesture-the moment such communications are (even if the labels are part of it, .rr
not doubly articulated, are not founded on a combinatory system of digital vides a seriesof discontinuous sigr
units as phonemes are. Nor are linguists the only ones to be suspicious as to signs are not linear), the idea that r'
the linguistic nature of the image; general opinion too has a vague conception return from the market. A signified
of the image as an area of resistance to meaning-this in the name of a certain that of the freshness of the prodr
mythical idea of Life: the image is re-presentatiory which is to say ultimately preparation for which they are dt
resurrection, and, as we know, the intelligible is reputed antipathetic to lived which lets the provisions spill out
experience. Thus from both sides the image is felt to be weak in respect of first sign requires only a knon'lcdg
meaning: there are those who think that the image is an extremely rudimen- of the habits of a very widespread
tary system in comparison with language and those who think that significa- self" is opposed to the hastv stocki
tion cannot exhaust the image's ineffable richness.Now even-and above all "mechanical" civilization. A secon
if -the image is in a certain manner thelimit of meaning, it permits the con- signifier is the bringing together oi
sideration of a veritable ontology of the process of signification. How does hues (yellow, green,red) of the post
meaning get into the image? Where does it end? And if it ends, what is there This sign stands in a relation of rec'
beyond?Such are the questions that I wish to raise by submitting the image to guistic message(the Italian assona
a spectral analysis of the messagesit may contain. We will start by making it edge it draws upon is alreadv mc
considerably easier for ourselves:we will only study the advertising image. knowledge (an Italian would bareh
Why? Because in advertising the signification of the image is undoubtedly more probably than he would the it
intentional; the signifieds of the advertising message are formed a priori by a familiarity with certain tourist ste
certain attributes of the product and these signifieds have to be transmitted as (which is not to say that it is not er
clearly as possible. If the image contains signs, we can be sure that in difficulty in discovering at least trr
Iection of different objectstransmits
one hand as though Panzani furni
From Image- Music - Text. Sei. and Trans. Stephen Heath. New York: Hill and Wang, balanced dish and on the other a
1,977.32-51,. equivalent to the natural producr

152
 aql 'u8rs raqlo aql uI 1+ISulpunorrns aJnpord l€rn1€u ar{} ol }uale^Inba '3ue7q pue 'qleag uaqd
IIIH :>lrol ma51
ala^{ url aql ul al€rlua)uor aLIl qSnoql s€ rat{lo ar{l uo pue qslp paJuPI€q
dgn;arec e ro; dressaoauSutqldrana paqsluJn] ruezued q8noql se pu€q auo
aql uo'eJrlras d.reurlnr plol e Jo eapr aql sllusue4 slcalqo ]uaraJtlp Jo uollral
-loJ parJras aq+ 'lsJIJ aql u1 :su31srar{lo oMl }s€al }€ 8ur'rarrocstpur dllnrrgrp ur leql aJns aq uef, a.tr 'su8rs sur
ou sr arar{l '(acue18lsrrJ ar{l lE realr d1a.rrlualou sI trIleql des o} }ou sI t{rlqzrt) se pallrrusup4 aq ol aneq spar;ru8rs.
a8eurr aql aroldxa o1Surnurluo3 'saddloarals lsrrnol ul€lral qlIM dlIreIIIurEJ € ,tq uoud u paurroJ are a8essaw 8ur'
uo paseq'(raddad pue oleurol;o dlnrueryell ar{l plnom aq ueql dlqeqord a'rour dpalqnopun sr a8etur ar{l Jo uoller
'a8eurr8ursr1ra,r.pe aq1lpnls ,i1uo 1
ou'aureu ar{l Jo uope}ouuo) arll a.trar.raddlareq plnoM u€rpll ue) a8pal,raoml
l1 Suqeu dq lrels IIIM aM 'urptuor .
,,qruarg,, dgerryrads € sI lr lrelnr4red arour dpealp sr uodn s.t,rerp1r a8pa
-lrntornl aql pu€ Quazuarlaureu aql Jo aJueuosse ueIIelI aql) a8essaurrrlstnB o1 a8eur aql Su11t1tu{nslq asre: oi r
-uq aql yo uBrs palouuof, ar{} rillm dcuepunpar Jo uoI}EIar e uI spuels u8rs srql araql sl l€r{.u 'spua +l il puv Zpua ll
'fr1nruatpqm{t€r ro ^,{p11 sr parpu8rsslr jralsod aql yo (par'uaar8'.uo11ad) sanq saop rltoH 'uor1ecr1ru8rs yo ssa:o:d
-uo) aql slturrad 1r 'Surueatu ll'i,:'
paJolorrrl ar{l pue taddad aql'oleurol aqt;o raqlaSol Sur8utrq aql sI ralJIuBIS Jo
slr lluapr^a dlpnba ssal ro aJour sI u8rs puoras V 'uo4ezIIIAIJ ,,le)IueqJalu,, IIe a^oqe pue-ua^a .^4oN Ssaur{fu
-ecrlru8rs rpql >lu1r.{+
arour € ;o (srolera8uJar'salrasard) dn Surpols ftseq aql o1 pasoddo sI ,,JIas or{.tr asor{t pup .
-auo roJ punor€ Surddoqs,, araqm arnllnr pea.rdsapr.trdran e Jo sllqer{ ar{l Jo -uarurpnJl1aua,4xa ue sr a8eur aql

lred se palueldtur uos auros uI sI qJILI.&{a8pa1,llou1 e dpo sarrnbar u8rs lsrr; ;o lcadsa.rur >l€a^raq ol ]lal sr aFe
srql pear o1 ,,'papedun,, 'a1qe1aLI+ra^o 1no lpds suorsr,rord ar{} slal qrlqm pa^q ol rrpqledpue palndar sr alqrF
8eq uado-1eq aql sl rar;ru8rs sll 'pau4sap a"redaql qJIqM ro; uorle;edard dlalerurlp des o1 sr r{Jlq,t,r'uoqelus
)rlsaurop dle4uassa ar{l Io leql pue slrnpord aql to ssauqsar} aql Jo l€ql urelJafe Jo aweu aql ur s1{l-Burup:
'+a>lreuraq+wory urnlar uo4daruoo an8erre spr{ool uorurdo 1
:sanl€A rrloqdna o.u.1sarldrur Jlaslr qJIqM par;ru8rs V
e sr paluasardar auals ar{l uI a^er{ a1!t}eqM }er{l eapl aq1 '(rcauq lou a'resuSrs o1 se snonrdsns aq otrsauo ,{po aqt
'su8rs snonulluo)slp FlISIp ;o uralsds droleutqr.uor e uo
asaql se luel"rodurrun sI rapro agl) lsrlC Jo salras e sapll
-ord de,r,relq8rerlsa8eurr srql '(dplopraue 'lI ged arc slaq€l aqt p uana) aJ€ suorleJrununuoJ r{Jns luaurout a
;o
a8erur arnd aql r{llm Ual ar€ a,u 'a8essaut rrlsrnBurl aql aplse 3u41n4 ,,a?en8ue1,, aq1urory-d8o1eue .iq .,
'a8essaruauo se palunoJ aq 'a8en8uel (uapr'rzvr)palep aql asnJarslsrn8url leql n,rorD{a.\1a{.
IIIM 1r
-Jrue Jo 1eq1dlaureu.'u8rs prrddl a18urse dpo arar{ a^eq a.u 'la.la.rrroq'arurg -eueue anra)uo)o1alqrssod1rs1
Jo ;
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Ieuorlelouap :(a8eun relncrlred slq] uI 1see11e) ploJoml
-Eu€ueJ :sa8eruryo dSolorurasaql 3u
snql q a8essaur orlsrn8url ar{J ,,&lJlu€4eil,, p leql 'paIJIuBISIeuoqlppe ue
'a)ueuoss€ s1rdq 'os1elnq urrlJ aql aql le dlalerpaunursallasrno purl a.\
'o aureu aqt dldurrs 1ou sarrr8ruazua4 u8s
aql roJ'umop ua>lorqraqunJ aq JIaslIuer a8essarus1r{}'lJEtuI
'tlJuarCpue 3ur a8awt pto'vt aql 'dSolotudla luaoue
-lrrm Jo a8pal.trool e sr 1r.raqdnap o1 parrnbar a8pal.ttoul dluo aql la8en8uel
q)uarc aql Io l€LIl ueql rar{+oauou sI ua>leluaaq seq aSessaruslq} qcrqM urorJ
apoJ aqJ ,,'awliqatra,,'aua)sar{l Jo uolllsodsrp lernleu ar{l olul pagasur Suraq
asar{l /slaqel aqt pu€ 'leur8reru sr qrlqm 'uotldec aql are slroddns s1rlcrlsrn8
-url sr aru€lsqns asoqm aSessaur1srr1e splard dlalerparuurr a8eurr aq1
'sureluo) sa8essaurlualaurp aql
1r ,,JJo
rur)s,, ol ,,ft1sn 1a1 ,'punorSpeq par € uo suaar8 pue s-^a.o11ad ur '8eq 8urr1s
'saoleurol aluos
uado-;pq € uroJJSur8raua IIe 'urooJqsnur e 'sraddad 'suoluo
'laqJes e'wr+e'e1sedyo splled auros :luauraslualpe Iuezued e a^€r{ a.tt aJaH

s:rDvssatrNa!IUHI:IHI
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lseal +erc
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09I a3ou1a4qlo cuotrtlu :SiIHJuVg 8

