Jakobson Two Aspects of Language and Two Types of Aphasic Disturbances
Jakobson Two Aspects of Language and Two Types of Aphasic Disturbances
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stance, one book, dealing to a great extent with the complex and intri
cate problems of infantile aphasia, calls for a coordination of various
disciplines and appeals for cooperation to otolaryngologists, pediatri
cians, audiologists, psychiatrists, and educators; but the science of lan
guage is passed over in silence, as if disorders in speech perception had
nothing whatever to do with language. 5
Linguists are also responsible for the delay in undertaking a joint
inquiry into aphasia. Nothing comparable to the minute linguistic ob
servations of infants of various countries has been performed with re
spect to aphasics. Nor has there been any attempt to reinterpret and
systematize from the point of view of linguistics the multifarious clin
ical data on diverse types of aphasia. That this should be true is all the
more surprising in view of the fact that, on the one hand, the amazing
progress of structural linguistics has endowed the investigator with
efficient tools and methods for the study of verbal regression and, on
the other, the aphasic disintegration of the verbal pattern may provide
the linguist with new insights into the general laws of language.
The application of purely linguistic criteria to the interpretation and
classification of aphasic facts can substantially contribute to the science
of language and language disturbances, provided that linguists remain
as careful and cautious when dealing with psychological and neurolog
ical data as they have been in their traditional field. First of all, they
should be familiar with the technical terms and devices of the medical
disciplines dealing with aphasia; then, they must submit the clinical
case reports to thorough linguistic analysis; and, further, they should
themselves work with aphasic patients in order to approach the cases
directly and not only through a reinterpretation of prepared records
which have been quite differently conceived and elaborated.
There is one level of aphasic phenomena where amazing agreement
has been achieved between those psychiatrists and linguists who have
tackled these problems, namely the disintegration of the sound pat
tern.6 This dissolution exhibits a time order of great regularity. Aphasic
regression has proved to be a mirror of the child's acquisition of speech
sounds: it shows the child's development in reverse. Furthermore,
comparison of child language and aphasia enables us to establish sev
eral laws of implication. The search for this order of acquisitions and
losses and for the general laws of implication cannot be confined to
the phonemic pattern but must be extended also to the gr ammatical
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units and/or finds its own context in a more complex linguistic unit.
Hence any actual grouping of linguistic units binds them into a supe
rior unit: combination and contexture are two faces of the same oper
ation.
( 2 ) Selection. A selection between alternatives implies the possibility
of substituting one for the other, equivalent in one respect and differ
ent in another. Actually, selection and substitution are two faces of the
same operation.
The fundamental role which these two operations play in language
was clearly realized by Ferdinand de Saussure. Yet of the two varieties
of combination-concurrence and concatenation-it was only the lat
ter, the temporal sequence, which was recognized by the Geneva lin
guist. Despite his own insight into the phoneme as a set of concurrent
distinctive features (elements differentiels des phonemes) , the scholar suc
cumbed to the traditional belief in the linear character of language
"which excludes the possibility of pronouncing two elements at the
same time. " 10
In order to delimit the two modes of arrangement we have de
scribed as combination and selection, de Saussure states that the for
mer "is in presentia: it is based on two or several terms jointly present
in an actual series;' whereas the latter "connects terms in absentia as
members of a virtual mnemonic series. " That is to say, selection (and,
correspondingly, substitution) deals with entities conjoined in the code
but not in the given message, whereas, in the case of combination, the
entities are conjoined in both or only in the actual message. The ad
dressee perceives that the given utterance (message) is a combination of
constituent parts (sentences, words, phonemes) selected from the re
pository of all possible constituent parts (the code). The constituents
of a context are in a state of contiguity) while in a substitution set signs
are linked by various degrees of similarity which fluctuate between the
equivalence of synonyms and the common core of antonyms.
These two operations provide each linguistic sign with two sets of
interpretants) to utilize the effective concept introduced by Charles
Sanders Peirce. II There are two references which serve to interpret the
sign-one to the code and the other to the context; whether coded or
free, and in each of these ways the sign is related to another set of
linguistic signs, through an alternation in the former case and through
an alignment in the latter. A given significative unit may be replaced by
other, more explicit signs of the same code, whereby its general mean-
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In the theory of language, since the early Middle Ages, it has re
peatedly been asserted that the word out of context has no meaning.
