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There are only a few images that are not forced to provide meaning, or have to go through the filter of a specific idea.

 

Jean Baudrillard

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First of all, directing is an idea that you have of a total flow of images that are going on, which are incidentally actors, words, and objects in space. It's an idea you have of yourself, like the idea you have of your own personality which finds its best representation in the world in terms of specific flows of imaginary images. That's what directing is.

 

Abraham Polonsky

 

The need of reason is not inspired by the quest for truth but by the quest for meaning. And truth and meaning are not the same. The basic fallacy, taking precedence over all specific metaphysical fallacies, is to interpret meaning on the model of truth.

 

Hannah Arendt

 

A third kind of semantic awareness is an extension of the consciousness of abstracting, namely an awareness of varying levels of abstraction. Words vary in the degree to which they correspond to verifiable referents. Some words are relatively more abstract or general, and some words are relatively more concrete or specific. Related to this fact is a fourth kind of semantic awareness, which might be called the "direction of meaning." That is, with increasingly abstract or general words, (i.e., those farther removed from operationally verifiable referents), the direction of meaning shifts accordingly from "outside" to "inside." With increasingly concrete or specific words (i.e., those whose referents can be more easily verified operationally), the direction of meaning shifts accordingly from "inside" to "outside." The conventional semantic terminology for these directions of meaning are intensional (internal or inside) and extensional (external or outside). Closely bound to these directions of meaning are, of course, different kinds of meaning. The primary semantic distinction made in kinds of meaning is between connotation (intensional, subjective, personal meaning) and denotation (extensional, objective, social meaning).

 

Neil Postman

 

[Messrs Ogden and Richards] will reply that they are considering the meaning of a "thought," not of a word. A "thought" is not a social phenomenon, like speech, and therefore does not have the two sides, active and passive, which can be distinguished in speech. I should urge, however, that all the reasons which led our authors to avoid introducing images in explaining meaning should have also led them to avoid introducing "thoughts." If a theory of meaning is to be fitted into natural science as they desire, it is necessary to define the meaning of words without introducing anything "mental" in the sense in which what is "mental" is not subject to the laws of physics. Therefore, for the same reasons for which I now hold that the meaning of words should be explained without introducing images — which I argued to be possible in the above-quoted passage — I also hold that meaning in general should be treated without introducing "thoughts," and should be regarded as a property of words considered as physical phenomena. Let us therefore amend their theory. They say: "'I am thinking of A' is the same thing as 'My thought is being caused by A.'" Let us substitute: "'I am speaking of A' is the same thing as 'My speech is being caused by A.'" Can this theory be true?

 

Bertrand Russell

 

The so-called obscurity of modernist literature has, of course, a lot to do with the new stress on exegesis. When the overt meaning of a work can no longer be taken for granted, criticism is forced — or seems forced — to undertake the explication of the text of the work before doing anything else. But experience has shown us by now that the drift and shape of an "obscure" poem or novel can be grasped for the purposes of art without being "worked out." Part of the triumph of modernist poetry is, indeed, to have demonstrated the great extent to which verse can do without explicit meaning and yet not sacrifice anything essential to its effect as art. Here, as before, successful art can be depended upon to explain itself.

 

Clement Greenberg