Page 142 - Cultural Theory and Popular Culture an Introduction
P. 142

CULT_C06.qxd  10/24/08  17:20  Page 126







                126   Chapter 6 Structuralism and post-structuralism


                         Post-structuralism


                      Post-structuralists reject the idea of an underlying structure upon which meaning can
                      rest secure and guaranteed. Meaning is always in process. What we call the ‘meaning’
                      of a text is only ever a momentary stop in a continuing flow of interpretations follow-
                      ing  interpretations.  Saussure,  as  we  have  noted,  posited  language  as  consisting  of
                      the  relationship  between  the  signifier,  signified  and  the  sign.  The  theorists  of  post-
                      structuralism suggest that the situation is more complex than this: signifiers do not pro-
                      duce signifieds, they produce more signifiers. Meaning as a result is a very unstable
                      thing. In ‘The death of the author’, the now post-structuralist Barthes (1977c) insists
                      that a text is ‘a multi dimensional space in which a variety of writings, none of them
                      original, blend and clash. The text is a tissue of quotations drawn from the innumer-
                      able centres of culture’ (146). Only a reader can bring a temporary unity to a text.
                      Unlike the work that can be seen lying in apparent completion on library shelves and
                      in bookshops, the text ‘is experienced only in an activity of production’ (157). A text is
                      a work seen as inseparable from the active process of its many readings.





                         Jacques Derrida


                      Post-structuralism is virtually synonymous with the work of Jacques Derrida. The sign,
                      as we noted already, is for Saussure made meaningful by its location in a system of dif-
                      ferences. Derrida adds to this the notion that meaning is also always deferred, never
                      fully present, always both absent and present (see discussion of defining popular cul-
                      ture in Chapter 1). Derrida (1973) has invented a new word to describe the divided
                      nature of the sign: différance, meaning both to defer and to differ. Saussure’s model of
                      difference is spatial, in which meaning is made in the relations between signs that are
                      locked together in a self-regulating structure. Derrida’s model of différance, however, is
                      both structural and temporal; meaning depends on structural difference but also on
                      temporal relations of before and after. For example, if we track the meaning of a word
                      through a dictionary we encounter a relentless deferment of meaning. If we look up
                      the signifier ‘letter’ in the Collins Pocket Dictionary of the English Language,we discover it
                      has five possible signifieds: a written or printed message, a character of the alphabet,
                      the strict meaning of an agreement, precisely (as in ‘to the letter’) and to write or mark
                      letters on a sign. If we then look up one of these, the signified ‘[a written or printed]
                      message’, we find that it too is a signifier producing four more signifieds: a commun-
                      ication from one person or group to another, an implicit meaning, as in a work of art,
                      a religious or political belief that someone attempts to communicate to others, and to
                      understand (as in ‘to get the message’). Tracking through the dictionary in this way
                      confirms  a  relentless  intertextual  deferment  of  meaning,  ‘the  indefinite  referral  of
   137   138   139   140   141   142   143   144   145   146   147