1,54 THE RHETORIC OF THE IMAGE

composition of the image, evoking the memory of innumerable alimentary betweenthe two iconic messagesis
paintings, sends us to an aestheticsignified: the"nature morte" or, as it is bet- ing: the viewer of the image recei
ter expressedin other languages,the "still I'fe"3; the knowledge on which this messageand the cultural message
sign depends is heavily cultural. It might be suggested that, in addition to in reading correspondsto the func
these four signs, there is a further in{ormation pointer, that which tells us that The distinction, however, has an oP
this is an advertisement and which arises both from the place of the image in allows the distinction in the lingui:
the magazine and from the emphasis of the labels (not to mention the cap- though in reality no one is able I
tion). This last in{ormation, however, is co-extensivewith the scene;it eludes e-xceptby recourseto the metalang
signification insofar as the advertising nature of the image is essentially func- rnits us to describe the structure o
tional: to utter something is not necessarilyto declare t am speaking,except in ion and if this description paves tf
a deliberately reflexive system such as literature. irnage in society,we will take it to
Thus there are four signs for this image and we will assume that they sider each type of messageso as t(
form a coherentwhole (for they are all discontinuous),require a generally cul- sight of our aim of understanding
tural knowledge, and refer back to signifieds each of which is global (for inter-relationship of the three mes
example, Italianicity),imbued with euphoric values. After the linguistic mes- a "naive" analysisbut a structural
sage,then, we can see a second, iconic message.Is that the end? If all these be modified a little by the inversi
signs are removed from the image, we are still left with a certain informa- message;of the two iconic messag
tionai matter; deprived of all knowledge, I continue to "read" the image, to second:the literal messageaPPea
"understand" that it assemblesin a common spacea number of identifiable Hence, knowing that a sYstem r.r'h
(nameable)objects,not merely shapesand colors. The signifieds of this third in order to make them its signifier
messageare constituted by the real objects in the scene,the signifiers by these immediately that the literal image
same objects photographed, for, given that the relation between thing signi- Successively,then, we shall look at
fied and image signifying in analogical representation is not "arbitrary" (as it and the connoted image.
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; THn LNcutsrIC MESSAGE
no doubt the photograph involves a certain arrangement of the scene (fram- Is the linguistic messageconstant?
ing, reduction, flattening) but this transition is not a transformation(in the wav around the image?In order to find
a coding can be); we have here a loss of the equivalencecharacteristicof true necessaryto go back to partiallr-
sign systems and a statement of quasi-identity. In other words, the sign of this state of the image. From the mom,
message is not drawn from an institutional stock, is not coded, and we are ing of text and image is frequent,
brought up against the paradox (to which we will return) of a message without from a structural point of vieu'. \1
a code.aThis peculiarity can be seen again at the level of the knor,vledge invest- tion"? Does the image duPlicatece
ed in the reading of the message;in order to "read" this last (or first) level of a phenomenon of redundancv or (
the image, all that is needed is the knowledge bound up with our perception. image?The problem could be Pose
That knowledge is not nil, for we need to know what an image is (children with its passionfor books with Pic
only learn this at about the age of four) and what a tomato, a string-bag, a century that editions of La Fontait
packet of pasta are, but it is a matter of an almost anthropological knowledge. authors such as Menestrier rthcr
This messagecorresponds,as it were, to the letter of the image and we can betweenfigure and discourse.-To
agree to call it the literal message, as opposed to the previous symbolic appears that the linguistic messag
'message.
caption, accompanyingPressartlc
If our reading is satisfactory, the photograph analyzed offers us three shows that it is not verY accuratet
messages:a linguistic message,a coded iconic message,and a non-coded still, and more than ever.a cir iliza
iconic message.The linguistic message can be readily separated from the uing to be the full terms of the inf,
other two, but since the latter share the same (iconic) substance, to what presenceof the linguistic messag
extent have we the right to separate them? It is certain that the distinction length seem to be Pertinent (.r lo
 pqolS alSurs e asrrdulor dpo deu 1xa13uo1 e) luauluad aq ol uraas t{}3ua1 uor+Jurlsrpar{} lelll ur€lral sl ll cu
slr rou uorqrsodslr raqllau .ro; 'slunor leql a8essau rrlsrn8url aql 1o aruasa.rd 'a)ue+sqns(rruorr) allrps ,
leqm ol
aql dldurrs sr 1r /]rEJuI 'arnlrnrls I€uolleturotq aql Jo surrel IInJ aqtraq o1 Surn aql urorJ paleredas dppea.r aq up.
-urluoJ qraads pue Surlr;rur /lllls
,'3ur1rr,l,tJo uoIlezIIIAIJ e tala uer{l arour pu€ papoJ-uou e pue 'a8essarufruo)t
are a,tt-a8erur aql Jo uoqezrlrlr) € Jo )lel ol aleJnJ)edra,r lou sI lI leql sMoLIS aarql sn srago pazdpue qderSolo
qrlqM 'uoolleq dr.4sruroc'anSoprp urlrJ'alrlue ssardSurduedurorre'uorldec
'a1l1lse :a8etur dra,r.aur luasard paapur sr a8essarurrlsrnBurl aq] leql sreadde
crloqruds snorrrard aL{} ol pasorld(
'suorleJrunluluoJssew '.{epo1
lr Jo Ia^al aL{}1e l'asJnoJslppue aln8r; uaaMlaq uer a,r,tpue a8eurr aql to rallal aql
suorlElal aql qlIM sa^lasuraql pauJaJuo) oq]\^ ralrlsaualN s€ qJns sJoLIlnE 'a8payntou4pcrSolodo.rqlue
lsoruIp
slr pue (palerlsnp aq lou ppor{s salqal spureluoc eT Jo suolllpa leql drnluar e '3eq-3ur,4se 'oleruol e ler{.\\ pup
qluaalq8ra aql ul aiqe^laruo)ur se.rtil) sa.rnlrrd qll.tt sTooq ro; uotssed sll qll,rt ua"rppqr) sr a8erur ue IeLIM .\.\ou)l L
porrad le)rssplr aql spre8a; se dllerrrolsrq pasod aq plnoJ uralqord aq1 ;a8erur 'uorldacradrno qllm dn punoq aFp
aLIl o] uo4eurroJul LISaTJ e ppp lxal ar{l saop .ro ,{ruepunpar Jo uouaurouaqd e
to la^al (rsr1yro) ]s€l sR{l ,,p€ar,,ol .
dq lxal aql u1 ua.lr8 suorleurroJurarll Jo ur€ual alerqdnp a8eurr aql saocl z,,uoll -lsalur a8pa1,,r,rou>1
ar{l Jo {a,ral a!1 }r
-erlsnilr,, Jo arnlrnrls Surd;ru8rs ar{l sl ler{M '.llall Jo lurod lerryonrls e urorJ
4noqlnz a8ussaw e yo (u-rn1arIIr-\\a.\l
parpnls alllll uaaq a^eLI ol suraasJr q8noql '1uanba.r;sr a8etur pue lxaq ;o 8ur alu a.\ pup /papoJ lou sr ,1:o1s 1eu
->iurl aql />looqar{l 1o aruereadd€ aq} Jo luaruour aql uorC 'a8erur ar{l Jo a}e+s
srql 1o u8rsaql 'sproM raqlo u1 i1r1
rrtlderSolrrd Jo uos e ol 'sallalros alerall1ll dle4red ol >lreq oB o1 d.ressarau enJ+Jo JrlsrJalJerer{c aruale,r.rnbcaq
ssallqnop sr 1r'sp.ro.ralnoqllm ua,l.r8sa8eurl pul, ol rapro uI 2a8ewr aq+punor€ de,rt aql ur) uo4atu"tolsirrlte lou sr ur.
Jo 'rapun 'ur Jalleur Ienlxal sde,,ra.1eaJaLIlsI aluelsuoJ a8essarurrlsrn8url aql s1 -ue;1) auaJsar{l yo truarua8uerrpurr
JITSInSNIf aHI
:TDVSSSIAtr 1pcr8o1o1ne1-rsenb sr ;ar;ru€rspup p.
sr a8essatuprnp aq+saurJapleq.\\ l-
ur urral prn{l e L{II,lt delar alil asop o
'a8erur palouuo) aLIl pu€
'dla,Lrssarcng 1rse) ,,drer1rqre,,+ou sr uorleluasa:d
'a8eur palouap aq; 'a8essalurqsrn8url aqtrle >lool
lleqs aaa'uaq1 -ru8rs Surql uaamlaq uorlelar aql lpr
'papuuoJ a8etur crloqtu^,{saql pue papuap st a8etut pra}Il aq+}eg1dlalerparuurr
asaqt lq srarlu8rs ar{l /auaJsaql ur s
.,iesderu a,l,re'uorl€louuoJ to rualsds e sr s.raryru8rssll ruaq+ a>leuJol Japro uI prn{+ sryl;o spar;ru81sar{I 'srolor p
tua;sds Jaqloue ;o su8rs aLIl Ja^o sa>IelqJn{.tauralsds e 1eq1Sur,ttou>I'aJuaH alqerJrluapr
'a8essaru Jo laqunu e alpds uor.
,,rr1oqw.,{s,, go l.toddnsaql se sreadde aBessatuIeralrl aql :puoras
at11 o1 'a8eurr aql ,,peaJ,,ol anurluor I ,
aq] uo palurrdtur JJosaruos ur sr lsrrJ aq1 'sa8essaurJIuoJI o,ta,]aql Jo 1a8€ssau -Eurroru ure+ral e qll^{
ual IIqs alE
Ieralrl aql pue a8essatuiernllnr aql Jo uorsra^ur aql dq atllll e parJrpou aq asoql JleJI Zpua aqt leql s1 'aBessa
sa8essauarp Jo rapJo aql n'uorldr.rrsapIern+Jnrlse ]nq stsdleue,ptreu,,e
11r.rr -satu crlsrn8url aLIlJaUV 'sanlp.\ lrc
'sa8essauraaJrllaql;o drqsuorlelar-Jalul
Jou sr uorlsanb ur sr leqm leql ua^r3 roy) pqo13 sr qJrqM Jo Llrea sparlrl
'a8etur aql to arnl)nrls Ilera^o aql Sulpuelsrapun Jo urle rno ;o lq8rs
IeurJ aql 1nr dle.raua8e arrnba;'(snonurluo:r
8urso1lnoqlr.r,r 'dlrleraua8 s1rut 11aroldxa ol se os a8essatuyo ad,{1LIJeaJaprs daql leqr aurnsseIIrM aM pue a8eu
-uoJal ol sm{l sr .ltou Tse} aqJ 'par;4snf aq ol ll aTe} IIIM a.,r.r'dlanos ur a8etur 'aJnlPla:
aql Jo alor ar{l Jo uollpueldxa ue ro; de.tr aql sa,ted uorldt.rrsap sILI}JI pue uol ur ldarxa '3ut4aadsrar 7 a"repap o1 -ip
-qs€J luaJaqor pue aldturs e ur a8etur atl] Jo arnlJn4s ar{l aqlrJsap ol sn slru -run1 dlerluassa sr a8eurraql arnlr
-rad uoqrurlsp aql g '(uorlrur;ap e;o a8en8ueplaur aq] ol asrno)ar dq ldarxa Jo
sapnla +rlaua)s aql qll.tr alrsualxa-o
Surueau slr urorJ ,prow,, aql aleredas o] alqe sI auo ou l14ear ur q8noql -der aqt uorluaru o1 1ou) slaqpl aql
uarra)paryu8rs e pue rar;ru8rse;o u8rs rrlsrn8url ar{l ur uorlJul}slp aq} s,\lolle ur a8erur aql yo aceld a{l worJ {toe :
qJIqM ler{} ol snoSoleuedlrpr1errleuotle.radoue sel{'Ja^amor{'uollJullsrpaLII lPql sn sllal r{}rl^^ l€Lll'lalurori u()rtp
'(a.raquraouor rno) a8eurr sseur aql
Jo uo4JunJ aql o1 spuodsa.rrocSurpea.rur ol uoqrppe ur '+eql pa1sa83nsaq lq
uorsn;uo)srql lpql ralpl uaasaq tlM 1rpue'a8essaullprnllnr aql pue aBesseu sn{l rlrrqM uo a8pal.r,touTaLIl1.,,alrlIl
lerydarrad aql aw!4 awas a41pua auo t, sanlarar a8etur aql Jo ra.ltarl aql :8ur -laq q ll se 'ro
,,aLrcwatr\au ,, aql :pa
-pear dreurp;o ur dlsnoaueluods aperu lou sr sa8essaurJIuoJI oml ar{l uaamlaq
{;eluaurrle alqeJaurnulrr;o,rrourau