The validity of this statement is, however, confined to aphasia or, more
exactly, to one type of aphasia. In the pathological cases under discus
sion, an isolated word means actually nothing but "blab." As numerous
tests have disclosed, for such patients two occurrences of the same
word in two different contexts are mere homonyms. Since distinctive
vocables carry a higher amount of information than homonyms, some
aphasics of this type tend to supplant the contextual variants of one
word by different terms, each of them specific for the given environ
ment. Thus Goldstein's patient never uttered the word knife alone but,
according to its use and surroundings, alternately called the knife
pencil-sha rpener, apple -parer, bread-kn ife) kn ife-and-fork; so the word
kn ife was changed from a free form, capable of occurring alone, into a
bound form.
"I have a good apartment, entrance hall, bedroom, kitchen;' Gold
stein's patient says. "There are also big apartments, only in the rear live
bachelors." A more explicit form, the word group unmarried people)
could have been substituted for bachelors) but this univerbal term was
selected by the speaker. When repeatedly asked what a bachelor was,
the patient did not answer and was "apparently in distress." A reply
like "a bachelor is an unmarried man" or "an unmarried man is a bach
elor" would present an equational predication and thus a projection of
a substitution set from the lexical code of the English language into
the context of the given message. The equivalent terms become two
correlated parts of the sentence and consequently are tied by contigu
ity. The patient was able to select the appropriate term bachelor when
it was supported by the context of a customary conversation about
"bachelor apartments;' but was incapable of utilizing the substitution
set bachelor = unmarried man as the topic of a sentence because the
ability for autonomous selection and substitution had been affected.
The equational sentence vainly demanded from the patient carries as
its sole information: "ba chelor means an unmarried man" or "an un
married man is called a bachelor."
The same difficulty arises when the patient is asked to name an ob
ject pointed to or handled by the examiner. The aphasic with a defect
in substitution will not supplement the pointing or handling gesture
of the examiner with the name of the object pointed to. Instead of
saying "this is [called] a pencil;' he will merely add an elliptical note
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about its use: "To write." If one of the synonymic signs is present (for
instance, the word bachelor or the pointing to the pencil) then the other
sign (such as the phrase unmarried man or the word pencil) becomes
redundant and consequently superfluous. For the aphasic, both signs
are in complementary distribution: if one is performed by the exam
iner, the patient will avoid its synonym: "I understand everything" or
"Ich weiss es schon " will be his typical reaction. Likewise, the picture
of an object will cause suppression of its name: a verbal sign is sup
planted by a pictorial sign. When the picture of a compass was pre
sented to a patient of Lotmar's, he responded: "Yes, it's a ... I know
what it belongs to, but I cannot recall the technical expression ...Yes
... direction ... to show direction ... a magnet points to the
north."15 Such patients fail to shift, as Peirce would say, from an index
or icon to a corresponding verbal symbol.16
Even simple repetition of a word uttered by the examiner seems to
the patient unnecessarily redundant, and despite instructions received
he is unable to repeat it.Told to repeat the word "no:' Head's patient
replied ''No, I don't know how to do it." While spontaneously using
the word in the context of his answer ("No, I don't ..."), he could not
produce the purest form of equational predication, the tautology
a = a: Inol is Inol.
One of the important contributions of symbolic logic to the science
of language is its emphasis on the distinction between object language
and metalanguage. As Carnap states, "in order to speak about any object
language) we need a metalanguage."17 On these two different levels of
language the same linguistic stock may be used; thus we may speak in
English (as metalanguage) about English (as object language) and in
terpret English words and sentences by means of English synonyms,
circumlocutions, and paraphrases. Obviously such operations, labeled
metalinguistic by the logicians, are not their invention: far from being
confined to the sphere of science, they prove to be an integral part of
our customary linguistic activities.The participants in a dialogue often
check whether they are using the same code. "Do you follow me?Do
you see what I mean?" the speaker asks, or the listener himself breaks
in with "What do you mean?" Then, by replacing the questionable
sign with another sign from the same linguistic code or with a whole
group of code signs, the sender of the message seeks to make it more
accessible to the decoder.
The interpretation of one linguistic sign through other, in some re-
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but were unable to grasp or say than ks and giving or b atter and sea)
have often been cited� As long as the sense of derivation is still alive,
so that this process is still used for creating innovations in the code,
one can observe a tendency toward oversimplification and automatism:
if the derivative word constitutes a semantic unit which cannot be en
tirely inferred from the meaning of its components, the Gestalt is mis
understood. Thus the Russian word mokr-ica signifies ''wood-louse;'
but a Russian aphasic interpreted it as "something humid;' especially
"humid weather;' since the root mokr- means "humid" and the suffix
-ica designates a carrier of the given property, as in nelepica (something
absurd), svetlica (light room), temnica (dungeon, literally dark room).
