1979: Umberto Eco, A Theory of Semiotics
Unlike the thinkers behind some early structuralist works, Eco recognizes that signs are dynamic rather than unchanging, and that we need to take account of the conditions in which they’re produced. Eco also explores the relevance of semiotics to all sorts of texts and areas of culture by outlining some key concepts.
For example, instead of the standard concept of the “sign” (which he calls “naive and non-relational”—ouch), Eco prefers the term “sign-function” to emphasize signification as relational, complex and changeable. He also discusses denotation and connotation, and highlights that sign systems can overlap and cause misunderstandings or conflicts in interpretation.
Thinking about Eco’s distinction between coding, signification, and communication, how can we see these processes relating to one another? Imagine that they’re a structure of building blocks: how would they fit together?
Eco sees ambiguity as an important device in aesthetic texts. Why is this? Does ambiguity just create disorder, or can it have other uses?