99I a & u u 1a 4 7l o r u o p t l > : t; S e H I u V g 8

1,56 rHE RHETORTCOF THE rMAGE

signified, thanks to connotation, and it is this signified which is put in relation respectto the liberty of the signifie<
with the image). What are the functions of the linguistic messagewith regard sii'evaluelo and we can see that it i:
to the (twofold) iconic message?There appear to be two: anchorageand relny. ogy of a society are above all inves
As will be seen more clearly in a moment, all images are polysemous; Anchorage is the most frequenl
they imply, underlying their signifiers, a "floating chain" of signifieds, the commonly found in PressPhotogr;
reader able to choose some and ignore others. Polysemy poses a question of relay is less common (at least as far
meaning and this question always comes through as a dysfunction, even if seenparticularly in cartoonsand cc
this dysfunction is recuperated by society as a tragic (silent, God provides no of dialogue) and image stand in a c
possibility of choosing between signs) or a poetic (the panic "shudder of the sameway as the images,are fral
meaning" of the Ancient Greeks) game; in the cinema itself, traumatic unity of the messageis realized at
images are bound up with an uncertainty (an anxiety) concerning the mean- dote, the diegesis (which is amPle
ing of objects or attitudes. Hence in every society various techniques are treatedas an autonomoussYstem:
developed intended to fix the floating chain of signifieds in such a way as to text becomesvery important in filn
counter the terror of uncertain signs; the linguistic messageis one of these elucidation but really does advance
techniques.At the level of the literal message,the text replies-in a more or of messages,meanings that are not
less direct, more or less partial manner - to the question: what is lf ? The text the two functions of the linguistir
helps to identify purely and simply the elements of the sceneand the scene whole, but the dominance of the c
itself; it is a matter of a denoted description of the image (a description general economy of a work. When
which is often incomplete) or, in Hjelmslev's terminology, of an operation(as information is more costly,requirir
opposed to connotation).eThe denominative function corresponds exactly to (the system of language);when it h
an anchorageof all the possible (denoted) meanings of the object by recourse it is the image which detains the ir
to a nomenclature. Shown a plateful of something (in an Amieur advertise- analogical, the inJormation is then
ment), I may hesitate in identifying the forms and masses; the caption (" rice for "quick" reading the diegesis is
and tuna fish zuithmushrooms")helps me to choose the correctleoelof percep- gathering the attributive informat
tion, permits me to focus not simply my gaze but also my understanding. typed status of the characters);the '
When it comes to the "symbolic message,"the linguistic messageno longer are made to coincide so that the hr
guides identification but interpretation, constituting a kind of vise which of verbal "descriPtions" which are
holds the connoted meanings from proliferating, whether towards exces- less "laborious" sYstem.
sively individual regions (it limits, that is to say, the projective power of the
image) or towards dysphoric values. An advertisement (for d'Arcy pre-
Tnr DnNouD IMAGE
serves)shows a few fruits scatteredaround a ladder; the caption (" as if from
your oTringarden")banishes one possible signified (parsimony, the paucity of We have seenthat in the image Pro
the harvest) because of its unpleasantness and orientates the reading literal messageand the sYmbolic n
towards a more flattering signified (the natural and personal character of (at least in advertising) a literal im;
fruit from a private garden); it acts here as a counter-taboo, combatting the image were to be achieved,it u'oul
disagreeable myth of the artificial usually associated with preserves. Of be completed bY a third-svmboli'
course, elsewherethan in advertising, the anchoragemay be ideological and literal messagecannot be substant
indeed this is its principal function; the text directs the reader through the speak, a messagebY eviction' con
signifieds of the image, causing him to avoid some and receive others; by the signs of connotation are ment;
means of an often subtle dispatching,It remote-controls him towards a mean- ally to remove them for thev can ir
ing chosen in advance. In all these casesof anchorage,language clearly has caseof the "still life comPosition"
a function of elucidation, but this elucidation is selective, a metalanguage to a plenitude of virtualities: it is ;
applied not to the totality of the iconic message but only to certain of its ings. Then again (and there is no c
signs. The text is indeed the creator's (and hence society's) right of inspec- it is a sufficient message,since it I
tion over the image; anchorage is a control, bearing a responsibility-in the identification of the scenereprese
face of the projective power of pictures-for the use of the message.With short to the first degree of intel
 plnoM Jap€ar aql q)rqM .ttolaq) dlrrqr8qlalur 1o aar8ap lsrl; aql ol uor{s 'a8essaruaqt
HIIM Jo asn aqt ro
ur spuodsanoc a8etur aql Jo JaIFI ar{l 1pa+uasarda,r auars eql Jo uol+€rlJpuapl aql ur-dlrtrqrsuodsa.r e Surreaq ,
aql Jo la^al aql le SuluPalu auo lseal le s€q lI aruls 'aBessautlual)IJJns e sI lI -oadsur qq8r.r(s,d1anosa:uaq
1o
'(pres uaaq 's8ur
1sn[seq leqm q]lM uol]rlper]uo) ou sI araql pue) ure8e uaql slr Jo ureuar o1 dpo 1nq a8essa
-uealu aql 11eJo IInJ SurueaurJo aruasqeue sr lI :saqrlenlrll;o apnlruald e o1 a8en8ueplatu e ,anrltalas sr uorl
spuodsarrocdlerryeu alels aAIl)IAa srql '(,,uorlrsodruocaJIIIIps,, aql Jo aseJ seq dpeap a8enSuel ,a8eroq:ue
aql uI se 'a8eurr aql Jo aloq.Maql aleu8a.rdurlu€J daql .ro1uraql a^oura,ro1 dle -ueaur e spJe^lol rurq sloJluo)_al
-nlJe alqrssodaq lou plnoM lr) palalap dgeluaw are uollelouuor;o su8rs aql dq lsraqlo aAraJaJpue aruos pro.
uaqm a8eurr aql uI Ual sr leqM dq pa1n14suo) 'uotlJtla dq a8essaure '1eads aq1 q8norql rapear aql s1rrrrl,t\i
ol os 'lle Io lsrrJsl ll 'leuorlela.r
,,{1uolnq leque}sqnsaq louuel a8essar.u 1era11 pue porSoloapr aq deru a8eroq,.u
ar{l Jo srr+srralJereqraql snqJ'a8essaru-rrToqurds-p.4q} e dq paplduroc aq 'sanJasard
JO qlrznrpalerrosse.i
pue llanreu yo u8rs ar{l ulof .{lalerparuurr plnoM lI 'palalq)€ aq ol areM a8eurt aql Su4leqtuor'ooqel-raluno_r p :
'aqe1s
a.rnde ur a8erurIeralII € (Sursqra'rpeur 1sea1
,p^reu,, d1e1o1e 1rua^g 1e) to Jal)€reqJ leuosrad pup Iprntri
JalunoJua Jalau a.ta11euor1e.rado sr a8essatuoqoqruds ar{l pue a8essatu1e.ra1r1 Surpea.r aql saleluarro pup ss<
aql uaa,t,r+aq uorlrurlsrp ar{}'8ul)€ads dl.radold aSeurraql ur +eql uaas aleq aM yo llrcned aq1duor.urs.red)parlru:
wo{ 11sa,,) uotldee aql lrapppl p r,
fl5VWI CAIONIICIAHI -atd /icty,p .ro;) luauasrJro.\pp 1
aq1;o raaaodazrrlcafordaq1 ,.iesol
'uralsds,,snoIJoqel,,ssal -saJxaspJemo+Jaglaqm,Burlp:.-
e oq des ol sr leql 'a8etut aql ol palsnJlua arp qr1{,lt ,,suo4dtrtsap,, I€qra^ }o riJlrl,raasrl Jo puq e 3ur1n1r1su
ruoparoq aql pa.redsaq deru rapeer palrrnq aql l€r{l os aplJuroJ ol ap€ur are ra8uol ou a8essaurorlsrn8url aql
a8essatualrsrnJsrp aql pue a8essaurl11socaql 1(s.rape.reqraq1yo snle1spaddl 'Surpuelsrapun
du osle lnq azp:
-oarals aql) rapro rrqeurBrpe;ed e Jo suoq€urrofw a^Ilnqlrg€ aql Surraqle8 -dacnd paal pauor arylasoor1-1 !)
lo
a8eurr aql /lxa+ aql o+ ile a^oqe paurJuor sr srsa8arp ar{} Sulppar ,,4trnb,, toy acu,,) uorldeJ aql lsassetu pup sru.
papualur sdrrls cruroc ureual ut;tlarzel,, uaql sI uoll€urJotul aql 'leJlSoleu€ -asrlJanpexnalwv ue ur) Burql.rur
Suraq a8erur aql'pu€ a8reqc leuoqeruroJur ar{} sup1ap r{rlqm a8eurr aq+ sI +I asJnocardq tcafoo aq1;o s8urue.-r
'(1orluor'a8eloqrue) anlel alnlllsqns e ser{}r uar{M 1(a8en8uel;otualsds aq1) o1dlqcexaspuodsar.roruorl)unJ <r.
apor plr8rp e ;o Surureal ar{l saop lr se Sur.rrnba.rd11sooarotu sI uoqeurroful se) uo4ntadoue;o ,,{3o1our..ural : .\
aql delar Jo anle^ orla8arp ar{l seq lxal aq} uaqM '>lrom e ;o dtuouooa leraua8 uor;drrcsape) a8ewr aql ;o uorlj
aql roJ acuanbasuoc Jo sr raqlo aql ro auo aql Jo aJueunuop ar{} lnq /aloqm auaJsaql pue auaJsaLIlJo slua|'U.
Jruof,r auo aql q lsya-oJ ueJ aSessar.urrlsrnSurl ar{l Jo suorlJunJ o1\{l ar{] lxal ar{J i7! s! Wqm:uorlsanbaq1..,
'dlsnornq6 'gas1raSeurraLIlq punoJ aq ol lou arc leql s8uruearu'sa8essaur;o ro aloru e ur-sar1da.rlxel aql .a:pt
acuanbas aql ur 'lno 3ur11asdq uorlre arll aJue^pe saop dlear lnq uoqeplJnla asaql Jo auo sr a8esseurrrlsrnSurl
se dldurrs lou suorlcunt anSoprp araqm 'tullt uI luel.rodur dra,l satuoraq lxal o1 se dea.le qJns ur spar;ru8rs1o urr
-de1arqql 'a8erur paxrJ ar{l uI arpr apqr14'(rrualsds snoruouoln€ uu se palear} a,resanbruqJal snorJ€A.,{larros_r,
aq lsnu srsa8arp ar{l leql uoqerurl3uor aldue sr qcn1.r,r.) srsaBarpar{} 'alop -ueaur aql SuruJaouoc(dlarxue ue,
-Jaue aql 'd.ro1saql to leql '1a,1.a1
;aq8rq € le pazll€ar sr a8essauraql 1o dlrun Jrl€urneJ+?laslr €uaurJ ar{l ur :.
aql pue uBeluds yeraua8aJour e;o sluaur8er; are'sa8erut aql se derr,tarues ar{l Jo rappnqs,, crued aq1) rrlaod e :t
uI 'sproM aql ldlqsuollela,r d.reluauralduroce uI puels a8erul pue (anSoprp 1o ou sapr,ro.rdpo3 ,1uaps)or8erl e se
qJleus e uago lsotu) lxal ala11 'sdrrls rltuor pu€ suoolreJ ur lpelncrlred uaas tr uala
'uo4ourys.r{pe
se q8no:ql s
aq ue) 111(pau.raruorsr a8erur paxlJ aql s€ r€J se 1sea1le) uoururor ssaysr delar ;o uorlsanb e sasodduras,i1o.1s:aq
Jo uoqounJ aql
'sluaruasrualpe pue sqderSoloqd ssard uI punoJ dluotutuor aq+ 'spar;ru8rsJo ,,ureqr Bur1eog,.r
sr pue aBessatucrlsrnSurl aql Jo uollrun; luanba.r; lsoru ar{l sr aBe.roqcuy lsnoruasdlod a,resa8eurrIIe /luauo
'palsanur 'frupt pue aSantpuu:o&q
IIe a^oqe a.redlarcos e yo d3o aq o1:ea.J
-loapr pu€ dlrleroru ar{l leql le^al slql le sI }I ler{l aasueJ e.ll pup .ianl€A aols pre8a; g1r.u a8essauroqsrn€ur1aqt l,
-satdat e sm{l seq lxal aq+ 'a8etur aql Jo spalJlu8rs aql ;o d1.raqr1 er{l o} lradsar uo4elal ur 1nd sr qrlr{.t,rpar;n€rs srq

