Overview
“Rhetoric is the ‘technique of using the means of expression to persuade’. The hallmark of all rhetoric is that it involves at least two levels of language, the primary or denoted (non-coded) and the figurative or connoted (coded).”
Aesthetics of Photography
You will be reading and annotating an excerpt from Roland Barthes’ 1977 essay, “Rhetoric of the Image.” This essay is challenging, but it contains important tools for deconstructing visual design using a semiotic approach, including “close reading” of visual images. The use of visual images to communicate meaning is called “Visual Rhetoric.”
Key Themes and Takeaways
Roland Barthes was a prominent French thinker associated with the field of semiotics and the Structuralist movement. His essay, “Rhetoric of the Image“, was written in response to a series of articles that Barthes had been following in a well-regarded linguistics journal. Barthes attempts to demonstrate that images contain most of the same semiological elements, ie, signs, signifiers, signifieds, as a spoken or written language.
Building on Saussure and Peirce, Barthes argued that when we construct a sign (encoding), its reception (decoding) does not take place in a vacuum. Our individual experience, society, and culture impact its meaning and how it is interpreted.
- Semiological elements (signs) are present in an image, yet according to Barthes, they differ from language in that they imitate nature, and are non-linear.
- Every image, especially those in advertisements, consists of 3 messages: (1) a linguistic message, (2) a non-coded iconic message, and (3) a coded iconic message
- The linguistic message of an advertisement is the textual component that works alongside visual representational aspects (most advertisements combine text and image)
- A linguistic message can direct the viewer toward a clear interpretation, or invite unexpected interpretations
- The non-coded iconic message of an image is the “denotational” (objective, literal, perceptual, innocent) meaning that can be understood from the image.
- The coded iconic message of an image is the “connotational” (subjective, cultural, symbolic, ideological) meaning that can be understood from the image.
- Images are rhetorical in the sense that coded elements perform functions similar to those of persuasive linguistic devices
Key Terms
- Encoding: creating a message for transmission (i.e., creation and distribution of an advertisement)
- Decoding: the process of interpreting a message (i.e., watching and interpreting an advertisement)
- Denotation: literal meaning (a message without code)
- Connotation: symbolic or cultural meaning (a coded message)
- Linguistic message: words used to convey meaning
- * Are there ever non-coded linguistic messages? *
- Non-coded iconic message: an image with literal meaning
- Coded iconic message: an image with a coded message
Helpful Resources
Because this can be a difficult text with many new terms, consider reviewing some or all of the following before reading the text:
- Full image with caption
- What is Rhetoric?
- Video giving an overview of how to close read “Rhetoric of the Image“
- Breakdown of “Rhetoric of the Image” by Lesley Lanir
- Breakdown of “Rhetoric of the Image” by Hugh McCabe
- Full Text: Roland Barthes “Rhetoric of the Image“, Image â Music â Text, Translated by Stephen Heath. Hill and Wang, 1977. pg32
Due Date(s)
Your reading response is due the day before the next session to allow time for review.
Instructions
1. Open the reading and enable Hypothesis
In a new tab, open the essay excerpt Roland Barthes’ “Rhetoric of the Image“ essay from Image â Music â Text, Translated by Stephen Heath. Hill and Wang, 1977.
If the reading above doesnât automatically open Hypothesis, use Add âhttps://via.hypothes.is/â to the start of any web address (URL) or use the Paste a Link feature. Login to your account and select our group COMD Theory Group (IMPORTANT!) from the dropdown to make sure your annotations and highlights will be recorded in the group.
2. Consider these questions/prompts
As you read, make note of all key terms listed above, especially if their meaning is unclear. Respond to the following prompts:
- Define and identify the (3) three types of messages that Barthes breaks down in the Panzani advertisement: 1. linguistic 2. coded iconic 3. non-coded iconic
- How is the Panzani advertisement trying to persuade and influence the viewer?
- Include any questions or observations you have about the reading.
3. Read & Annotate.
Consider the questions/prompts listed above. Start to formulate the answers to these questions while you practice close reading with annotations. Share at least 3 annotations in the Hypothesis group, including your questions, definitions, and ideas with your classmates. Define any word or phrase that you don’t understand.
Add the tag: Visual Rhetoric to your annotations in Hypothesis.
4. Add your Reading Response in a comment on THIS post
Write a draft of your 200-word response in your software of choice. Check for grammar/spelling errors using Google Docs spell-grammar check or Grammarly. Check your word count.
Include links to at least (3) of your Hypothesis annotations in your response. In Hypothesis > select the Share icon > copy the URL. (see Using Hypothesis > Share)
When ready, add a comment at the bottom of this post and paste your response from your draft into the comment box. Be sure to double-check the formatting before hitting “Post“
5. Review and reply to your colleagues’ responses.
Acknowledge the responses of your classmates. Is there anything that surprised you or that you disagree with? Let them know. If you would like feedback from the Professor, please ask.
