Abigail Vos

1612999

FVPA 1A: Assignment 1

(Marie Jorritsma)
PART 1 SAUSSURE

1. The semiotics approach is an approach that was developed by Saussure that explains
representation as a sign system (Hall 1997: 31).
2. The signifier, also known as the 'form' (Hall 1997: 31), can be described as a physical
element such as a word, a photo or a material object. An example of a signifier could be the
actual word, 'Red' (Hall 1997: 31). Furthermore, the signified can be explained as the idea
or 'concept' that one associates with the physical signifier (Hall 1997: 31). Building on the
example of the signifier being the actual word 'Red', the interpretation or association one
makes concerning the word 'Red' could be WARNING, DANGER, LOVE etc. This
interpretation or association is therefore known as the signified (Hall 1997: 31). The concept
of the sign could be clarified as the union between the signifier and the signified. Therefore,
looking at the example of 'Red', the sign is the relationship between the signifier and the
signified. It is therefore the perception of 'Red' as an actual word as well as the association
that is made concerning the actual word. Both the signifier and the signified are needed to
establish meaning in society but the actual working relationship between both the concepts
preserve representation in society's linguistic codes (Hall 1997: 31).
3. When looking at the concept of the signifier and the signified it is clear that the entire
concept of the sign is dependant on the association one makes, but it is evident that there is
no one fixed association or interpretation of a signifier and therefore no one universal
signified for that specific signifier. This can be explained as the 'arbitrary nature of the sign'.
Saussure's semiotics approach is therefore rooted in relative interpretations, therefore the
theory of the sign could be seen as 'arbitrary' or irrational. The 'arbitrary' nature of the sign
can furthermore be explained as the inability of a sign to posses fixed meaning in itself.
Signs are dependant on each other to create and form certain meanings since the simplest
way in which we differentiate between meanings in signs is by making use of binaries and
opposites. Therefore the irrational nature of the sign is greatly supported by the subjectivity
of the associations and the inability to carry meaning in itself. (Hall 1997: 31).
4. The subjective nature of the sign and therefore the 'arbitrary' nature of the sign clearly 'un-
fixes' meaning since no one universal meaning can be shaped around the same signifier.
Therefore the nature of the sign is inconsistent in meaning because of the fact that different
meanings are created and formed based on personal history and opinion. The irrationality of
the sign furthermore unhinges the entire concept of universal set meanings because the sign
is dependant on binary opposites to establish meaning (Hall 1997: 31).
PART 2 BARTHES