lgL 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 it seems,account for the specific chi
by reason of its very poverty, for everyone from a real society always dispos- assessmentof the anthropological r
es of a knowledge superior to the merely anthropological and perceivesmore The tvpe of consciousnessthe photc
than just the letter.Sinceit is both evictive and sufficient, it will be understood .tented, since it establishesnot a cor
that from an aestheticpoint of view the denoted image can appear as a kind pvhich any coPY could Provoke) b
of Edenic state of the image; cieared utopianically of its connotations, the \Vhat we have is a new sPace-timec
image would become radically objective,ot in the last analysis,innocent. anteriority, the photograph being a
This utopian character of denotation is considerably reinforced by the ,tow and the there-thenIt is thus at t
paradox already mentioned, that the photograph (in its literal state),by virtue sage without code that the real uj
of its absoluteiy analogical nature, seems to constitute a messagewithout a uriderstood: its unreality is that of t
code. Here, however, structurai analysismust differentiate,for of all the kinds experiencedas illusion, is in no rt ar
of image only the photograph is able to transmit the (literal) hrformation ocier of the photograPhic image mu
without forming it by means of cliscontinuoussigns and ruies of transforma- irts-been-there, Jot in every photo
tion. The photograph, messagervithout a code, must thus be opposed to the of this is how it was, givin2
",rid".,."
drawing which, even rvhen denotecl,is a cclcJed message.The coded nature of rvhich we are sheltered. This kind o
the drawing can be seen at three lel'els. Firstiv to reproduce an object or a probably diminishes the projective
scenein a dra.,ving requires a set of rule-goz,ented transpositions; there is no ical testsresort to photographs n'hil
essentialnature of the pictorial copv and the codes of transpositiorr are his- i1vdefeatsthe lt's rre. If these remar
torical (notably those concerning perspective).Secondly,the operation of the be related to a pure spectatorial,con
drawing (the codir-rg)immediately necessitatesa certain division between the more "magical" fictional conscious
significant and the insignificant: the drawing does not reproduce euerything This would lend authoritY to the r:
(often it reproduces very little), u'ithout its ceasing,however, to be a strong photograph is not a simple differen
message;whereas the photograph, aithough it can chooseits subject,its point can no longer be seen as animated
of view and its angle, cannot intervene n:itlin the object (except by trick way before a being-thereof the thi
effects).In other words, the denotation of the clrawing is less pure than that there can be a historY of the cinema
of the photograph, for there is no drawing without styie. Finally, iike all arts of fiction, whereas the Photc
codes, the drawing demands an apprenticeship (Sausslrreattributed a great (despite the evolution of the techn
importance to this semiologicalfact). Does the coding of the denoted message art) and represent a"flat" anthrop
have consequencesfor the connoted message?It is certain that the coding of definitively unsurpassable, humani
the literal prepares and facilitates comotation since it at once establishesa lory messages without a code'l{ence
certain discontinuity in the image: the "execution" of a drawing itself consti- term of the great familY of images
tutes a connotation. But at the same time, insofar as the clrawing displays its in{ormational economies'
coding, the relationship between the two messagesis profoundly modified: it At all events,the denoted imal
is no longer the relationship between a nature and a culture (as with the pho- any code (the casewith the adver
tograph) but that between two cultures; the "ethic" of the drawing is not the the general structure of the iconit
same as that of the photograph. (returning to this questionafter '1is
In the photograph-at least at the ievel of the literal message-the rela- image naturalizes the sYmboiic me
tionship of signifieds to signifiers is not one of "transformation" but of connotation,which is extremelv c
"recording," and the absenceof a code clearly reinforces the myth of photo- ttrePanzaniposter is full of "svmb'
graphic "naturainess": the sceneis there,captured mechanically,not humanly tograph, insofar as the literal mc-
(the mechanical is here a guaranteeof objectivity). Man's interventions in the thereof obiects:nature seemsspont
photograph (framing, distance,lighting, focus, speed)all effectively belong to A pseudo-truth is surreptitiouslv s
the plane of connotation; it is as though in the beginning (even if utopian) ly semantic systems; the absenc
there were a brute photograph (frontal and clear) on which man would then becauseit seemsto found in naturr
lay out, with the aid o{ various techniques,the signs drawn from a cultural an important historical parador: tl
code. Only the opposition of the cultural code and the naturai non-code can, of information (and notablv of in
 Io sueaur ar{l sapl^ord lI arour aq}'(sa8eurr ;o dlqelou pue) uorlerurotul Jo 'ueJ apoJ-uou
