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."
"Did you say pig or fig?" said the Cat. "I said pig," replied Alice.
|
SELECTION AND
SUBSTITUTION
CODE LANGUE SIMILARITIES (synonyms → antonyms) |
COMBINATION AND CONTEXTURE
MESSAGE PAROLE DIFFERENCES |
|
|
|

Douanier Rousseau: The Dream

Dali: Dissolution of Memory

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
|
ODE TO
AUTUMN Season of mists
and mellow fruitfulness, |

Gainsborough Mr and Mrs Andrews

Constable The Cornfield
METAPHOR AND METONYMY --- from David Lodge's Nice Work
![]()