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Language information in some specific images is dual: it carries both extension and intension. Certain language codes can represent a duality of meaning. To interpret the first symbol, only one type of knowledge is requiredâthis knowledge is often part of a general cultural habit. In this culture, the symbol exists in a redundant relationship with the intension of the language information. The knowledge it depends on is more specific: for example, as the message suggests, it pertains to a particular kind of “French” cultural knowledge. An Italian person, for instance, wouldn’t notice the pun in the name “Panzani” or recognize the Italian flavor in tomatoes and peppers, because they aren’t familiar with the tourist stereotypes associated with French cuisine.
In advertisements, some text is intentionally directed toward specific target audiences. The nature of images in ads is essentially functional; simply saying something doesnât necessarily mean I am announcing Iâm speakingâunless, of course, the context is a deliberately reflexive system like literature. The image communicates far beyond just words.
Different perspectives can provide various angles for interpreting the image and the text on it. Sometimes, there are subtle hint signals to help the target audience understand or infer what the image is trying to convey. Repeated content can reinforce the same visual codeâlike a consistent logo for different products. Advertisements, though seemingly simple, convey an immense amount of information, and I often don’t realize the layers of meaning they communicate at first glance. One image may serve multiple purposes, blending visual and textual elements to deliver a complex message to the viewer. Itâs fascinating how so much information can be packed into something so seemingly straightforward.
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Roland Barthes breaks down the Panzani advertisement into three types of messages. The linguistic message comes from the text in the ad, like the brand name âPanzaniâ and any slogans. These words help guide how we understand the image, making the brand feel authentically Italian. The coded iconic message is the deeper meaning behind the visual elements. The colors red, yellow, and green match the Italian flag, making us associate the product with Italy. The fresh vegetables and pasta suggest tradition, quality, and homemade cooking rather than something processed. The non-coded iconic message is what we see immediately, without thinking too much. We recognize tomatoes, pasta, and a shopping bag, giving the impression that these are fresh ingredients, ready to be used in an authentic meal. The ad persuades viewers by making them feel like they are about to prepare a traditional Italian dish. The colors reinforce the connection to Italy, while the way the food is arranged makes it seem natural and high-quality. By using these elements, the advertisement encourages people to buy Panzani products, making them feel like they are bringing a piece of real Italian cooking into their homes.
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Barthes breaks down the Panzani ad into three key messages: the linguistic message, the coded iconic message, and the non-coded iconic message. The linguistic message includes the brand name “Panzani” and other text, which serves a dual purpose denotatively identifying the product and connotatively evoking “Italianicity” through its sound and association with Italian culture. The coded iconic message involves the symbolic elements in the image. For instance, the half-open bag spilling groceries suggests freshness and home cooking, contrasting with a more industrial, processed approach to food: âwhat we have in the scene represented is a return from the market. A signified which itself implies two euphoric values: that of the freshness of the products and that of the essentially domestic preparation for which they are destined.â The ad also plays with color symbolism; red, green, and yellow reinforcing an Italian aesthetic: âits signified is Italy, or rather Italianicity.â Additionally, the still-life composition references classical paintings, giving the ad an artistic and timeless quality. Finally, the non-coded iconic message is simply what is literally depicted pasta, vegetables, and a grocery bag requiring no cultural knowledge to interpret: âwe are still left with a certain informational matter; deprived of all knowledge, I continue to âreadâ the image, to âunderstandâ that it assembles in a common space a number of identifiable (nameable) objects.â The advertisement persuades by tapping into ideas of freshness, authenticity, and tradition, making Panzani seem like the go-to choice for a true Italian meal. Barthesâ breakdown makes it clear how even a simple image can be layered with meaning, shaping how we perceive products without us even realizing it.
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Linguistic is the study of languages and their structures. A coded iconic message is a message that conveys meaning through its elements. A non coded iconic message is a literal image that conveys meaning through recognizable objects. The Panzani advertisement is persuading the target audience to buy their products shown in the advertisement. The term “Italianicity” is related to being Italian such as eating Italian food, speaking Italian, etc. The Panzani advertisement is an example of a linguistic message, its language is twofold, connotational and denotational. The difference between connotational language and denotational language is that connotational is the implied definition beyond it literally, and denotational is the literal definition without emotional or cultural associations. WIthout linguistics, we would be shown with just the image with no meaning.
