Page 69 - Decoding Culture
P. 69

62  D E C O D I N G   C U L TURE
          took individual instances of 'speech' - particular 'texts' - and sub­
          jected  them  to  close  analysis with a view to  their evaluation and
          appreciation. What s/he  did not do,  however,  was to  ask in any
          thoroughgoing way about the  system,  the langue, which under­
          wrote their  operation. For if these  discrete cultural artefacts can
          indeed be treated as 'speech', then  extension of Saussure's ideas
          suggests that their very realization as communicative experiences
          depends upon a 'language system' - or, more likely, several inter­
          locking language  systems,  since novels, films and paintings draw
          upon varied semiological resources.
             So, to map culture directly in terms of the langue/parole dis­
          tinction  leads  away  from  the  traditional  approach,  which  is
          primarily concerned to expose the meaning and value of discrete
          artefacts, and toward a concern with the system(s) which enable
          those artefacts to have meaning in the first place. A 'structuralist'
          approach,  then,  is  one  which  transcends individual texts  and,
          indeed, disciplines. Any texts are grist to the mill for a mode of
          analysis which primarily seeks to understand the system of codes
          and conventions through which particular texts are constructed
          by  their  creators  and  understood  by  their  consumers.
          Accordingly, Saussure's emphasis on langue has the potential to
          redirect cultural studies just as radically as it redirected linguis­
          tics,  providing  a  framework  within  which  cultural  materials
          normally considered the province of this or that discipline may be
          analysed  in  terms  of trans-disciplinary,  semiological  concepts.
          Also, of course, it undercuts the familiar commitment to individu­
          alism in orthodox cultural criticism, so clearly given expression in
          the  traditional centrality  of the author, that figure  derided  by
           structuralist critic Roland  Barthes  (1977a:  146)  as the  'Author­
           God'.  It is  not necessary to go  as far as Barthes  in  proclaiming
           'the death of the author' to appreciate quite how significant a shift
           it is from celebrating the creative work of authors to analysing the





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