Echoes Across Time: Ancient Ekphrasis and Post-modern Double Reading
And on the pedestal, these words appear:
My name is Ozymandias, King of Kings;
Look on my Works, ye Mighty, and despair!
Nothing beside remains.
Introduction:
The interplay between tradition and innovation often sparks intriguing discussions about interpretation and meaning in the humanities. One such discourse revolves around Jacques Derrida's concept of Double Reading, expounded in his seminal work 'Of Grammatology.' This concept endeavors to reconcile the tension between adhering to the literal meaning of a text and delving into its deeper layers of signification. Through this article we explore the relation between Derrida's Double Reading and ancient ekphrasis, illustrating it through Lacan's interpretation of Saussurean linguistics.
Unveiling Connections: Ekphrasis and Derrida's commentaire redoublant
Derrida's concept of Double Reading, as articulated in the chapter titled "That Dangerous Supplement" in "Of Grammatology," seeks to reconcile two seemingly contradictory objectives in the interpretation of texts.
First, understand the text in its literal sense, striving to reproduce the author's intended meaning as closely as possible. This step aligns with traditional literary analysis, focusing on deciphering the surface-level message without prematurely imposing interpretations.
Second, go beyond surface-level comprehension to explore how the text exceeds or challenges the author's intentions. This involves creatively engaging with the text to uncover hidden meanings or complexities. However, it's crucial to avoid misrepresenting the author's intentions and instead remain faithful to the text's literal meaning while acknowledging its potential for diverse interpretations (Bradley 208).
Derrida's method of commentaire redoublant finds some echoes in the ancient practice of ekphrasis, a technique that involves using one work of art to inspire another work of art. For instance, students in ancient Greece were encouraged to use a visual artwork, such as a sculpture of a goddess, as inspiration for creating a poem.
From this perspective, ekphrasis can be defined as the practice of vividly describing and responding to a work of art through another medium, such as poetry, prose, or music, thereby creating a new artistic expression that is influenced by the original artwork.
Don McLean's song "Vincent" inspired by van Gogh´s “Starry Night" is a notable example of a work inspired by this painting.
Another example is the poem "Ozymandias" by Percy Bysshe Shelley. Shelley's inspiration for the poem came when the statue of Ramesses II (identified with the Greek name Ozymandias) was brought to the British Museum.
Le sens de la lettre : Lacan's ekphrastic interpretation of the Saussurean Algorithm
In 'Écrits,' Volume VI, in the essay 'The Instance of the Letter in the Unconscious or Reason Since Freud', Lacan explores certain facets of Saussure´s linguistics.
In 'Le sens de la lettre', Lacan identifies the emergence of linguistics through an algorithm, which, according to him, serves as the foundation for the discipline:
« Pour pointer l'émergence de la discipline linguistique, nous dirons qu'elle tient, comme c'est le cas de toute science au sens moderne, dans le moment constituant d'un algorithme qui la fonde »
“To pinpoint the emergence of the discipline of linguistics, I will say that, as in the case of every science in the modern sense, it consists in the constitutive moment of an algorithm that grounds it” Écrits [497]
He presents this algorithm as:
Lacan attributes the
formalization of this concept to Ferdinand de Saussure:
« Le signe écrit ainsi, mérite d'être attribué à Ferdinand de Saussure »
“The sign written in this way should be attributed to Ferdinand de Saussure” Écrits [497]
and elucidates its interpretation:
« qui se lit : signifiant sur signifié, le sur répondant à la barre qui en sépare les deux étapes »
“It is read as follows: signifier over signified, "over" corresponding to the bar separating the two levels” Écrits [497]
The term "over," Lacan further explains, represents the barrier or separation between the signifier and the signified. It functions akin to a line or a bar, delineating the two levels, thereby illustrating their distinct nature within language.
This algorithm symbolizes the relationship between the signifier and the signified. The "S" represents the signifier, denoting the linguistic form or the word itself. The "s" represents the signified, indicating the concept or meaning associated with that word.
This structural framework is crucial as it underscores the importance of recognizing the signifier and the signified as initially distinct entities divided by a barrier. This barrier presents resistance to straightforward signification, implying that the process of attributing meaning to language entails complexities that extend beyond our conscious awareness.
Bridging Linguistics and Psychology: Lacan´s Commentaire Redoublant
To fully grasp Lacan's nuanced interpretation of Saussure, it's imperative to revisit various diagrams present in the students' notes and in "Course in General Linguistics."
First, we encounter a diagram of the sign in Constantine’s notebook, where the signified/concept and the signifier/acoustic image are positioned diagonally within a circle, separated by a diagonal line (Constantine's Notebook VII 67a).