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The type of message Barthes breaks down in the Panzani advertisement is Linguistic. The text in the image contains deep denotative meaning, name branding and product, and connotative meaning, âPanzaniâ having an Italian sound to it and therefore associating the brand to Italian cuisine. Barthes also breaks down Coded Iconic Message. The colors resemble the Italian flag, and the open bag gives the idea that this product is fresh and ready to be used for home cooking. And Barthes breaks down Non-Coded Iconic Message. The vegetables are instantly recognizable and further emphasizes the freshness of the product. The Panzani advertisement tries to persuade consumers into their products by appealing to the tradition of Italian culture, from the colors to its name, making the product feel authentic. The open bag gives a fresh look, making it look like a recent trip to a supermarket. The vegetables give the product a complete look, showing its reliability and suggesting that it is what you need to make a perfect meal. And the way objects are placed makes it look like a still-life painting, associating their product to beauty and art.
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In an excerpt from âRhetoric of the Imageâ, Roland Barthes breaks down the âPanzaniâ advertisement into three messages. These three are the linguistic message, the coded iconic message and the non-coded iconic. The linguistic message are words that are used to convey a message. Linguistic messages can be further broken down into two other categories, the denotative and connotative messages. The denoted message is the brand name âPanzaniâ and the caption which translates from French âPasta, Sauce, Parmesan, Luxury Italian Styleâ. They are telling you that this product has âItalianicityâ which is the connotative meaning for something that signifies Italian culture, food or identity.
The coded iconic message is an image with a coded message. Itâs not presented to you easily or at face value, you have to sort through the advertisement to find it. In this case, Barthes point outs that the produce in the composition, which includes onions, mushrooms, green peppers and tomatoes, are the colors of the Italian flag, again signifying Italianicity.
The non-coded iconic message is an image with a literal meaning. At face value, weâre looking at some Panzani products which include pasta, and some produce like onions, mushrooms, tomatoes, green peppers, spilling from a stringed bag onto the red background/table. Nothing needs to be decoded at face value, itâs just what youâre literally looking at.
The Panzani advertisement is trying to persuade the viewer in two ways. Panzani has coded a message of Italian authenticity by including produce that represent the Italian flag. An uncoded message is that they are literally telling us that this is a luxurious Italian product, enticing the viewer to purchase and potentially even use the same produce in the ad to create a nice sauce.
The first type of message is the linguistic message (text/ written), like the brand name ‘Panzani.’ The second type is the coded message, which uses symbols (connotational). For example, the open net bag with fresh produce suggests natural/ organic, home cooked meals. The colors in the ad, red (background and tomato), green (logo and pepper stamp), and white (cheese and mushroom), yellow symbolically represent Italy. The last type is the non coded message, also called the denotational message. Even if someone doesnât know much about Italy, they can still tell that the ad is about pasta.
The Panzani ad persuades the viewer by showing fresh ingredients spilling out of the bag, making it look natural and homemade. It also promotes the idea that Panzani products are made with fresh ingredients instead of being processed. The ad reinforces that Panzani is truly Italian.
Roland Barthes’ Rhetoric of the Image analyzes a Panzani advertisement as a prime example of how linguistic, coded, and non-coded messages persuade the viewer. This advertisement is carefully designed to entice potential customers and generate interest in Panzani products. The brand strategically uses linguistic elements, such as product labels, to create an aura of authenticity surrounding Italian cuisine. The ‘Italianicity’ of the name Panzani fosters a deeper connection to the company’s heritage and reinforces its mission to provide fresh, high-quality Italian ingredients.
Barthes also explores how Panzani employs coded messages through visual elements, such as the red and green color scheme, which mirrors the colors of the Italian flag, further enhancing the adâs Italian essence. Much of the advertisement is coded, relying on the audienceâs ability to interpret symbols. Another example is the inclusion of a market string bag filled with fresh vegetables, evoking the idea of traditional grocery shopping and reinforcing the message of freshness and authenticity.
In the essay excerpt “Rhetoric of an Image”, Roland Barthes attempts to explain the Panzani advertisement by deciphering it into three specific types of messages. These messages are linguistic, coded iconic and non-coded iconic. By definition, linguistics are the study of languages and language structure, coded iconic messages are messages that convey feelings through elements and non-coded iconic elements are actual images that convey meaning via recognizable objects. Linguistic messages fall into the category of denotative and connotative.
The ad strategically uses the product label as a linguistic element to draw the viewer in. The word Panzani is denotative as it tries to convey authentic Italian cusiene
An example of the coded iconic messages in the ad would be the subtle inclusion of colors. The red, white, and green colors are symbolic of the Italian flag. The placement of these elements give the sense of a “real” Italian connection.
An example of the non-coded iconic messages would be the bold display of the ingredients. The onions, peppers, pasta, etc. suggests that the product is natural, fresh and homemade.
