Literature and South Africa

Topics: South Africa, Literature, Semiotics Pages: 20 (6676 words) Published: July 11, 2013
DECLARATION
NAME: Ndumiso Ncube
STUDENT NUMBER: 46302522
MODULE NUMBER: THL 2601
ASSIGNMENT NUMBER: 02

I declare that this assignment is my own, original work. Where I have used source material, it is acknowledged in accordance with departmental requirements. I understand what plagiarism is and I am aware of the departmental policy on it.

Signature: Ndumiso Ncube
Date: 25 March 2013

CHECKLIST
Please tick the appropriate (√)
| | YES| NO|
1| I acknowledged all source material (study guide, tutorial letter, internet, other sources) used in my assignment.| √| | 2| Irrespective of whether I participated in a study group or not, the wording of the assignment is my own.| √| | 3| I indicated all sources used in my assignment by placing the quote in inverted commas and/or by providing the reference according to the Harvard method.| √| | 4| At the end of my assignment, there is a bibliography reflecting all the consulted sources. | √| |

Table of content
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Section 1

From Structuralism to Semiotics 3

Question 1 3

SECTION 2

Reading, Reception and Interpretation 8
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Question 5 8
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5.1. Research question 8
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5.2. Introduction 8
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5.3. Results 9
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5.4. Discussion 12
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5.5. Conclusion 15
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5.6. Bibliography 16
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SECTION ONE: FROM STRUCTURALISM TO SEMIOTICS

Question 1
Semiotic researchers like Jurij Lotman are pathfinders in establishing that codes in a specific text function together to produce meaning. The semiotic theory is built upon Structuralism and it links codes so that the text is therefore described as an autonomously functioning semiotic system. In this essay, the poem Mending Wall by Robert Frost is going to be used to describe how meaning are produced by codes, by recoding and overcoding according to Lotman’s semiotic theory. It is necessary to define codes and the process of interpretation before one delves in the semiotic analysis of the poem Mending Wall. As defined by Structuralist, literary codes that matter in our analysis per se are the literary signs, their overdetermination that amount to different meanings systems. Jong (2008: 111) posits “literary codes contain information about principles of repetition, repetition with variations, opposition and other modes of equivalence in a text.” This means that literary codes in poems, and according to Lotman, are comprised of intratextual code, intertextual code and extratextual code. The meaning of any text therefore is an attempt to interpret the codes having established (recoding and overcoding)...

References: Jong, M.D. 2008. Theory of the Sign in Literature and Culture. Only Study Guide for THL201A. University of South Africa: Pretoria
Lotman, J
Oliphant, A.W. and Keuris, M. 2010. Structuralist and Semiotic Theories of Genre. Only study guide for THL2602. University of South Africa: Pretoria.
The following is an extract on the reception of JM Coetzee’s novel Disgrace from De Jong (2008:185):

Barthes, R. 1972. Critical Essays. Evanston: Northwestern University Press.
De Jong, M. 2008. Theory of the Sign in Literature and Culture. Only Study Guide for THL201A. University of South Africa: Pretoria
Donadio, R
Jacobs, S. 2010. The Deadly Serious Games of JM Coetzee’s Disgrace: www.google.com. (22 March 2013)
Mark, O
Narismulu, P. (Online). Here be Dragons: Challenging Liberal Construction of Protest Poetry. www. google.com. (22 March 2013)
Oliphant, A.W
Schalkwyk, D. Representing Plaatje and Plaatje represented. Unisa online: www. Unisaoline.ac. za. (20 March 2013)
Wikipedia Home Page/ http// www.wikipedia.org +reception +Disgrace
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