When, before World War II, phonemics was the most controversial
area in the science of language, doubts were expressed by some lin
guists as to whether phonemes really play an autonomous part in our
verbal behavior. It was even suggested that the meaningful (significa
tive) units of the linguistic code, such as morphemes or rather words,
are the minimal entities with which we actually deal in a speech event,
whereas the merely distinctive units, such as phonemes, are an artificial
construct to facilitate the scientific description and analysis of a lan
guage. This view, which was stigmatized by Sapir as "the reverse of
realistic;' 24 remains, however, perfectly valid with respect to a certain
pathological type: in one variety of aphasia, which sometimes has been
labeled "atactic;' the word is the sole linguistic unity preserved. The
patient has only an integral, indissolvable image of any familiar word,
and all other sound-sequences are either alien and inscrutable to him,
or he merges them into familiar words by disregarding their phonetic
deviations.One of Goldstein's patients "perceived some words, but ...
the vowels and consonants of which they consisted were not per
ceived" (p. 218). A French aphasic recognized, understood, repeated,
and spontaneously produced the word cafe (coffee) or p ave (roadway)
but was unable to grasp, discern, or repeat such nonsensical sequences
as fica) fake) k ifa) p afi. None of these difficulties exists for a normal
French-speaking listener as long as the sound sequences and their com
ponents fit the French phonemic pattern. Such a listener may even
apprehend these sequences as words unknown to him but plausibly
belonging to the French vocabulary and presumably different in mean
ing, since they differ from each other either in the order of their pho
nemes or in the phonemes themselves.
If an aphasic becomes unable to resolve the word into its phonemic
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QUEST I O NS OF LITERARY THEORY
semantic lines: one topic may lead to another either through their sim
ilarity or through their contiguity. The metaphoric way would be the
most appropriate term for the first case and the metonymic way for the
second, since they find their most condensed expression in metaphor
and metonymy respectively. In aphasia one or the other of these two
processes is restricted or totally blocked-an effect which makes the
study of aphasia particularly illuminating for the linguist. In normal
verbal behavior both processes are continually operative, but careful
observation will reveal that under the influence of a cultural pattern,
personality, and verbal style, preference is given to one of the two pro
cesses over the other.
In a well-known psychological test, children are confronted with
some noun and told to utter the first verbal response that comes into
their heads. In this experiment two opposite linguistic predilections
are invariably exhibited: the response is intended either as a substitute
for or as a complement to the stimulus. In the latter case the stimulus
and the response together form a proper syntactic construction, most
usually a sentence. These two types of reaction have been labeled sub
stitutive and predicative.
To the stimulus hut one response was burnt out; another, is a poor
little house. Both reactions are predicative; but the first creates a purely
narrative context, while in the second there is a double connection
with the subject hut: on the one hand, a positional (namely, syntactic)
contiguity and, on the other, a semantic similarity.
The same stimulus produced the following substitutive reactions:
the tautology hut; the synonyms cabin and hovel; the antonym palace;
and the metaphors den and burrow. The capacity of two words to re
place one another is an instance of positional similarity, and, in addi
tion, all these responses are linked to the stimulus by semantic similar
ity (or contrast) . Metonymical responses to the same stimulus, such as
th atch) litte1; or poverty) combine and contrast the positional similarity
with semantic contiguity.
In manipulating these two kinds of connection (similarity and con
tiguity) in both their aspects (positional and semantic)-selecting,
combining, and ranking them-an individual exhibits his personal
style, his verbal predilections and preferences.
In verbal art the interaction of these two elements is especially pro
nounced. Rich material for the study of this relationship is to be found
in verse patterns which require a compulsory p arallelism between ad-
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TwoAspeas ofLanguage
jacent lines, for example in biblical poetry or in the Finnic and, to some
extent, the Russian oral traditions. This provides an objective criterion
of what in the given speech community acts as a correspondence. Since
on any verbal level-morphemic, lexical, syntactic, and phraseologi
cal-either of these two relations (similarity and contiguity) can ap
pear-and each in either of two aspects, an impressive range of pos
sible configurations is created. Either of the two gravitational poles
may prevail. In Russian lyrical songs, for example, metaphoric con
structions predominate, while in the heroic epics the metonymic way
is preponderant.
