Roland Barthes' 5 Code Theory

Roland Barthes’ 5 Code Theory

Referential Code: the voice of scienceThe referential code is constituted by the points at which the text refers to common bodies of knowledge.

The hermeneutic code is associated with enigmas of the text. It is entities or elements that articulate a question and its answer, as well as events that prepare the question or delay its answer. When Barthes identifies an enigma in the text he marks it HER. The process of revealing truth by solving enigmas is further broken down in the following sequence: Thematisation. What in the narrative is an enigma? Positioning. Additional confirmations of the enigma. Formulation of the enigma. Promise of an answer of the enigma. Fraud. Circumvention of the true answer. Equivocation. Mixture of fraud and truth. Blocking. The enigma cannot be solved. Suspended answer. Stopping the answering after having begun. Partial answer. Some facets of the truth are revealed. Disclosure of the truth. Because the hermeneutic code involves a move from a question to an answer it is one of the two codes (the other being the proairetic or action code) which Barthes calls “irreversible” : Once a secret is revealed, it cannot be unrevealed—the moment of cognition is permanent for the reader. Compared to the detailed sequential actions of the proairetic code, the hermeneutic code encompasses the entire narrative, or at least large parts of it.

Hermeneutic Code: the voice of the truth 

The proairetic code encompasses the actions or small sequences of the narrative. That is, it is not the overall narrative structure, which is associated with the HER. The basis of the proairetic is the dependency of the lexias upon both sequence and content to impart meaning. Barthes says that “setting up a sequence of actions is to name it.” This notion is connected with Barthes' notion of the “readerly” text. The actions of the story are created by the reader, who assimilates distinct pieces of information in a prescribed order. The reader grouping these pieces of data turns them into events. Even acts of self-analysis are classified by the reader in terms of the occurrence of movements or activities. Thus, the proairetic code pictures the text as a location with spatial and temporal dimensions through which the reader moves.

Proairetic Code: empirical voice

The semic code is the connotations of the character (a person, a place or an object). The character has not only characteristics, but also unstable connotations because the person has an existence (a name proper) which is external to the characteristics, the fixed meanings. Barthes says that “the seme is the unit of the signifier.” This code focuses upon the pieces of data the text provides in order to suggest abstract concepts. For example, the mention of “party,” “Faubourg,” and “mansion” are all semes for the abstract concept “Wealth.” The semic code allows the text to “show” instead of “tell” by describing material things in order to suggest immaterial ones.

Semic Code: the voice of the person

The symbolic code is due to the fact that the human body as narrator enables the text to transgress 'taboos', not least as metonymies. The entrances into the symbolic are (1) rhetorical (transgression of the rhetorical figure: antitheses), (2) sexual (transgression of the sex: castration), and (3) economic (transgression of the origin of wealth). Thus, threatening to remove crucial differences, such transgressions create an “unrestrained metonymy” within the text. An unrestrained metonymy is, however, close to the dissolution of meaning because it “abolishes the power of legal [according to the linguistic, etc. codes] substitution on which meaning is based”, and therefore, close to annihilation of representation. Consequently, the symbolic code is the point where different blocked meanings merge into the same lexia, thus accentuating the plurality of the meaning of the text.

Symbolic Code: the voice of symbols

In our media product we follow the enigma code. The enigma code is a question that is not immediately answered, therefore drawing an audience into the product. An example of this in our media product is that there is a murder that takes place fairly early on in the film and the body is being shown, however it does not give away who the murderer is, therefore the murderer is an enigma because the audience wants to know who did it. Even though we show this as a flashback and a suspect is introduced early on, it doesn't give a lot away because the audience is expecting more suspects to be introduced later on.

Enigma Code