5. Denotation could be defined as the simplest way in which one could describe something
whether it be an image, an object or a sound. This is the most basic level of description
where agreement could most probably be reached in terms of a universal meaning.
Denotation evidently makes use of the traditional concepts one is already accustomed to, to
create a widely accepted view or meaning on a basic level of description (Hall 1997: 38).
6. Connotation is then defined as the second and therefore deeper level of description where
one does not simply look at the agreeable level of description but makes use of the wider
semantic fields (Hall 1997: 38). The wider semantic fields are determined by one's cultural
interpretations and greatly depends on wider concepts of social ideology. Therefore, the
second level of interpretation and description is greatly influenced by one's knowledge,
culture and environment. Barthes proposed that connotation deals with 'fragments of an
ideology' (Hall 1997: 39) and therefore it makes use of deeper associations and
interpretations of material objects.
7. b) Denotative level of the lyrics of the song Biko by Peter Gabriel: The lyrics start with the
approximate date; 'September '77' . The environment is established as 'police room 619'.
there is then an outcry towards 'Biko' and it is then established that 'the man is dead',
therefore it is agreed upon that the first verse of the lyrics establishes the environment and
also main events, specifically that Biko is dead. Furthermore, in the second verse of the
lyrics it is explained that the lyricist has trouble sleeping and when he sleeps he only dreams
in images of red. The lyricist further describes the outside world is black and white to him
and furthermore describes how only one colour is dead. There is then another outcry in the
name of Biko where it is then reaffirmed that he is dead. In the third verse the lyricist states
that it is a simple task to blow out a candle but an impossible task to simply blow out a fire.
He then goes on to explain why the latter task is highly problematic and difficult by
describing how the flames of a fire grows as the wind around the fire 'blow[s] it higher'. The
third verse is then closed off by another affirmation of Biko's death. The last small verse
simply states the the world is observing the happenings in this scene.
8. b) Connotative description of the sounds and music of Biko:
The first distinctive sound is the African choral chanting and singing. This specific
choral piece is widely used for funerals in Africa. The composer and writer of the song,
Biko, effectively made use of this piece of funeral related music to support the tragedy
that the content of the lyrics of the songs clearly explain: Biko's death. The fact that
Gabriel starts with the funeral music, creates the impression that he, as the composer and
writer of the song, distinctly wanted the concept of tragedy and death to be the listeners
immediate interpretation of the song.
The second distinctive sound in the progression of the song is a dominant and loud
drumming sound that sets a steady beat. This beat is however not executed in the same
tempo as the initial choral funeral music. The fact that the sound of this beat is
overpowering the initial grieving music can be an indication of the worrying level of
oppression in South Africa at the time of the song's creation within the apartheid era.
This overpowering beat can furthermore indicate that the focus and attention of the
nation of South Africa was mainly placed upon the oppressing force, which is
represented by the overwhelming drumming sound in this specific instance, and
therefore caused that the problems and issues of the oppressed portion of the nation were
ignored.
The third distinctive sound in the song is a sound that resembles that of screeching or
screaming. This sound establishes a feeling of fear and terror within the song. This is
clearly in contrast to the initial sounds of grief and mourning. This binary emphasises
the initial grief and sadness of the funeral music but furthermore affirms the feelings of
terror and fear that was initiated by the screeching sound. When looking at the socio-
 political situation in South Africa at the time of the song's production, it is safe to
assume that the feeling of terror and fear that the screeching sound evokes within the
listener is the writers representation of what the apartheid regime evokes within the
oppressed citizens of South Africa.
The fourth distinctive sound in the song is a clear sound of men grunting. This sound is
one that could easily be connected to animal-like noises, specifically those of apes. The
use of this sound could portray that the oppressed force was frequently compared to
animals such as apes. Furthermore, the use of the low grunting noises that are kept in
tempo could clearly represent the act of protesting as well as the concept of defending
one's territory.
The fifth, and last distinctive sound within the song is the sound of bagpipes. Although it
might be controversial to make use of bagpipes, which are greatly associated with
western music, within this piece of music which mostly makes use of typical African
sounds, Peter Gabriel makes it clear that he researched the origin of bagpipe and
discovered that they originated in the Far-East. He therefore decided to incorporate
bagpipes within the piece. This could be representative of the major level of diversity in
South Africa (Songfacts.com 2017).
PART 3 FOUCAULT

9. There are clear systems of control that are set in place in society. One of these systems of
control is the concept that it is possible to control one's sexuality. Within this system of
control it is further evident that certain set values are rooted within the system of control
itself. These values include the fact that it is not appropriate to speak about sex in an open
environment. They also include the concept of sex being something to openly show and
portray on a television screen as well as on radio programmes. This concept is then taken
further to the entire concept of pornography and how sex for pleasure is normalised. The
concept of 'safe' sex or protected sex is also another value that is further discussed and
prodded to grow and develop in this system of power. It is therefore evident that the entire
attempt to control sex and sexuality within society only leads to an outbreak of productive
and inquisitive discourse within society (Hall 1997: 50)
10. It is evident that Foucault theorised that there are 'regimes of truth' within societies. These
systems of truth are simply the different types of discourse which that society accepts and
defines as a functioning truth within that society. Within this society's specific 'regimes of
truth', the concept of status and hierarchies are also set in place where certain people are
given the authority to say what is classified as truth. It is furthermore evident that Foucault
clings to a typical post-modernistic view of truth since he views truth as something that
cannot be defined in an absolute an universal manner, truth is rather the rules and
regulations by which a society lives and functions. Foucault further argues for the 'will-to-
power'. This concept could be defined as the 'will to make things true' (Hall 1997: 51). This
system that defines truth based on relativism exerts power because it establishes power
within every sphere of the society, not only in the set authority figures. Power is therefore
constantly moving between participants in the society that partake in the 'regime of truth'.
REFERENCES
Powercube.net. (2017). Foucault: power is everywhere | Understanding power for social change |
powercube.net | IDS at Sussex University. [online] Available at:
https://www.powercube.net/other-forms-of-power/foucault-power-is-everywhere/ [Accessed 7
Mar. 2017].
Songfacts.com. (2017). Biko by Peter Gabriel Songfacts. [online] Available at:
http://www.songfacts.com/detail.php?id=727 [Accessed 7 Mar. 2017].
Thesaurus.com. (2017). Thesaurus.com - The world's favorite online thesaurus!. [online] Available
at: http://www.thesaurus.com/ [Accessed 7 Mar. 2017].
WSOA FVPA 1A Course Outline. (2017). 1st ed.
YouTube. (2017). Peter Gabriel - Biko (HQ). [online] Available at:
https://www.youtube.com/watch?v=3ncVyxQRw70 [Accessed 7 Mar. 2017].