SUBJECT SEMIOTICS P

by Kaja Silverman

This provocative book undertakes a new and challenging reading of recent semiotic and structuralist theory, arguing that films, novels, and poems cannot be studied in isolation from their viewers and readers.

Genres: Philosophy, Theory, Film, Linguistics, Psychoanalysis, Psychology, Art

318 pages, Paperback

First published January 1, 1983

Reviews

[Rosalie · Rating 3 out of 5]

I finally understand "suture" and why romantic comedies are so popular.

[Burcu · Rating 1 out of 5]

Silverman’s references to the giants of semiotics are so inconsistent that they ultimately prove that she either hasn’t read them recently or has not read their works completely.
Her examples are out of nowhere and not contextualised. Her writing ends up very patchy and even the first chapter on the historical background that is so easy to give an easier narrative reading makes it rough because this is a book with a set agenda utilising the big names from semiotics.
She should not be left of the hook when it comes to her bad writing just because this is more of a course book. I’m reading her right after I read S/Z and Of Grammatology and she is less organised and less connected than any of the former books.
Her focus is odd, her ongoing obsession Freud in semiotics is so outdated. Even for psychology students Freud is rather outdated, the pushy links btw Freud and semiotics is completely useless and rather harmful as semiotics already have to deal with being not such a positive science.
Writing is also bad, not only due to the lack of flow but also the run on sentences and inconsistent use of adverbs-adjectives etc. make this book a botch job (editorially).
Agreeing all the aphorisms of Freud and claiming how everything is so very and almost exclusively sexual in Western culture is also outrageous that it proves the need of the modern day cancel culture against which this book would not have stood a chance.

[Isabel J · Rating 3 out of 5]

This book is a lifesaver for both fledgling academics and educators who assign it alongside the primary texts it references. Silverman provides a helpful, reliable introduction/overview to psychoanalysis, structuralism, and postructuralism as she deftly renders these intimidating topics accessible to a wide audience without sacrificing their complexity.

As someone who constantly questioned my own interpretive skills and had a serious confidence issue at the beginning of my English M.A. (not that those issues have or will likely ever completely subside, and fuck it, I'm OK with that...), consulting this book was a giant relief and a great way for me to alleviate the self-doubt that (I'm assuming) most nascent academics experience.

Oldie but a goodie.

[justin chustin · Rating 4 out of 5]

very clear and accessible intro to psychoanalysis and semiotics.
I especially enjoy the chapter on Freudian and Lacanian theories of subjectivity. I've always had a hard time conceptualizing psychoanalysis linguistically so it is very helpful that she goes through Freud's theory while highlighting the structuralist aspects that Lacan would later amplify. I also like how she points out phallocentric parts of the two men's theories and provides a feminist modification.
very nice!

[Mynt Marsellus · Rating 4 out of 5]

The first four chapters here are probably the best introduction I've read to the major terms of "Theory" that dominates a lot of the humanities. Chapter 5 is invaluable for people thinking about film in this context. Chapter 6 I kind of hated but mainly because it exemplifies the worst instincts of "Theory" which my own work is explicitly trying to challenge.

[Doge Pod · Rating 4 out of 5]

In my opinion, Lacan is best read as a philosophy of language first and foremost. And in order to understand the tradition he comes from I would recommend a solid basis in semiotics analysis. This book is probably the most concise introduction to semiotics I can recommend you you. Really good book 9/10

[Tommy]

It is a textbook. Difficult but useful

[Ryan Sloan · Rating 4 out of 5]

Required reading for Charles Gaines' "Content & Form" course taught at CSUF and CALARTS.
In order to understand contemporary art and the those who critique it (including yourself) - understanding where "meaning" is created and how. Understanding how meaning evolves, changes, and can be controlled through artistic means.
What is a paradigm? What is a syntagm? How do they work together to create "meaning"?
The Sign, The Signifier ... All of the concepts in this book can be intimidating on their complexity, however without this book, I would have never gotten through my understanding of 'Art and the work of some of the most brilliant 'Artists to date (ex. Marcel Duchamp).
Many students crumbled under this text and dropped the course hoping for another way to an Art degree - "maybe Mr Gaines will be on sabbatical next semester and I'll be able to take a different class that will satisfy this requirement " - that was the general attitude at CSUF. I'm certain the experience at CALARTS was the opposite, with students flooding the classroom wanting to add the class with a waiting list.
Consider that this book was to prepare us to read and write a paper on Lyotard's Libidinal Economy, one might imagine the intimidation factor.

Bottom line is its a MUST HAVE for anyone who takes 'Art seriously and has any notion of going into post grad academics in the field.

[tm1906 · Rating 3 out of 5]

El primer capítulo ofrece una visión panorámica de la semiótica desde Saussure hasta Derrida, pasando por Benveniste, Peirce y Barthes. Contextualiza el trabajo de estos pensadores en relación al psicoanáliss de Freud y Lacan. También detalla algunas aportaciones de Althusser y Foucault. Ya sabes, name-dropping ante todo para apantallar a los grad students.

De particular interés es su suture theory sobre el cine y sus lecturas de Hitchcock e Its's a Wonderful Life, entre otras.

[Lo comencé a leer hace un par de años en una clase de teoría y el cine.]

[Joni · Rating 4 out of 5]

Semiotics is hard.... This is dense theory. But once you get it, really get it, it's like a new world opens and you start to apply the theory not only to film or text, but to every single aspect of life. Silverman outlines arguments by Freud, Jung, Lacan, Barthes, Derrida, etc, in a way that is clear and understandable. She often rephrases their argument so it becomes a bit easier to grasp. I learned a lot from this book and as a Literature student, there really is no escaping Semiotics.

[Scott Smith · Rating 3 out of 5]

More interesting than many others I've read.

[Angelusblanc · Rating 4 out of 5]

Almost 5 stars.