{"id":6405,"date":"2005-09-12T17:00:00","date_gmt":"2005-09-12T17:00:00","guid":{"rendered":"http:\/\/www.earthwidemoth.com\/blog\/2005\/09\/12\/barthes-the-thi\/"},"modified":"2005-09-12T17:00:00","modified_gmt":"2005-09-12T17:00:00","slug":"barthes-the-thi","status":"publish","type":"post","link":"https:\/\/www.earthwidemoth.com\/blog\/2005\/09\/12\/barthes-the-thi\/","title":{"rendered":"Barthes – The Third Meaning (1970)"},"content":{"rendered":"\u23f3 Approximate reading time: <\/span> 5<\/span> mins<\/span><\/span>

\nBarthes’s essay, "The Third Meaning: Research notes on some
\n
\nEisenstein<\/a> Stills," approaches a third order of meaning, an inarticulable
\nbeyond, extant to the first-order obvious and the second-order symbolic but not
\nwholly divorced from them.  The third meaning takes its shape from a
\n"theoretical individuality" (55) (close associate to the punctum\/sting,
\nno doubt).  And it is, of course, difficult to name
\nbecause, as Barthes puts it, the third meaning or obtuse meaning "is a signifier
\nwithout a signified" (61).  Barthes’s essay-notes proceed through a kind of
\nawkward profundity; piling through an array of near-descriptors, as near as one
\ncan get without reducing the third meaning into something it is not.  <\/p>\n

<\/p>\n

To attempt these notes (on<\/i> notes on<\/i> a thing indescribable), I
\nhave simply assembled marginalia and annotations, crunched them together here,
\nas if in a build-up of please make sense<\/i>, so that I can comb through, piecemeal
\nstyle.<\/p>\n

Early distinctions: obvious (55) and obtuse (56).  The obvious meaning
\nis evident; it "comes to seek me out" (54)–emphatic and important.  The
\nobtuse meaning or third meaning ("the one ‘too many’"…yes!) "extend[s] outside
\nculture, knowledge, information; analytically, it has something derisory about
\nit: opening out into the infinity of language, it can come through as limited in
\nthe eyes of analytic reason; it belongs to the family of pun, buffoonery,
\nuseless expenditure.  Indifferent to moral or aesthetic categories (the
\ntrivial, the futile, the false, the pastiche), it is on the side of carnival"
\n(55).  <\/p>\n

\n\"Here,<\/p>\n

Third meaning gravitates to the curiously disguised.  "The characteristic of this third meaning is indeed-at least in SME[isenstein]-to blur
\nthe limit separating expression from disguise, but also to allow that
\noscillation succinct demonstration–an elliptic emphasis, if one can put it like
\nthat, a complex and extremely artful disposition (for it involves a temporality
\nof signification), perfectly described by Eisenstein himself when he jubilantly
\nquotes the golden rule of the old K.S. Gillette: ‘just short of the cutting
\nedge’" (58).  And so it seems to close in on the touching, sensitive
\nand emotional without precisely locating such conditions. Next: "Caught up in the disguise, such emotion is
\nnever sticky, it is an emotion which simply designates<\/i> what one loves,
\nwhat one wants to defend: an emotion-value, an evaluation" (59).<\/p>\n

\n\"Here,<\/p>\n

"If the obtuse meaning cannot be described, that is because, in contrast to
\nthe obvious meaning, it does not copy anything–how do you describe something
\nthat doesn’t represent anything? The pictorial ‘rendering’ of words is here
\nimpossible, with the consequence that if, in front of these images, we remain,
\nyou and I, at the level of articulated language–at the level, that is, of my
\nown text–the obtuse meaning will not succeed in existing, in entering the
\ncritic’s metalanguage.  Which means that the obtuse meaning is outside
\n(articulated) language while nevertheless within interlocution.  For if you
\nlook at the images I am discussing, you can see this meaning, we can agree on it
\n‘over the shoulder’ or ‘on the back’ of articulated language" (61). 
\nParadoxically, third meaning can be understood (right?) and also steer clear of
\nthe "critic’s metalanguage." Third meaning, in this sense, "outplays meaning"
\n(63), it takes the side exit on "literacy’s depletion." <\/p>\n

"In short, what the obtuse meaning disturbs, sterilizes, is metalanguage
\n(criticism). Reasons: 1. discontinuous<\/i> (61) 2. depletion<\/i> (not filled out)
\n(62) 3. accent<\/i> (the form of an emergence, a fold) (62).<\/p>\n