JeJnleuaql pup af
uorsnJJrpaql sdola,LapdSolouqoal arour ar{l :xopered lerlro}slq luelrodrur ue JeJnllnJe urory ul\llJp su8rs rrli
'arnllnr;o su8rsaql arnleu uI punoJ o} suraaslI asneJaq
lqnop lnor{}lm sI sIqJ uaql-plno,l,t ueur qrrqu uo (re..r1
a8essaur aq+ sazrleq)allalulslp apor Jo aruasqe aq1 lsualsls r4ueruas d1 (uerdoln 1 uana) Burtrur8aqaql ,
-uado 1o dlrprrcn aldurs arll roJ palnt4sqns dlsnorqrlda.rrnssI qln4-opnasd y o18uo1aqdlanqcaga (paads;sn
'paluasa.rdarauars aql aonpo.rdo1dlsnoaueluods suraasarnl€u :spafqo a'Larll 1p
lo aLIlul suorluanralurs,uetrr;.(.i1r.r
-7utaq letnleu Jo pur1 e 'luanr;;ns st a8essaru I€JalII aql s€ relosul 'qder8o1 dperunq 1ou dlprrueqJollr peJnl
-oqd aql ur suleruar ssalar{lauou araLll ,,'sloqruds,,yo 11ryst ralsod uazuacl a.ql -o1oqd;o ql,{ru aql
sar.ro;rrrari1.
q8noqllv'3utst1.ranpe ur dllenadsa 'asuap d1ar.ua.rlxa sI qrlqm'uollelouuo)
Jo lnq ,,uorJeurJoJsueJl,,
ar{} slua)ouur rqoquds aql sazll€Jnleua8eurt Jo aurr
Jo aJrJrue )queuras 1r'a8essaru -e1araq1-a8essaur
Ieralrl aql Jo i
palouap aq1:(a8essauprn{l ar{}}o uolssnrsrp rage uollsanb srql o} Sururnla;)
aur1ap o1 urBaq uEJ a,l,r r{r1{,ta.a8essaur rruorl ar{l Jo arnlJn4s le;aua8 aql aql lou sr Sur.rae;par{l
Jo ,,rrLit-. .
ur alor lerrads e sdeld '(qderSoloqd Sursrllanpe aql qllrvr aseJ ar{l) apoc due -oqd aql qig.u se) arnllnr p
Lrlrr,.rrr
dldrur 1ou saop ll rlrirlm ol lualxa ar{l ol'ageurr palouap aql'slua^a IIe lV lr :partrporu{lpunoyo;d sr saFes.,
'sanuouoJa
IeuolleruJotul slr s,{eldsrp B u r , u e . ropL l ls p r p l L r _
Jo uorlelnur alrsrrap e o1 spuodsarroJ Jr lsa8erur yo dprue; 1ea;8 aql to rural -rlsuol;1as1rBur,rte.rpp
,o ,,uorln-\
(pa,r.o-rdtur)lsel ar{l trou sr qderSoloqd aql a)uaH 'apu a flollltm sa8assaw['rc| p sar{srlqe}sa aJUOle lr aJursLro:
-slLIsll ur aurrl +srrJoql .ro; Sut;alunorua dltueurnq'alqessedrnsun dlanqrur;ap
;o Surpoc aql +eql ureJra) s1tl .a:r
pue ,taeu dlalnlosqe aruo l€ '1re; letrSolodo.rqlue ,,]r-II , e luasarda.r pue (ue a8essaurpalouap aqtr Bur;.ro.-.ri
1o
lqde.rSoloqd aql Jo suorllque pu€ sanbruqcal aqt to uoqnlo^a ar{+alrdsap) lear8 e palnqrJile arnssne5),,-irr1
drolsrq apnla asuas auros uI uec qde.rSoloqd aql searaqm 'uollrlt Jo slJe 11ea{ll
,.{11eurg .a1d1s
lnorly rr :,rr
snor.tald aql qlIM >learqIear duu lnoqlyvi'euraulJ aq+1o drolsrq € aq uec araql leLF uelll arnd ssaysr Bur,uer1.;ri1i
,rtoq ureldxa plnom uorssruro q)Tr{,la13uql aql p atatlq-8uraqe atolaq f,em pr4_dq ldacxa) ;rafqo aq1 rrri;:.,
san? ata4q-uaaq-Bunarq aql :sqderSoloqd paleurrue sp uaas aq ra8uol ou u€D lurod s1g'lta{qns s}r asool{) Llpr lr Li
rulrC 'uo4rsoddo pcrper e 1nq aar8apto aruaraJJlpaldurrs€ +ousI qde.rSoioqd 3uor1s e aq oi ,Jala.l,ror{€ursu.r-..1
pue urlrt uaaMlaq uor+)u4srp ar{l l€r{l ,{,\aIAaql o1 dlr;oqlne pual plnom sIt{J 3un11/itaaa arnpo.rda;rJoLrsaop ;-u: \
'spuadap a3le1 pue lq *lU q)IqM uo ssausnolrsuoJ
Ieuoq)I; ,,1ecr8eru,,arour aql uaa-4qaquorsr^rp urelJaf p salpl
'arrrloafordaJoruar{l ol }ou pue ssausnolJsuoc'1etrolelrads a.rnde ol pal€lar aq aLI+to uorlerado aql dipuora5 .{...u
'lrarroJ are $lr€urar asaql 'aw s,l! aql slea;ap dp
lsnu qderSoloqd aql IIe le JI -snl aJe uorlrsodsue.rl
-sea os samsu1laql :(s8ura,terpasn dueru apq.tr sqde.rSoloqd ol +rosarslsal IerI Jo sapor .rl{l
ou sI aJaLIllsuorlrsodsueJl
-Soloqcdsd .vra1d.ra,L)a8eurr aql ;o la.ra.oda,trlcaford aql saqsruIrurp dlqeqord /rJtl.r.r.:
e ro lrafqo ue arnpordar o1 ,.i11srr
(atatlq-uaaq-Butaa4) wnuqtynba le,rodurel Jo puDI sltlJ 'parallaqs are a,r,t.qrlqm Jo aJnlpu papoJ aLJJ.a8essaurl.rrpr.
r,uo,r;dlrlear e 'alcelrur snonerd e dq 'sn SurnrB 'samil moq st stt4lJo a)uaplla aql o1 pasoddo aq snql
lsnLll ,ap()-ir
Surd;adn1s sdea,r,1eaql sl araql qderSoloqd d.ra,l,a uI roJ 'ata4q-uaaq-3u1 -eLuJoJsueJ+ saplJ pue
Jo su8rs sn,,n
-aaq a:qtJo leql dlrpal s1r1(palegap aq lsnur a8eurr orqderSoloqd arll 'o ralre LlorJeurJofu(leralq) aqJ
-reqc leor8eur aql ol se surrelc) acuasatde derr.tou uI sI'uolsnll se pacuar'radxa llusLrrrrj !)
spurT ar{+IIe Jo roJ,a;er1uaray.1rp
1:nr,
ranau sr qde€o1oqd aql roJ 'ltou-ata4 aql Jo leql sr dlrlea.run sll :poo+srapun P lnor{lrM a8essoure a}nlr}slrol r)l
s
dlny aq ue; qde.rSoloqd aql 1o rtylaatun luat aqr teqt apo) lnoqty* a8es anl;r,r .,{q,(a1e1s s1rur) rlrieriot
-saur ro a8essaurpalouap srql Jo la^al aLI+]€ snql s ll'uaql-a,Laq| aql pue mou 1era1r1
aq1 ,{q paJJoJurardlqe"raprstror.r
-anq aql uaaMlaq uoqcunfuor prrSolp ue Suraq qderSoloqd aql dllrolralue 'lualouut ,srsdJeue u,
lseJarll rrlro .
lerodural pue drerpaurtur lerleds :dro8aleo arurl-a;eds Mau € sI aleq ar't l€t{M .rt-J1 'suorlelouuoJ
sJryo d11etnrer.1
'atatlq-uaaq-3utau1 s+rJo ssauareMe ue ]nq (a4o,Lo.rdppoo ddoc due qcrq,tr) lrulT e se readde upr a8eur palou.rf
3urq1aql 1o ata4y-8uraq aql Jo ssausnolJsuor€ lou seqsqqelsalI a)uls'paluap noolsrapun aq III.4{lr ,}uarfrJ]ns
-arardun d1n.4 paapur sr sanlolur qderSoloqd ar{l ssausnolrsuo) Jo adfi aq1 rloru solraJJadpue Pup .l
1etr8o1ocio.n11u .
drolsrq s,ueur ur sluasarda.rlI uollnlolar prrSolodo,rqlue aq+ Jo luarussassP -sodsrpsderurludlanos
leal p LuorJalr
aql .ta.oll€pue qder8oloqd aql Jo ral)ereq) rryrads aql roJ lunoJr€ 'sutaas 1r '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

