Jakobson's Communication Model

Roman Jakobson: Two aspects of language and two types of aphasic disturbance

"Aphasic regression has proved to be the mirror of the child's acquisition of speech sounds: it shows the child's development in reverse."

METAPHOR AND METONYMY

"Did you say pig or fig?" said the Cat. "I said pig," replied Alice.

SELECTION AND SUBSTITUTION
 

f
p
i g
b

in ausentia

CODE

LANGUE

SIMILARITIES (synonyms → antonyms)

COMBINATION AND CONTEXTURE
CONCURRENCE AND CONCATENATION

f
p i g
b

in presentia

MESSAGE

PAROLE

DIFFERENCES

 

METAPHORIC POLE

1. Paradigm
2. Contiguity disorder
3. Contexture deficiency
4. Drama
5. Montage: Eisenstein (dissolves)
6. Dream Symbolism – Condensation:  Overdeterimination
7. Surrealism
8. Imitative Magic
9. Poetry
10.Lyric
11.Romanticism and Symbolism
12.Synchronic

(Women in Love: Birkin

 

 
 

METONYMIC POLE

1. Syntagmatic
2. Similarity disorder
3. Selection difficulty
4. Film
5. Griffiths: Close-ups
6. Dream: Displacement
7. Cubism
8. Contagious Magic
9. Prose
10.Epic
11.Realism
12.Diachronic

Women in Love: Gerald

 

SURREALIST PAINTING:

Douanier Rousseau: The Dream

Dali: Dissolution of Memory

CUBIST PAINTING:

Picasso: Woman in an armchair

Guernica

Breakdown of similarity/selection

(with relative stability of combination and contexture)

can continue conversation but not initiate it – context driven

"it is raining" only if it is raining

embedded

loss of subject

anaphoric substitutes – "thing"

pronouns, pronominal adverbs, connectives and auxiliaries survive

bachelor/unmarried man

knife : pen – knife, bread - knife

pen : writing

Repeat "No"

"No, I can’t"

picture:name

Loss of metalanguage

No definitions only functions

No foreign language

Animals arranged in the order in which they appear in a zoo – in relation to context

fork replaces knife

table replaces lamp

smoke replaces pipe

i.e. axis of combination/contiguity projected onto axis of selection

reduced to idiolect – can’t understand what anyone else is saying – cannot interpret/translate/switch

"I hear your voice but not your words...."

From Jane Austen's Emma:

This is meeting quite in fairy-land!—Such a transformation! – Must not compliment, I know – (eyeing Emma most complacently) — that would be rude — but upon my word, Miss Woodhouse, you do look — how do you like Jane’s hair? — You are a judge. — She did it all herself. Quite wonderful how she does her hair! — No hairdresser from London I think could. —  Ah! Dr. Hughes I declare — and Mrs. Hughes. Must go and speak to Dr. and Mrs. Hughes for a moment. — How do you do? How do you do? —  Very well, I thank you. This is delightful, is not it? — ; — Where’s dear Mr. Richard? Oh! there he is. Don’t disturb him. Much better employed talking to the young ladies. How do you do, Mr. Richard? –I saw you the other day as you rode through the town — Mrs. Otway, I protest! — and good Mr. Otway, and Miss Otway and Miss Caroline. — Such a host of friends! — and Mr. George and Mr. Arthur! — How do you do? How do you all do? — Quite well, I am much obliged to you. Never better. — Don’t I hear another carriage? — Who can this be? — very likely the worthy Coles. — Upon my word, this is charming to be standing about among such friends! — And such a noble fire! — I am quite roasted. No coffee, I thank you, for me — never take coffee. — A little tea if you please, sir, by and bye, — no hurry — Oh! here it comes. Every thing so good!”

Breakdown of combination

(with relative stability of selection)

Agrammaticism (word heap

telegraphic style [cf. texting? ("Ih8u")]

Loss of grammar-bound words: conjunctions, prepositions, pronouns, articles, loss of shifters

loss of key subject word -- who is speaking to whom about what when

Loss of inflections: only infinitives

resort to infinitives or gerundives -- beating

"A child is being beaten"

["My father is beating the child whom I hate."]