Just a few more observations, quotations and one or two questions: Barthes
\ndevelops this notion–third meaning–around stills (frames from films).  He
\nargues that third meaning "makes the filmic possible" because it "structures the film
\ndifferently without–at least in SME–subverting the story" (64).  The
\npossibility of an excessive meaning (in this out-there<\/i> stratum) that
\ndoesn’t destroy narrative seems important here. "The filmic, then, lies precisely here, in that region where articulated
\nlanguage is no longer more than approximative and where another language begins
\n(whose science, therefore, cannot be linguistics, soon discarded like another
\nbooster rocket).  The third meaning–theoretically locatable but not
\ndescribable–can now be seen as the passage from language to signifiance and in
\nthe founding act of the filmic itself" (65).  Barthes explains that
\nthe filmic is not the same as film (a corollary: novelistic\/novel).  Could
\nit be that this explanation of filmic makes it writable; can the filmic be
\nwritten?  Can writing be filmic?  Is third meaning relegated to the
\nvisual? <\/p>\n

More on narrativity and subversion:<\/p>\n

\n"The indifference<\/i> of freedom of position of the supplementary signifier in
\nrelation to the narrative allows us to situate with some exactitude the
\nhistorical, political, theoretical task accomplished by Eisenstein.  In
\nhis work, the story (the diegetic, anecdotal representation) is not
\ndestroyed–quite the contrary: what finer story than that of Ivan<\/i> or Potemkin<\/i>?
\nThis importance given to the narrative is necessary in order to be understood<\/i> in
\na society which, unable to resolve the contradictions of history without a long
\npolitical transaction, draws support (provisionally?) from mythical (narrative)
\nsolutions.  The contemporary<\/i> problem is not to destroy the narrative
\nbut to
\nsubvert it; today’s task is to dissociate subversion from destruction: the
\npresence of an obtuse, supplementary, third meaning–if only in a few images,
\nbut then as an imperishable signature, as a seal endorsing the whole of the work
\n(and the whole of his work)–radically recasts the theoretical status of the
\nanecdote:  the story (the diegesis) is no longer just a strong system (the
\nmillennial system of narrative) but also and contradictorily a simple space, a
\nfield of permanences and permutations.  It becomes the configuration, that
\nstage, whose false limits multiply the signifier’s permutational play, that vast
\ntrace which, by difference, compels what SME himself calls a vertical<\/i> reading,
\nthat false<\/i> order which permits the turning of the pure series, the aleatory
\ncombination (chance is crude, a signifier on the cheap) and the attainment of a
\nstructuration which slips away from the inside<\/i>.  It can thus be said that
\nwith SME we have to reverse the cliche according to which the more gratuitous a
\nmeaning, the more it will appear as a mere parasite of the story being narrated;
\non the contrary, it is this story which here finds itself in some parametric to
\nthe signifier for which is is now merely the field of displacement, the
\nconstitutive negativity, or, again, the fellow-traveler" (64).\n<\/p><\/blockquote>\n

Why such a long passage?  Just one megaloparagraph.  But in it we
\nhave one of Barthes’s two references to Eisenstein’s notion of vertical<\/i>
\nreading (a dilute or thinly-known story-structure?).  And I’m not sure what
\nEisenstein or Barthes mean–vertical<\/i> reading.  I’m also interested
\nin the idea of "radically recast[ing] the theoretical status of the anecdote"; I
\nguess this works on the analogy still is to film as anecdote is to narrative.  <\/p>\n","protected":false},"excerpt":{"rendered":"