69I a&aula4qlo ryop4[ :SEHruvs 8

160 rHE RHETORTCOF THE rMAGE

masking the constructed meaning under the appearance of the given the term ltalianicity, but the others
meaning. ordinary language (culinary prePlr
n'hich has to take charge of then
Runtonrc oF THEIuecE specialized.This is a difficultv for tl
nature: as a seme of connotation, "p
It was seen that the signs of the third message(the "symbolic" message,cul- the denoted sense; the signifier of
tural or connoted) were discontinuous. Even when the signifier seems to condensationof the produce) is likr
extend over the whole image, it is nonetheless a sign separated from the oth- ties, of the purest idea of plentl'' Tht
ers: the "composition" carries an aestheticsignified, in much the same way as lor it is always caught uP in a con
intonation although suprasegmental is a separate signifier in language. Thus
ithat of verbal discourse),oriented
we are here dealing with a normal system whose signs are drawn from a cul- language;the seme "PlentY," on the
tural code (even if the linking together of the elements of the sign appears off from any syntagm, dePrived of ;
more or less analogical). What gives this system its originality is that the num- theatrical state of meaning, or, bette
ber of readings of the same lexical unit or lexia (of the same image) varies svntagm), to an exqosedmeaning.
according to individuals. In the Panzaniadvertisement analyzed, four conno- would therefore require a sPecial
tative signs have been identified; probably there are others (the net bag, lor barisms ol the Italianlclly kind as bt
example, can signify the miraculous draught of fishes, plenty, etc.). The vari- of connotatiory the suffix -icity deri
ation in readings is not, however, anarchic; it depends on the different kinds Italianicityis not Italy, it is the cond
of knowledge-practical, national, cultural, aesthetic-invested in the image Italian, from spaghetti to painting.
and these can be classified, brought into a typology. It is as though the image if needs be barbarouslY-the namir
presented itself to the reading of several different people who can perfectly sis of their form will be rendered e
well co-exist in a single individual: the one lexia mobilizesdifferentlexicons. ciative fields, in paradigmatic art
What is a lexicon? A portion of the symbolic plane (of language) which corre- according to certain defined paths c
sponds to a body of practices and techniques.l2This is the casefor the different tain semic axes:16 Italianicity beloni
readings of the image: each sign corresponds to a body of "attitudes" - tourism, side Frenchicity, Germanicitv or
housekeeping, knowledge of art - certainty of which may obviously be lack- axes-which may eventuallv be il
ing in this or that individual. There is a plurality and a co-existenceof lexicons only be possibleonce a massivein
in one and the same person, the number and identity of these lexicons form- been carried out, an inventor-" no
ing in some sort a person's idiolect.l3The image, in its connotation, is thus con- image but also of those of other su
stituted by an architecture of signs drawn from a variable depth of lexicons nifiers dependent on the differer
(of idiolects); each lexicory no matter how "deep," still being coded, if, as is objects,modes of behaviour) it ho
thought today, the psycheitself is articulated like a language; indeed, the fur- signifieds are to be found in the rr
ther one "descends" into the psychic depths of an individual, the more rari- tures (which is why semiologv ca
fied and the more classifiable the signs become-what could be more framework). This common domair
systematic than the readings of Rorschach tests? The variability of readings, ideology, which cannot but be sinS
therefore, is no threat to the "langu age" of the image if it be admitted that that what signifiers of connotation it nr
language is composed of idiolects, lexicons and sub-codes.The image is pen- To the general ideologr', thal
etrated through and through by the system of meaning, in exactly the same which are specifiedaccording to th
way as man is articulated to the very depths of his being in distinct languages. called connotatorsand the set of cr--
The language of the image is not merely the totality of utterances emitted (for as the signifying aspect of ideolol
example at the level of the combiner of the signs or creator of the message),it stance(herearticulated sound, the
is also the totality of utterances received:14the language must include the essarilyby their form; it is even P
"surprises" of meaning.
form, cotrrrrronfor instance to clrea
Another difficulty in analyzing connotation is that there is no particular ric of the image (that is to sar', the
analytical language corresponding to the particularity of its signifieds-how to the extent that it is subject to tl
are the signifieds of connotation to be named? For one of them we ventured for example, from Phonatorv con
 'aldurexa ro; paJnlua^ a,\^ruar{l Jo auo roJ cP
aql ler{l +ualxa aLIl ol I€raua8 lnq (slurerlsuor .,fuo1euoqdruor;
,luaragrp) uorsrn sr aql ol ,tt.orl- sparJru8rss1r;o dlrrelnrrlr
to slur€Jlsuoc prrsdqd ar{+ol lJalqns lI leq] ]ua]xa
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snql ,r'aBn.tl pu€
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lnrrripq, "r"ql 'punos paleln)Ig€ araq) acuels '(a8essatuaql rol€an ro su€r
-rn ,lor, ltq (.rana1eq,,r,t ro 'arnlsa8 'a8etur araql 1r Jo
-qns rraql iq d.re,,'d1qn1t,o".tts)Irolaq' dSoloapr Jo lradse Suld;ru8rs aql se .ro;)paqltua sa)uerallnJo ^lrlptol
')"uoptpt€ slol€louuoDJo las aql pue src4ap_uuor palle) 'sa8en8uel
Surreaddesnr{l rrro}aqr lJurlsrp ur Suraqsrq lo
aq IIIM s;arJru8rsasaql'acuelsqns uasoq) aql ol Sulproccepar;tcadsar€ r{rlq1'r aures eql dlDexa ur 'Surueau 1o
/sI leq] 'd8o1oapr -uad sr a8eruraql 'sapoJ-qnspuE
uoll€louuoJ ;o srar;ruflrs puodsauor lerauaS aql oI
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'hSopapt 's8urpearyo dlryrqer"re.l.
ralleru ou drolsrq pue dlanos ua,tt8 e ro; a18ursaq lnq louueJ r{rlqm '(4rorrtarue.l;
aql Zslsa
aql Jo ur€urop uoululoJ srql aJour aq plnoJ leqM-aruo)aq
Jo l€r{l sr uor}€Jouuot ;o spar;ru8rs -Ir€J aJouraql'Fnpr^rpur ue
oJ os e uI palraruo) aq dpo uer dSolonuas dqzvrsr qrrq''r't) sarnl Jo s
ie1o1leads -mJ aq]'paapur la8en8uel e aIII
lr"B r,rolrn aql ro a8eu4 aq1'ssard uanlr,lr aql uI punot acl ol ale spar;ru8rs I
'slle[qo