This alternative representation is particularly noteworthy as the presence or absence of the "bar" and the position of the signifier above the signified hold significant relevance in Lacan's psychoanalytic theory, as discussed previously in relation to the algorithm that he attributes to Saussure, a claim that this depiction seems to contradict.
Lastly, we encounter the depiction of the sign upon which Lacan appears to base the algorithm that he considers the genesis of linguistics. In Part One of "Course in General Linguistics" (CGL [97]), Saussure's representation of the sign depicts the signified atop the signifier within a circle, delineated by a separating line or bar:
This diagram illustrates the notion that the sign comprises two intertwined elements: the signified and the signifier, bound by an arbitrary yet unyielding connection. The line separating the signified and the signifier implies a sense of unity:
“The linguistic sign is, then, a two-sided psychological entity. These two elements are intimately linked and each triggers the other.” (CGL [99])
The variations in the depiction of the "bar" across Saussure's work suggest its irrelevance in his theory of language; at times horizontal, diagonal, or absent altogether. Moreover, considering that the sign is a unity greater than the sum of its parts, where the signified cannot exist without the signifier and vice versa, the order of "signified" preceding "signifier" likely adheres to the principle of linearity inherent in language. This linear character necessitates writing one letter followed by another, one word followed by another, without implying privilege of one element over the other.
Upon analyzing these depictions, we gain insight into Lacan's interpretive creativity in relation to the “Saussurean algorithm”. This aligns with the second step of Derrida's method of double reading, which entails delving beyond surface-level comprehension to explore how the text transcends or challenges the author's intentions.
However, juxtaposing the algorithm presented by Lacan in Écrits with Saussure's various depictions of the sign leaves a lingering unease. It seems Lacan may have bypassed the first step of the double reading process, attributing words to Saussure that were not originally present. Lacan's preference for one particular diagram over others in his own work suggests a deliberate choice in interpreting Saussure's ideas, potentially altering certain aspects of Saussure's original concepts.
CONCLUSION
While appreciating Don McLean's song 'Vincent,' it's essential to recognize its role as an interpretation of Vincent van Gogh's iconic painting 'Starry Night.' As compelling as the song may be, it shouldn't be mistaken for experiencing the painting itself, a map is not the territory. The same applies to the poem "Ozymandias" by Percy Bysshe Shelley.
In the same vein, when reading Lacan's interpretation of Saussure's work, it's crucial to exercise caution. Lacan's interpretation offers a lens through which we may contemplate Saussure's theory, yet it's imperative to acknowledge that there isn't always a direct, one-to-one correspondence between the two. It's essential to navigate these interpretations with mindfulness, recognizing the potential pitfalls of oversimplifying complex theories into singular representations. While acknowledging the creative potential and interpretive richness of Double Reading, we must remain vigilant against the risk of misrepresentation and distortion.
Cite this text:
Rodie. (2024). Return to Saussure. Retrieved from http://www.derridaforlinguists.blogspot.com
Related Posts from this Blog:
Ozymandias: A Timeless Reflection on the Shifting Sands of Symbolism
https://derridaforlinguists.blogspot.com/2023/10/blog-post_10.html
Lacan's Selective Reading of Saussure: A Critical Examination
https://derridaforlinguists.blogspot.com/2024/02/blog-post_25.html
Bibliography
Bradley, Arthur. Derrida’s Of Grammatology: An Edinburgh Philosophical Guide. Edinburgh University Press, 2008.
Evans, Dylan. An Introductory Dictionary of Lacanian Psychoanalysis. London and New York: Routledge, 1996.
Lacan, Jacques. Écrits: The First Complete Edition in English. Translated by Bruce Fink. New York – London: W. W. Norton, 2006.
Lacan, Jacques. Écrits. Paris: Éditions du Seuil, 1966.
Saussure, Ferdinand de. 1916. Cours de linguistique générale. Edited by Charles Bally and Albert Sechehaye, with Albert Riedlinger. Libraire Payot.
Saussure, Ferdinand de. "Course in General Linguistics." Translated and annotated by Roy Harris. With a new introduction by Roy Harris. Bloomsbury, 2013.
Saussure, F. (1910-1911). Troisième cours de linguistique générale: d'après les cahiers d'Emile Constantin [Saussure's Third Course of Lectures on General Linguistics: From the Notebooks of Emile Constantin]. (R. Harris, Trans.) University of Oxford.1993
Don McLean's song "Vincent"
https://www.youtube.com/watch?v=oxHnRfhDmrk
Ozymandias. By Percy Bysshe Shelley
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