["I am being beaten by my father."]

"There's a pain in this room but it's not here." (Hard Times)

Increase in metaphors: fire for gaslight – cognate words – quasi-metaphoric equivalents

spyglass for microscope

Composites: Miraflores, Sunflower

but no mira / flores or sun / flower

thanksgiving – no thanks / giving

battersea – no batter / sea

words but not elements -- i.e. morphemes or phonemes

café but no feca, faké, kéfa,

regression to homonyms

to one word

universal aphasia

"Peace!"

 

TEST

SUBSTITUTE

COMPLEMENT

   

METAPHOR

METONYM

   

SUBSTITUTION

PREDICATION

HUT

SMALL HOUSE

BURNT OUT

CABIN

THATCH

HOVEL

LITTER

PALACE

POVERTY

HOME

WOOD

Wuthering Heights: Heathcliff/Linton

Jane Eyre: Rochester/St. John Rivers

Jude the Obscure: Arabella Donn/Fawley/Donn/Cartlett/Donn/Fawley
Susannah Florence Jane Bridehead

Gleb Ivanovič Uspenskij

Gleb/ Ivanovič split – loss of similarity resulted in strongly metonymical writing

Robinson Crusoe: Friday: Robinson: Frye: Xury

all the same name -- no connexions with differences

universal aphasia: "Poor Robinson Crusoe!"

"The horror, the horror!"

Heart of Darkness: Kurtz --  the complete aphasic

 

From Mansfield Park ch. 16

The aspect was so favourable that even without a fire it was habitable in many an early spring and late autumn morning to such a willing mind as Fanny’s; and while there was a gleam of sunshine she hoped not to be driven from it entirely, even when winter came. The comfort of it in her hours of leisure was extreme. She could go there after anything unpleasant below, and find immediate consolation in some pursuit, or some train of thought at hand. Her plants, her books— of which she had been a collector from the first hour of her commanding a shilling—her writing–desk, and her works of charity and ingenuity, were all within her reach; or if indisposed for employment, if nothing but musing would do, she could scarcely see an object in that room which had not an interesting remembrance connected with it. Everything was a friend, or bore her thoughts to a friend; and though there had been sometimes much of suffering to her; though her motives had often been misunderstood, her feelings disregarded, and her comprehension undervalued; though she had known the pains of tyranny, of ridicule, and neglect, yet almost every recurrence of either had led to something consolatory: her aunt Bertram had spoken for her, or Miss Lee had been encouraging, or, what was yet more frequent or more dear, Edmund had been her champion and her friend: he had supported her cause or explained her meaning, he had told her not to cry, or had given her some proof of affection which made her tears delightful; and the whole was now so blended together, so harmonised by distance, that every former affliction had its charm. The room was most dear to her, and she would not have changed its furniture for the handsomest in the house, though what had been originally plain had suffered all the ill–usage of children; and its greatest elegancies and ornaments were a faded footstool of Julia’s work, too ill done for the drawing–room, three transparencies, made in a rage for transparencies, for the three lower panes of one window, where Tintern Abbey held its station between a cave in Italy and a moonlight lake in Cumberland, a collection of family profiles, thought unworthy of being anywhere else, over the mantelpiece, and by their side, and pinned against the wall, a small sketch of a ship sent four years ago from the Mediterranean by William, with H.M.S. Antwerp at the bottom, in letters as tall as the mainmast.