The Panzani advertisement is persuading the the viewer by incorporating these elements. It uses visual elements by displaying ingredients to convey the idea that everything is naturally fresh. The ad also persuades viewers by using verbal elements by highlighting words to convey that the product is authentically Italian.
This reading is about a food ad from Panzani. Barthes says the ad has three messages. The first message is the linguistic message. This means the words we see, like the name âPanzani.â The name sounds Italian, so it makes us think the food is from Italy. The second message is the coded iconic message. This means the things in the photo give us extra meaning. For example, the bag is open like someone came back from the market. The food looks fresh, so we think about cooking at home. The colors red, green, and yellow also make us think about Italy. The last message is the non-coded iconic message. This means the simple things we see â pasta, tomato, pepper, bag. We know what they are without thinking too much.
I think the ad wants people to feel happy and hungry. It wants to make the food look fresh, natural, and Italian. It also looks like a painting, so it feels special. After reading this, I see that ads use pictures in smart ways to send messages. I want to look at more ads like this.
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Barthes analyzes a Panzani advertisement, identifying three layers of meaning within the image. First is the linguistic message, which includes the brand name âPanzaniâ that implies âItalianicityâ through its sound, offering both denotative (literal) and connotative (cultural) meanings. Next is the coded iconic messageâthe visual elements suggest a return from the market, freshness, and homemade cooking through signs like the half-open bag and fresh vegetables. The image also uses the colors and ingredients to reinforce a stereotypical image of Italian culture. Finally, Barthes notes the non-coded iconic message, where viewers recognize real, familiar objects without needing cultural codesâthis is the literal level of the photograph. These layers together reveal how an ad can communicate complex cultural messages through simple visuals.
https://hyp.is/xA7nWDgJEfCkYB-b-7JNcw/openlab.citytech.cuny.edu/spevackcomd3504sp25/files/2022/11/Barthes_PanzaniUpdatedImage.pdf
https://hyp.is/TJ2-VjgOEfCqQwPsDy229w/openlab.citytech.cuny.edu/spevackcomd3504sp25/files/2022/11/Barthes_PanzaniUpdatedImage.pdf
https://hyp.is/F_XwvjgPEfClzg9UVSTIgg/openlab.citytech.cuny.edu/spevackcomd3504sp25/files/2022/11/Barthes_PanzaniUpdatedImage.pdf
Roland Barthes refers to three messages in his essay âRhetoric of the Imageâ in the Panzani advertisement: the linguistic, the non-coded iconic and the coded iconic messages. In the image, the linguistic message includes the brand name âPanzaniâ and the product labels, such as “salsa” (Barthes 1). According to Barthes, the brand name not only identifies the product but also implies something Italian. The non-coded iconic message refers to the literal elements of the imageâtomatoes, onions, pasta and a string bag. These are items that the viewer can recognize without the need for deep interpretation.
The coded iconic message, on the other hand, carries symbolic and cultural meaning. The string bag may suggest a trip to the market for fresh ingredients used in a homemade meal. The red, green and yellow colors, along with the tomatoes and peppers, reinforce common stereotypes of Italian cuisine. These cultural codes are especially effective for a French audience, who would likely associate these items with Italian food. The advertisement attempts to appeal to the viewer by combining a familiar family setting with a romanticized image of Italy creating a feeling of authenticity, tradition and quality.
Barthesâ model encourages us to reflect on how meaning is constructed. Can any image truly escape cultural influence, especially when recognizing a simple object like a tomato already relies on cultural knowledge? Furthermore, the rise of modern digital advertisingâthrough memes or tiny visualsâraises questions about how Barthesâ model applies today. For instance, when a label claims something is natural but the imagery suggests otherwise, it challenges the viewer’s interpretation. This demonstrates the powerful rhetorical role images play, shaped by perception across various cultural and societal contexts.
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Roland Barthes’ linguistic message identifies the product and hints at Italianicity, making it authentic to the French who are looking for good Italian food. This text helps us to think about the image and relate it to the words and the pictures that work together. In the coded message, the use of colors mirrors the Italian flag, reinforcing the product’s Italian Identity. As well the associating the product with cultural refinement and tradition. The non-coded iconic message is the literal objective content of the image: the pasta, the tomatoes, the onions, a tin, and the net bag. It is a straightforward depiction without any cultural or symbolic interpretation. Barthes refers to emphasizing its role upon which connotative meanings are built a without a code.
Panzani Advertisement suggests to the viewers the cultural association: evoking Italianicity, the ad appeals to the consumers and their desire for Italian food. As for the freshness and quality, the imagery of fresh produce suggests high-quality ingredients, which makes the products more appealing. As for the artist presentation, the still life composition elevates the products, associating them with art and influencing consumer perception.
My questions are:
How do symbols vary in meaning for people outside of France or Italy?
How have advertisers changed their use of symbols in the digital age?