Poststructuralism and art

Poststructuralism is the name given in the English-speaking world for a loose collection of influential French philosophers and theorists working in the wake of structuralism, a movement which itself deserves some mention for its impact on aesthetics in continental philosophy. Structuralism came to prominence in France in the nineteen-fifties and -sixties, rivalling and, to some extent, succeeding phenomenology and existentialism as a leading methodological approach in the human sciences. It applies some basic tenets of Ferdinand de Saussure’s structural linguistics to phenomena other than language, such as the unconscious (Lacan, as we have seen above in section 4. c.), myth and ritual (Claude Lévi-Strauss), and history (Michel Foucault). Most significantly for aesthetics, Roland Barthes applied structuralist principles to literary criticism, and developed Saussure’s suggestion of a ‘semiology’, a study of signs in general (broader than the study of linguistic signs alone), applying such an approach to various forms of art and culture. Simply put, structuralism views the meaningful content of any phenomena as given in the structured relations between basic units (signs). This structure is taken to be hidden (or deep), and interpretation of an artwork or cultural product then becomes a matter of making the structure which informs it explicit. Because of its formalism and methodological rigour, structuralism was touted by its supporters as a more ‘scientific’ method for studying the phenomena of the human sciences (that is, ‘meaningful’ phenomena), and it swept through the French academy like a revolution.

To some extent, poststructuralism can be understood as a philosophical reaction to the excessive zeal for formal method that structuralism exhibited. Most poststructuralists continued to draw on the phenomenological tradition, as well as psychoanalytic theory, and adopted aspects of structuralism while critiquing others. In short, poststructuralists tend to argue that meaning is not reducible to static structures and cannot be uncovered using a formal method. Generalising greatly, we might say that poststructuralists insist upon the necessity of some element of indeterminacy (which accounts for the genesis of the structure) that operates within the structure to generate meaning, and that constitutes an instability which threatens the coherence of the structure and may disrupt it and cause it to change. Understood as an interplay between structure and the element of indeterminacy (often called ‘the event’), meaning cannot be uncovered using a formal method, and poststructuralists have had recourse to highly unorthodox, experimental modes of thinking and writing in theorising and demonstrating those aspects of meaning or effect they believe structuralism misses. Art and aesthetics have been significant topics for all poststructuralists because, as the philosophical tradition attests, aesthetic meaning or effect seems to be a paradigm case of a kind of meaning which is not ‘scientific’.The two poststructuralists who have been most influential in aesthetics  were  Jacques Derrida and Gilles Deleuze as well as those of the philosopher in this tradition who has engaged most extensively with art, Jean-François Lyotard.