\u23f3 Approximate reading time: <\/span> 5<\/span> mins<\/span><\/span>Barthes’s essay, "The Third Meaning: Research notes on some Eisenstein Stills," approaches a third order of meaning, an inarticulable beyond, extant to the first-order obvious and the second-order symbolic but not wholly divorced from them.  The third meaning takes its shape from a "theoretical individuality" (55) (close associate to the punctum\/sting, no doubt).  And it…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[167],"tags":[444,400,451,455,452,456,453,454],"class_list":["post-6405","post","type-post","status-publish","format-standard","hentry","category-reading_notes","tag-aesthetics","tag-barthes","tag-eisenstein","tag-emotion","tag-film","tag-intensity","tag-meaning","tag-singularity"],"yoast_head":"\nBarthes - 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The \"photographic paradox,\" as he puts it, involves the double structure of contending linguistic orders (connotative, denotative) and the photograph\u2026","rel":"","context":"In "Reading Notes"","block_context":{"text":"Reading Notes","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/reading_notes\/"},"img":{"alt_text":"Browder (left) and Tydings (right)","src":"https:\/\/i0.wp.com\/www.earthwidemoth.com\/blog\/img\/tydingsbrowder.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":6400,"url":"https:\/\/www.earthwidemoth.com\/blog\/2005\/09\/08\/barthes-rhetori\/","url_meta":{"origin":6405,"position":1},"title":"Barthes – Rhetoric of the Image (1964)","author":"Derek Mueller","date":"September 8, 2005","format":false,"excerpt":"In the advertising image, nice bright colors--a net-sack of Panzani pasta and assorted spaghettimakers including vegetables, fresh and plenty. Though non-linear, many of the signs accord with a variety of \"euphoric values,\" says Barthes: domestic preparation, freshness, an unpacking, the casual market-knowledge of slow foods of a pre-mechanical pace (no\u2026","rel":"","context":"In "Reading Notes"","block_context":{"text":"Reading Notes","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/reading_notes\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.earthwidemoth.com\/blog\/img\/panzani.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":6411,"url":"https:\/\/www.earthwidemoth.com\/blog\/2005\/09\/19\/baudrillard-sim\/","url_meta":{"origin":6405,"position":2},"title":"Baudrillard – Simulacra and Simulation (1981\/1994)","author":"Derek Mueller","date":"September 19, 2005","format":false,"excerpt":"Baudrillard begins by suggesting the impossibility of Borges's exhaustive map, a precise cartography of the empire.\u00a0 According to Baudrillard, such a map is no longer possible; the farcical project is rendered impossible because of \"the precession of simulacra,\" which we might take as an onslaught of images without immediate reference\u2026","rel":"","context":"In "Reading Notes"","block_context":{"text":"Reading Notes","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/reading_notes\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":6992,"url":"https:\/\/www.earthwidemoth.com\/blog\/2006\/07\/02\/barthes-the-dea\/","url_meta":{"origin":6405,"position":3},"title":"Barthes, “The Death of the Author”","author":"Derek Mueller","date":"July 2, 2006","format":false,"excerpt":"Barthes, Roland. \"The Death of the Author.\" Image-Music-Text. Trans. Stephen Heath. New York: Hill and Wang, 1977. 142-148. Barthes advances several important (now \"given\") theoretical maneuvers in defining writing as \"performative,\" in destabilizing the role of intentionality in reading, and in involving the reader as an equal (if unknowable) participant\u2026","rel":"","context":"In "Writing Technologies"","block_context":{"text":"Writing Technologies","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/writing_technol\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":6381,"url":"https:\/\/www.earthwidemoth.com\/blog\/2005\/08\/20\/amphigeography\/","url_meta":{"origin":6405,"position":4},"title":"Amphigeography and Doppelspace","author":"Derek Mueller","date":"August 20, 2005","format":false,"excerpt":"Roland Barthes in Roland Barthes on Amphibologies: [I]n general, the context forces us to choose one of the two meanings and to forget the other.\u00a0 Each time he encounters one of these double words, R.B., on the contrary insists on keeping both meanings, as if one were winking at the\u2026","rel":"","context":"In "Rhetorico-Geography"","block_context":{"text":"Rhetorico-Geography","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/spatialitiespatiality\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":6617,"url":"https:\/\/www.earthwidemoth.com\/blog\/2006\/09\/07\/no-last-word\/","url_meta":{"origin":6405,"position":5},"title":"No Last Word","author":"Derek Mueller","date":"September 7, 2006","format":false,"excerpt":"Remembering to read a little bit of Barthes from time to time. I like this one (from RB): When I used to play prisoner's base... When I used to play prisoner's base in the Luxembourg, what I liked best was not provoking the other team and boldly exposing myself to\u2026","rel":"","context":"In "Reading Notes"","block_context":{"text":"Reading Notes","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/reading_notes\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"jetpack_likes_enabled":true,"_links":{"self":[{"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/posts\/6405","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/comments?post=6405"}],"version-history":[{"count":0,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/posts\/6405\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/media?parent=6405"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/categories?post=6405"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/tags?post=6405"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}