In poetry there are various motives which determine the choice be
tween these alternants. The primacy of the metaphoric process in the
literary schools of Romanticism and Symbolism has been repeatedly
acknowledged, but it is still insufficiently realized that it is the predom
inance of metonymy which underlies and actually predetermines the
so-called Realist trend, which belongs to an intermediary stage be
tween the decline of Romanticism and the rise of Symbolism and is
opposed to both. Following the path of contiguous relationships, the
Realist author metonymic ally digresses from the plot to the atmo
sphere and from the characters to the setting in space and time. He is
fond of synecdochic details. In the scene of Anna Karenma's suicide
Tolstoj's artistic attention is focused on the heroine's handbag; and in
War an a Pe ace the synecdoches (Chair on the upper lip" and (Cbare shoul
ders" are used by the same writer to stand for the female characters to
whom these features belong.
The alternative predominance of one or the other of these two pro
cesses is by no means confined to verbal art. The same oscillation oc
curs in sign systems other than language.25 A salient example from the
history of painting is the manifestly metonymical orientation of Cub
ism, where the object is transformed into a set of synecdoches; the
Surrealist painters responded with a patently metaphorical attitude.
Ever since the productions of D. W Griffith, the art of the cinema,
with its highly developed capacity for changing the angle, perspective,
and focus of shots, has broken with the tradition of the theater and
ranged an unprecedented variety of synecdochic close-ups and meto
nymic set-ups in general. In such motion pictures as those of Charlie
Chaplin and Eisenstein,26 these devices in turn were overlayed by a
novel, metaphoric montage with its lap dissolves-the filmic similes. 27
The bipolar structure of language (or other semiotic systems) and,
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personality is the patient's inability to use two symbols for the same
thing, and it is thus a similarity disorder. Since the similarity disorder
is bound up with the metonymical bent, an examination of the literary
manner Uspenskij had employed as a young writer takes on particular
interest. And the study of Anatolij Kamegulov, who analyzed Uspen
skij's style, bears out our theoretical expectations. He shows that Us
penskij had a particular penchant for metonymy, and especially for syn
ecdoche, and that he carried it so far that "the reader is crushed by the
multiplicity of detail unloaded on him in a limited verbal space, and
is physically unable to grasp the whole, so that the portrait is often
lost."29
To be sure, the metonymical style in Uspenskij is obviously
prompted by the prevailing literary canon of his time, late nineteenth
century "realism"; but the personal stamp of Gleb Ivanovic made his
pen particularly suitable for this artistic trend in its extreme manifes
tations and finally left its mark upon the verbal aspect of his mental
illness.
A competition between both devices, metonymic and metaphoric, is
manifest in any symbolic process, be it intrapersonal or social. Thus in
an inquiry into the structure of dreams, the decisive question is
whether the symbols and the temporal sequences used are based on
contiguity (Freud's metonymic "displacement" and synecdochic "con
densation") or on similarity (Freud's "identification and symbolism") .
The principles underlying magic rites have been resolved by Frazer
into two types : charms based on the law of similarity and those
founded on association by contiguity. The first of these two great
branches of sympathetic magic has been called "homoeopathic" or
"imitative;' and the second, "contagious" magic.30 This bipartition is
indeed illuminating. Nonetheless, for the most part, the question of
the two poles is still neglected, despite its wide scope and importance
for the study of any symbolic behavior, especially verbal, and of its
impairments. What is the main reason for this neglect?
Similarity in meaning connects the symbols of a metalanguage with
the symbols of the language referred to. Similarity connects a meta
phorical term with the term for which it is substinited. Consequently,
when constructing a metalanguage to interpret tropes, the researcher
possesses more homogeneous means to handle metaphor, whereas me
tonymy, based on a different principle, easily defies interpretation.
Therefore nothing comparable to the rich literature on metaphor31 can
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be cited for the theory of metonymy. For the same reason, it is gener
ally realized that Romanticism is closely linked with metaphor,
whereas the equally intimate ties of Realism with metonymy usually
remain unnoticed. Not only the tool of the observer but also the object
of observation are responsible for the preponderance of metaphor over
metonymy in scholarship. Since poetry is focused upon the sign, and
pragmatical prose primarily upon the referent, tropes and figures were
studied mainly as poetic devices. The principle of similarity underlies
poetry; the metrical parallelism of lines or the phonic equivalence of
rhyming words prompts the question of semantic similarity and con
trast; there exist, for instance, grammatical and antigramm atical but
never agr ammatical rhymes. Prose, on the contrary, is forwarded essen
tially by contiguity. Thus for poetry, metaphor-and for prose, meton
ymy-is the line of least resistance and consequently the study of po
etical tropes is directed chiefly toward metaphor. The actual bipolarity
has been artificially replaced in these studies by an amputated, unipolar
scheme which, strikingly enough, coincides with one of the two
aphasic patterns, namely with the contiguity disorder.
II4