Eminem: The Man and the Sign

Nowadays, celebrities seem to be the focus of mass media. Because we see the faces of certain people in our own homes on our televisions as well as their photos all over the covers of magazines as we shop for our groceries, most people often come to feel as if they personally know their favorite celebrities. However, it is clear that this is not the case. Eminem, an infamous White rapper, is an excellent example of what happens when association changes the meaning of a word.

Before I get begin, let me explain some necessary facts about language. First, according to Ferdinand de Saussure, “language is a system of signs that express ideas” (60). In other words, utterances, syllables, and words, are only one part of language, while the meaning they contain is an entirely separate part. Both of these parts are required for language to exist. That is, language requires both a signifier (what is said) and a signified (the meaning of what is said). Indeed, “the two elements are intimately united, and each recalls the other” (61). The two cannot be separated. Second, “the entire mechanism of language, with which we shall be concerned later, is based on oppositions” (70). As Saussure explains, a sign exists only because of oppositions and comparisons.

What does Eminem have to do with all this? He is just one example of what happens when the signifier changes while the signified stays the same. First of all, we should consider his name—or alias: Eminem. The first image that comes to mind is that of the white rapper himself who is also known as Slim Shady. Perhaps he is then associated with the “bad boy” image of drugs, foul language and crotch-grabbing. Or maybe it is associated with his controversy with Christina Aguilera and his hate for Kim Mathers. Maybe it is associated with the various songs that he has written for his daughter. Regardless, we can see that the signifier triggers a concept that carries meaning related to the rapper. However, we can see that, in the eyes of fans, the signifier is separate from the man: the word “Eminem” does not remind us of Marshall Bruce Mathers III from Kansas City, Missouri. Indeed, as fans we do not even know this person, and so the signified in our mind is different from one in the mind of a long-time friend or family member, such as his mother, for instance. The same is true in reverse—when we see a photo of the blonde rap artist, the first word that comes to mind is “Eminem.” His actual name is irrelevant, as may be the case with any musician who uses an alias.

Interestingly, we should also consider the word “Eminem.” The word itself is clearly a throw-back to the M&M candy brand. Yet, when we hear this name in reference to music, or when we see it spelled out as the alias, the signified is always the musician. This is an example of a changing signified while the signifier remains the same.

Finally, we should consider opposition and comparison, as this is what Saussure argues gives units meaning. Because Eminem is a person, although the nickname may be referring to a character or role he plays as a musician, he is unique. However, in the minds of the fans, we know him by knowing who he is not. And in considering opposites, we may consider various other celebrities. For instance, he is not Christina Aguilera—in fact, the two cannot stand each other. They may be considered opposites because of their sex, or because of their musical genres. In either case, both seem similar in some ways and different in others. Perhaps another opposite might be Tupac. Although both are successful rap artists, Tupac always was a highly respected artist who rapped about meaningful topics, while Eminem has always had a controversial reputation and violent, questionable lyrics. Nevertheless, it is clear that we can identify Eminem by identifying who and what he is not. But then again, the Eminem we are identifying, is only the signified that we think we know, and not the man. The celebrity is, indeed, both a sign and a man.

Source:

de Saussure, Ferdinand. “Course in General Linguistics.” Literary Theory: An Anthology. 2nd Ed. Edited by Julie Rivkin and Michael Ryan. Oxford: Blackwell Publishing, 2004.