Page 89 - Decoding Culture
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82  D E C O D I N G   C U L TURE

             Y e t we must have limits, and for my purposes post-structuralism
          begins at just that point when  structuralists turn  away from the
          classic  semiological project.  Barthes, with whom the last chapter
          ended,  offers  as  good  a  symptomology  as  any.  In  Elements  o f
          Semiology,  and  in the  work  surrounding it,  he is concerned to
          establish the  concepts  necessary to  explore  the  underlying lan­
          guage  systems  of  different  forms  of  signification:  Saussure's
          enterprise  of  semiology.  But  with  S/Z  that  project  changes.
          Barthes' interest in narrative is no longer focused on extracting the
          master narrative structure, because to do so is to deny 'difference'
          and 'plurality' within the text and thereby to fail to grasp the pro­
          ductivity of reading. Even classical narratives, 'readerly' texts  (as
          opposed to 'writerly') which limit the freedom of the reader to be
          'no longer a consumer, but a producer of the text'  (Barthes, 1990:
          4) , even such texts display at least a partial plurality.  So, Barthes
          takes Balzac's story 'Sarrasine'  and subjects it to  a microscopic
          analysis with a view to grasping its multiplicity. To describe this
          attack on  the  text he uses expressions like  'manhandling'  and
          'interrupting', collapsing it into lexias (fragments of various lengths
          that are his units of reading)  and examining them using five cate­
          gories  of code.  But  this  does  not  invoke  the  socially  grounded
          conventions of classical semiology, a formal mechanism regulating
          signification:  'we  use  Code here not in the  sense  of a list,  a para­
          digm  that  must  be reconstituted. The code  is  a perspective  of
          quotations,  a mirage  of structures'  (ibid: 20) .  Examining  in rich
          detail the play of difference in the text, Barthes seeks to produce
          what he  calls  a  'structuration',  an  understanding  of reading-in­
          process rather than an account of underlying structure.
             Here, then, we see the early steps in a move away from classical
          structuralism.  First,  the  individual text has  edged  nearer to  the
          centre of things, no longer one instance among many to be placed
          and understood formally within the system of a langue, but a field





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