aures ar{l :uoururor ur spat;ru8rs sll ile sploq 1r (rnorneqaq to sapou sr se Jr'papof, Suraqp1s ,,,daap
'a8en8uel 'a8etur) pazlllln saru€+sqns luaraJJlp aql uo luapuadap sraltlu suorrxal;o qldap alqerre^ e uror.
-8rs pcrddl spq uoqelouuor JI ro; 'sacuelsqns raqlo Jo asoql Jo osp lnq a8etur -uo) snql sr'uoqelouuol slr ur ,a3
'lno paIJJef,uaaq -urro; suoJrxalasaql .{lrguaprp
aq1 ;o uralsds alll€louuo) aql Jo dlaraur lou droluaaul u€ ;o
aq dpo
ser{ uollelouuot ;o suralsds aql Jo d.rolua'lur alrsseur e a)uo alqrssod suoJrxalJo afualsrxa-oJe pup Alrl
-{Jel aq dlsnornqo detu qrrq.u yo
dpealc llrm-rer{+ou€ auo ol uorlrsoddo ur aq d1pryua't'a deur r{f,ItlM-saxe
apIS 'ulSIJnol-,,sapnlBlP,, ,{poqe o1
qrns to uollnlllsuora.r aq1 dlrcrqsruedg ro dlrcrueuuaS dlnrqruarC Jo
-3uo1e'sarlrleuorleuto slxe uleuaD e o1 s8uolaq /irycruatp11 er:sax€Jluras uJ€} luaralJrp ar{l roJ aser ar{l sr srqf _r.
']r 'l 'Y se'ro sqled paulJapul€uar o1Surp'rooce -arror r.{JTLIM (a8en8uel;o) aueld :
-rar o1SurproJJe slnd seunal3
,suorlrsoddo ur sdeqrad ua,La 'suoqelnJlu€ rrleruBrpered uI 'splalJ aAIl€IJ 'suorryal
Tuatafip sazqtqowoual a
-osse ur pazrue8ro ar€ saurasasar{I sr'Jalseapalapuar aq IIIM ruloJ JIar{}to sIS dltroay.raduer oll.ll. aldoad luareJJ
-dpue ar{l'uop€}ouuo) Jo saurasatll;o Surureu aq}-'{1snor€qryq aq spaau JI a8eruraql q8noql sp sr ll d8o1od.
'Suqured o1 rpaq8eds urorJ'u€IFtrI a8eurraql ur palsalur-Jrlaqlsae ,
pue-dprcgr1re aleln8ar o1 Suqdaooedg
ppto, 1eq1Sulqldrana Jo a)uassapasuapuoJaql q lI dp11 1ou st fr\nruat1u11 spuq luare1;IpaL{luo spuadaplr
"q 'uollelorruoJ -rre^ aqJ '('r1a'd1ua1d,saqsr;
:a.r,r1ra[peaql uroJJ unou lJer]sqe ue Surrrr,rapliltn- x41ns ar{l }o ;o 1u
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-r€q q+I^{ Ual ale a^{ pu€ a8en8ue1e1aurprcads e arrnbar aroJaraql plnoM -orruoJrnoy'pazdleue +uaurasrya
'Surueaw pasodxaue o1 '(tu8eluds sarre.L(a8ewl aures aql yo) rrral .
uorlelouuoJ Jo sauras asaql ssardxa o1
'Sutueaur ale}s -runu aql leqq sr llreur8r;o slr ua1
€ lnor{ll6 u$rs e ;o uoqsanb e sr 1raculs) rapaq'Io Jo I€JIJ}€aql
due pa'trrdap 'ur8eluds due ruo't;5o sreadde u8rs aq+ to struauala aql
yo 1ro, e o1 Surpuodsarro) pue lxaluo) 1o
aurasar{} la8en8uel -lnJ e uror; u,r,rpJpa;e su8rsasoq.
,rr,'"1n5 arnd e ur ldacrror e sr'dre,4uocar{}uo ,,'f,qua1d,,
prrtrcerd ul€uar e spr€Mol paluarro '(as'rnocsrp
leqra^ Jo leql) snq; 'aBen8uelur rar;ru8rsalered
;o d1r,tr1rsuerl
ru8eluds snonulluoJ € 'aJuEralln lua8urluoc B ur dn lq8nel sde'tr1esI lI Jot se dervlaures aql q)nur ur ,par;ru8r
'sal+ -qlo aql ruor; pale.redasu8rs e ssa
aJuassaue ol sraJarra^au proM palouap aq1 d1ua1dJo eapl lsarnd aql Jo
-ua1d alqrssod ge yo raqdrc lel+uassaaql a)H sr (acnpord ar{l Jo uorl€suapuor o+ suraas rar;ru8rs aql uar{.lr ua.\
ar{l -1no'a8essaur,,;qoqtuds,,
ar{l pup uorsnlord aql aJaq) uoqe}ouuoJ 1o rar;ru8rs aql lasuas palouap aql) a8e
'uoll€lolruoJ
w ,,t(1ua1d,,.ranordllrexa +ou saop ,,f,1ua1d,, Jo auras € se :arnleu
,rl.rn*", ,egrrrynd'n a.l,eq sparJru8rs asaql roJ'dllnrrgrp e sI sIL{I 'pazrleroads
a8reqo a>lel ol seq qrIrIM
1ou sr srsdleue aql 'o luaurour aql le uaql Jo
'rh 'uot4andatd rtuurlnc) a8en8uel dreurpro
a'qa:(/huad unt
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*or; ,pio^ dq paleu8rsap aq dpo uer lnq

a?nwlaqttortroqqd:Sf HIUVg g
L9L
L62 rHE RHETORTC
OFrHE rMAGE

"figures" are never more than formal relations of elements. This rhetoric nature, that of story, diegesis, svn
could only be establishedon the basis of a quite considerableinventory, but it n'ithdrawn into a few discontinur
is possibie nor,rrto foresee that one will find in it some of the figures formerly shelter of their living speech.
identified by the Ancients and the Classics:18the tomato, for example, signi-
fies ltalianicify by metonymy and in another advertisement the seguence of NOTES
three scenes (coffee in beans, coffee in powder, coffee sipped in the cup) 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 -
releasesa certain logical relationship in the same way as an asyndeton. It is metalanguage.The reader is asked to refcr t
probable indeed that among the metabolas (or figures of the substitution of 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
one signifier for anotherle), it is metonymy which furnishes the image with
3. In French, the expression nnttrrt rr,'
the greatest number of its connotators, and that among the parataxes (or syn- such as a skull, in certain pictures.
tagmatic figures), it is asyndeton which predominates. 4. Cf. "The photographic message,' ai
and Trans.StephenHeath. New York: llill .r
The most important thing, however, at least for the moment, is not to 5. "Na:ive" analvsis is an enutneratirrr
inventorize the connotators but to understand that in the total image they relation of these elements !y r.irtue of the ':r
constitute discontinuousor better still scatteredtraits. The connotators do not a structure:if one term changes,so also .l(r t
6. Cf. R. Barthes, El1nrcntsde sirrlo,i..
fill the whole of the lexia, reading them does not exhaust it. In other words Seniology,London 1967& Nerv York 1965.;
(and this would be a valid proposition for semiology in general),not all the 7. Menestrier,L'Art deserablinres, 1t-S-
elements of the lexia can be transformed into connotators; there always 8. lmages without words can certainlr
the absenceof rarordsahr.ays covers an ent{
remaining in the discourse a certain denotation without which, precisely, the
9. El1rnentsde shniologie,pp. 131-1 ltr.:
discoursewould not be possible.Which brings us back to the secondmessage 10. This can be seenclearlv in the p..1;
or denoted image. ln the Panzanl advertisement, the Mediterranean vegeta- 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
bles, the color, the composition, the very profusion rise up as so many scat- in powder fom and thai it will thus irt' ;.:r
tered blocks, at once isolated and mounted in a general scene which has its proposition, a tin of colfee nitir a chrir .
own space and, as was seen, its "meaning": they are " set" in a syntagm which ("locked in") is taken litelalll'(a n'ell-krtr'.'.
is read first and the text {rorn n hich tirc i;:r.:
is not theirsand which is that of thedenotation.This last proposition is important of one signified among others.The rt'pre-.:.
for it permits us to found (retroactively) the structural distinction between the iz:+inn n t t' ^h' ' p r^ "l_e" "s_ _cba- u p

