Presentation on theme: "Semiotics – Examples: Images of Nature In Some Landscape Paintings & Ads Source: email 把漂亮的美景送給你."— Presentation transcript:
Semiotics – Examples: Images of Nature In Some Landscape Paintings & Ads Source: 把漂亮的美景送給你
Outline Paintings Two paintings before the 19 th century “Cabbage, melon and cucumber” by Juan Cotán  “Cabbage, melon and cucumber The Swing Nature as The Rustic (Nation) and the Sublime: Nature paintings in the 19 th century Nature “Away From The Flock” by Damien HirstAway From The Flock Ads –three ways of reading themthree ways examples
Cabbage, melon and cucumber by Juan Cotán 1602 (Ref. 1. textbook 29) How are ‘natural’ objects of food presented? Do they look ‘real’?
Cabbage, melon and cucumber by Juan Cotán both near and far away (Ref. ) Near – “... on [the parapet] the slice of melon and the cucumber are placed so that they jut over slightly and thereby they seem to be almost within reach - a trompe l'oeil effect that was particularly popular in Netherlandish painting in the 17th century. Distanced – “ the isolation of each object, heightened further by the black background, makes each of them seem extremely artificial and lends them a monumental, almost sculptural gravity. The center of the picture is empty and the arrangement seems coincidental; the dimension of the painted picture is denied. The disturbing evocation of the painted picture is the main theme.
Jean Honore Fragonard “ The Swing ” (1767) How are the characters related to each other? And to the garden background?
19 th Century – Nature as the Rustic and the Sublime -- Symbolizing one’s growth or that of the empire Nature as the Rustic – John Constable and Homan Hunt; Jack Turner (1) Nature as Sublime: Jack Turner (1) Nature in decline: Holman Hunt
John Constable “ The Cornfield ” 1826 Apparently realistic only, but actually not about harvest; e.g. sheep not sheared; dog in the wrong direction; only two workers; The actual focus: the boy (Cf. 吳雅 鳳 )
John Constable “ The Cornfield ” 1826 Popular among middle-class collectors of prints; collected in English Landscape Scenery with the line “Respiciens rura, laremque suum” (Ovid, 回首鄉間與家園 )
John Constable “ The Valley Farm ” 1835 The New Gallery of British Art 1884 「它就像 是在任何山陵樹叢 可以的鄉間隨處可 見的房舍 ……The Valley Farm 在全 世界都有代表，只 要是有英語的地 方 … 如此一來，英 國的血脈在全世界 都能開花結果 … 」 （ Cf. 吳雅鳳﹚
Joseph Turner “ Snow Storm: Hannibal Crossing the Alps ” (1812)
Turner; Joseph “ Crossing the brook ” Two girls crossing the brook; The bridge as a connection between nature and civilization; The cave –darkness or the maternal space in nature. Direction of progress ?
William Holman Hunt (as a contrast) Our English Coasts (later renamed the painting "Strayed Sheep")
A Contrast to “ Our English Coasts ” Away From The Flock by Damien Hirst from his “Natural History” series, the works involving the animals preserved in formaldehyde( 甲醛 ) Damien says, "I want to make people feel like burgers (minced meat). I chose a cow because it was banal” 1994 glass, steel, formaldehyde, lamb (37¾ x 58½ x 20 in) (intro: graphy.html ) graphy.html
Myth of Nature & Gender in Ads
Three positions in reading a myth or an ad 1. producer of advertisement -- focus on an empty signifier, let the concept fill the form of the myth without ambiguity; use a simple system of equation, where the signification becomes literal again: the Negro who salutes the national flag = French imperiality 2. reader of advertisement: an inextricable whole made of meaning and form, amazed at its greatness, absorb its messages willingly.
Three positions in reading a myth or an ad 3. Critic: clearly distinguishes the meaning and the form, and consequently the distortion which the one imposes on the other, I undo the signification of the myth, the saluting Negro becomes the alibi of French imperiality.
elements of an ad. 1. the slogan (or copy) 2. the visual image--with the slogan, it implies a story 3. supplementary --color, design == where the product, the words are placed colour, size and position, texture celebrity endorsement
Typical signs in Ads ’ languages ---- examples from Ways of Seeing The romantic use of nature (leaves, trees, water) to create a place where innocence can be found. (example 1) Women posed to denote some stereotypes: serene mothers (Madonna), free wheeling secretary (actress, king's mistress), perfect hostess (spectator-owner's wife), sex-object (Venus, nymph surprised), etc. The special sexual emphasis given to women's legs.
Ads ’ languages -- from Ways of Seeing (2) The materials particularly used to indicate luxury: engraved or shining metal, furs, polished leather, etc. The physical stance of men conveying wealth and virility. The equation of drinking or car and male success and power. The man as knight (horseman) become motorist.
Examples: Woman and Nature = carefree, open, relaxing; Supported by the dress, Gesture, and, definitely, the cigarette. Where is the distortion?
Examples: What are the signs used? Their connotations? Where is the distortion?
Examples for analysis: nature, gender & identity 3. 無限年輕﹐統一冰紅茶。 Sign: 天山天池； ballet skating; red vs. white ice 4. 凝望你﹐把我的世界打開﹐讓你進來。 Samsung, 讓夢想成真。 Signs: castle, well-ornamented stairway, palace-like mansion, evening gown. 5. 真情相待﹐一生相隨﹐中華汽車。
Key words for Structualist and Semiotic approaches: I. Following language as a model II. Disclosing the deep/basic structure of a text, which is a (combination or selection) system of meaning composed of basic elements such as:
Key words (2) -- binaries, or semiotic rectangles, -- roles/actant and functions, -- mytheme, -- narrator- narratee, -- signs or signification on different levels (signifier and signified).
Questions: Reductive? Disregarding meaning, textual complexities, or the author’s intention? De-centering, dehumanizing? Do we really think in terms of binaries?
Extensions and Connections: How is our social existence modeled after language as a system of relations? From work to text (textuality); (e.g. Internet and the world of ads) From identity to system of relations; (e.g. kinship; gender) From myth to ideology; “Myth -- the complex system of images and beliefs which a society constructs in order to sustain and authenticate its sense of being.” From structuralism/semiotics to postmodernism/poststructuralism (e.g. deconstruction – textual undecidability-- & postmodern self-reflexivity – everything is representation) and postcolonialism (plural and interacting contexts)