Mansfield Park ch. 46

She was deep in other musing. The remembrance of her first evening in that room, of her father and his newspaper, came across her. No candle was now wanted. The sun was yet an hour and half above the horizon. She felt that she had, indeed, been three months there; and the sun’s rays falling strongly into the parlour, instead of cheering, made her still more melancholy, for sunshine appeared to her a totally different thing in a town and in the country. Here, its power was only a glare: a stifling, sickly glare, serving but to bring forward stains and dirt that might otherwise have slept. There was neither health nor gaiety in sunshine in a town. She sat in a blaze of oppressive heat, in a cloud of moving dust, and her eyes could only wander from the walls, marked by her father’s head, to the table cut and notched by her brothers, where stood the tea–board never thoroughly cleaned, the cups and saucers wiped in streaks, the milk a mixture of motes floating in thin blue, and the bread and butter growing every minute more greasy than even Rebecca’s hands had first produced it. Her father read his newspaper, and her mother lamented over the ragged carpet as usual, while the tea was in preparation, and wished Rebecca would mend it.

 

 

ODE ON A GRECIAN URN
By John Keats

Thou still unravished bride of quietness,
      Thou foster child of silence and slow time,
Sylvan historian, who canst thus express
      A flowery tale more sweetly than our rhyme:
What leaf-fringed legend haunts about thy shape
      Of deities or mortals, or of both,
            In Tempe or the dales of Arcady?
What men or gods are these? What maidens loath?
      What mad pursuit? What struggle to escape?
            What pipes and timbrels? What wild ecstasy?

Heard melodies are sweet, but those unheard
      Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endeared,
      Pipe to the spirit ditties of no tone.
Fair youth, beneath the trees, thou canst not leave
      Thy song, nor ever can those trees be bare;
            Bold Lover, never, never canst thou kiss,
Though winning near the goal---yet, do not grieve;
      She cannot fade, though thou hast not thy bliss
            Forever wilt thou love, and she be fair!

Ah, happy, happy boughs! that cannot shed
      Your leaves, nor ever bid the Spring adieu;
And, happy melodist, unweariéd,
      Forever piping songs forever new;
More happy love! more happy, happy love!
      Forever warm and still to be enjoyed,
            Forever panting, and forever young;
All breathing human passion far above,
      That leaves a heart high-sorrowful and cloyed,
            A burning forehead, and a parching tongue.

Who are these coming to the sacrifice?
      To what green altar, O mysterious priest,
Lead'st thou that heifer lowing at the skies,
      And all her silken flanks with garlands dressed?
What little town by river or sea shore,
      Or mountain-built with peaceful citadel,
            Is emptied of this folk, this pious morn?
And, little town, thy streets for evermore
      Will silent be; and not a soul to tell
            Why thou art desolate, can e'er return.

O Attic shape! Fair attitude! with brede
      Of marble men and maidens overwrought,
With forest branches and the trodden weed;
      Thou, silent form, dost tease us out of thought
As doth eternity. Cold Pastoral!
      When old age shall this generation waste,
            Thou shalt remain, in midst of other woe
Than ours, a friend to man, to whom thou say'st,
      "Beauty is truth, truth beauty"---that is all
            Ye know on earth, and all ye need to know.

ODE TO AUTUMN
by John Keats

Season of mists and mellow fruitfulness,
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eaves run;
To bend with apples the mossed cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimmed their clammy cell.

Who hath not seen thee oft amid thy store?
Sometimes whoever seeks abroad may find
Thee sitting careless on a granary floor,
Thy hair soft-lifted by the winnowing wind;
Or on a half-reaped furrow sound asleep,
Drowsed with the fume of poppies, while thy hook
Spares the next swath and all its twined flowers;
And sometimes like a gleaner thou dost keep
Steady thy laden head across a brook;
Or by a cider-press, with patient look,
Thou watchest the last oozings, hours by hours.

Where are the songs of Spring? Ay, where are they?
Think not of them, thou hast thy music too,---
While barréd clouds bloom the soft-dying day,
And touch the stubble-plains with rosy hue;
Then in a wailful choir, the small gnats mourn
Among the river gallows, borne aloft
Or sinking as the light wind lives or dies;
And full-grown lambs loud bleat from hilly bourn;
Hedge-crickets sing; and now with treble soft
The redbreast whistles from a garden-croft,
And gathering swallows twitter in the skies.

 

Gainsborough Mr and Mrs Andrews

Constable The Cornfield

METAPHOR AND METONYMY --- from David Lodge's Nice Work