second or literal message and the third or symbolic message and to give a 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
more exact description of the naturalizing function of the denotation with Lexicologle,1.,1959, p. 63.
respect to the connotation. We can now understand that it is preciselythe syn- 13. Cf . El1mentsde sdnioiogie,p ')5 ::.r
tagm of the denotedmessage which "naturalizes" the systemof the connotedmessage. 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 :
Or again: connotation is only system, can only be defined in paradigmatic notion of language llnng uel, especialI r i:. ::-
terms; iconic denotation is only syntagm, associates elements without any abstraction" of the messagesemittetl .;,:.;'
system: the discontinuous connotators are connected, actualized, "spoken" 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 '
through the syntagm of the denotation, the discontinuous world of symbols 1 6 . A . J . G r e i t n a s ,C o u r s i e - i . , ' : . , ' : :
plunges into the story of the denoted scene as though into a lustral bath of Sup6rieurede Saint-Cloud).
'Rem.rr.rr:.r
innocence. 17. Cf. Ernile Benveniste,
enne', La Psrlchanalyse 1,1956,pp. 3- 16 i:t:::
It can thus be seen that in the total system of the image the structural Paris 1966,Chapter 7; translateclas li, r .
functions are polarized: on the one hand there is a sort of paradigmatic con- 18. C-lassical rhetoric needs to be rt:lr
densation at the level of the connotators (that is, broadly speaking, of the progress);it will then perhaps bc possir'.. :
fiers of connotation, valic1for articul.rtr.i -.
symbols), which are strong signs, scattered,"reified"; on the other a syntag- (Aider6moire)', ComnttLnicntiotis 1'r.
.16.
matic'flow'at the level of the denotation-it will not be forgotten that the 19. We prefer here to er.adeIako5..':
syntagm is always very closeto speech,and it is indeed the iconic "discourse" 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.
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
 e Jo uorleurJseJaq+ ,scrlralerp 1n
'aurquroJ
IIe suoqe)runururoJ sseru
arnllnr s€ rualsds aql uaaMlaq (.illr
to plroM aql leql arnlua^ ssalar{lra
'JoL{dPtetx
ar{} woq dpornb ool Jaful o+ Surqsr
P <P sl lPql ldtjlttSls dql
'tr1p8guor p
1o arn8rl sr ur8rro s1riq 'iru'iuolatu ,,asJnoJsrp// JruoJrar{l paepur sr 1rpr
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 aq+ leLll ualloSroJ aq lou ill,\^ ll - u
'
O L 6 L9' I s uo l la J l u1 1 M o
L Ju' , ( a : l o u t g u - a p t y ) -3e1udsE rar{lo aq} uo !,,pa1rar,,,pi
auuartue,'L aag ':1a 'a'rnlsaF'a8etul'punos palelnJqru Jot plle^'uollPlouuoJ Jo slalJ
anbrro19q11
aql to '8ur)€ads dlpeorq ,sr teql) s
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".{i;"
ur lJoM e;o 1:a[qoaq] sr slql) slura+Iernlfnlls ut lqbnoq+araq ol spaau llJo]aql IelIssEI-)
-uor Jrl€u8rp€red
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8l
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'[1761eprrolg'salqe! lutauag{o suanold s€ palelsuer} 17'raldeq.)
le]ol
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E ur palur:da.rl9l-€ dd
-rpnarl aualnoilgp el sLIPpa8eFrLelrlp uollluo; el rns sanbielua5,'a+srlla^uagalILuE ll ll
' (pnol)-+ules aP a'rnalrgdnS
'anb\trtttua5ap slno) 'selular3 I v 9r
to r{lEq Ier}snl e o+urqSnoq} se au;
aleurroN alorf aq+ .iq pad,loauo: salou) tr961 sloqruls to plro^,t snonuquorsrp aq
.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 ,,uaIods,,,pazrlenlJ€,palcauuo:.rr
'paoz)aipuu pallrura saBessatuaLIl ,,uol+)er+sqe
Jo due lnoqlpa sluaurala salerJossp,u
aql sr aBenBupl:MaIAJo lurod rrluetuasaqi rLIoJJ.\11er:adsa'IarlSrruJ] a8en8trelJo tlo4ou
3urzr1e1oi,, JrlPu8rp€redul paurJepaq .ipo ur
#rn1.i" oj,iepol .i.ressarau sr 1I (urntar ul +l8u1+n1llsuor pue) ruals.,is-a8en8uel aql ruor; u,vrerp 'a8assaLu
"qi
'pa+lrlla sr Lirr-l^{ +eql 'allrads:ad uer:nssnug aql uI il papuulr a4l{o uta$lisat1 ,,s,
II€ a^oqe sr (saruelalin) q:aads
'strerl] 'd'a8opuu1s ap slurLuall'lJ -uns atlj fi4axcatdil
[Z-tZ dd 96
'C9 d'o9ctl '; ';r8o1.r''n'1
€L f r;e:qlpuetsrapur
'selura'rC rDrrv\uorlelouap ar{+Jo uorlrunJ 3u
rp s.tau.{a),,'anbtqderSouergr-u uoqdt:r:sap €l ap sauQTqold sa1,, I V }l Zl p aArBol pup a8esseur)lloqlu.is ro
'l96L 1l SUoll1illttnLauoJ 'puouarg€p:il?;i"tJ.rrrz
,,';11er:euab€ssaurr1,,
aql uaaMlaq uorlJur+srpleJnlJnrls ar
uorsSardaraq.1 sraqlo Suoue parlru8rs auo Jo
l€upq p Se]uarua^our JplnJlr) aLIlur ure8e luasard Sr lu€+Jodur sr uo4rsodoJdlse1srql .rr
arroqr alduls aql pua arll ur saruoJaqpalJnrlsuo: sr aHeruIarll LIJItl,uUIOJJ+xal ar{} puE }snlJpeal st
s; lr Ja^a,\ oq'+truj ur l(aL\ap rnaod ur\ou{lla'n e) ,i11e'ra111 ua1e1sr (,,ur pa{rol,,) q)lllm vr?eluds e ur ,)as ,, ate daqt :..!
qriq.* n8n-i 'uorltsodord
"q;
:oqdnl"- r,lsrn3u,I aq+ 'a.raH lr punor pillped pu€ uIPqJ e qllm aaJJol Jo LIq e slr ser{ qJIqM auars IerauaS e ur pa1
.rqt 'r1rid"p p-.r-t ., uaqr\{ arall} ,{11oq,uaq snq} llr.4 lI l'qtr pue utrol rap'rtod ur -leJs dueru os se dn asrJuorsnJold .
"noqn ""gor' "q1 u ler{} a}eJlunururotr ol slu€M qJIr{M
lrnpord aql ,,ul pa)Jol,, sI €ltroJe aq+aaJ]o) E r.{Jnspu€ qJns 'AlluanbasuoJ 'aJaq^{ pu€ lxa+ aql ol -e+a8a^ueau€JJalrpal^Iar{l,luaLuas
+uauaslua^pe uV ssalpaau acl ol Luaasplno^r Iol+uoJ aLIl
Surprorre pa+JnJlsuoJsr a8erur aql a.raq^\aseJ lEJIXop€JEdarll ul AIJ€alJuaas aq ue) slqJ 0I a8essaurpuoJasar{t o} >lJeqsn sguuc
'[fOO dd suerl]
7-191 dd'a8olottuVsaPs+uaulal1'6
'uorlualur rrleur8ruauP s.raAolsaP.[lPspJo-!\Jo aJuasqeaq+
ar{l 'dlasrJard qrlqrv\ lnoqllM uorJplo
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