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Peirce's Semiotics Analysis of Icon and Symbol on Perfume

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PEIRCE’S SEMIOTICS ANALYSIS OF ICON AND SYMBOL ON PERFUME ADVERTISEMENTS A Thesis Submitted to Letters and Humanities Faculty in Partial Fulfillment of the Requirement for the Degree of Strata One (S1) AUDIA ERIANA 1110026000100 ENGLISH LETTERS DEPARTMENT LETTERS AND HUMANITIES FACULTY STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH JAKARTA 2015 ABSTRACT Audia Eriana, Peirce’s Semiotics Analysis of Icon and Symbol on Perfume Advertisements. Thesis: English Letters Department, Letters and Humanities Faculty, State Islamic University (UIN) Syarif Hidayatullah Jakarta, 2015. The objective of this study is to find out the meaning of signs on perfume advertisements and to explain its semiosis processes. This study applied descriptive analysis method. Through this method the researcher tries to describe, explain, and analyze the meaning of the signs and investigate its semiosis process using Charles Sanders Peirce’s theory. The unit analysis of this research was the woman perfume advertisement from Sephora site (www.sephora.com), Within the site, There are 510 advertisements of 72 brands But, only advertisements in English language are selected As a result there are 194 perfume advertisements from 29 brands. Because of the large amount of the advertisements, the researcher does sampling by using simple random sampling. The data to be analyzed are 29 advertisements in which each represents 29 brands. For the semiotics analysis, the researcher downloaded and printed the data. The classified data contain signs which consist of representament, object, and interpretant. The relationship of these three aspects can be delivered a clear meaning of a selected advertisement.. Through this relationship will create the process of delivering meaning and interpretation which is called the semiosis process. The researcher determines which one is the icon and the symbol first from the advertisement, and used it as the data. From the data (icon or symbol), the researcher analyzes the object of the icon or the symbol, and finally got the interpretant in order to give the meaning for the advertisement. In giving meaning, it is only based on the interpretants’ formulation of icon and symbol and also based on the reseacher’s understanding in interpreting the sign. The researcher found 29 icons and 23 symbols from the 29 advertisements. From the 29 icons and 23 symbols, the researcher got the 29 meaning of the advertisement. Besides, the researcher also found that the picture (icon) can be the first aspect that can give the direction to the meaning, then the language which is used in the advertisement (symbol). It could be concluded that each advertisement had different sign and also different meaning. These differences had given different interpretations. From the semiotics analysis of 29 advertisements, the advertiser’s complex idea can be easily delivered by the consumer. i DECLARATION I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for the award of any other degree or diploma of the university or other institute of higher learning, except where due acknowledgement has been made in the next. Jakarta, March 2015 Audia Eriana iv ACKNOWLEDGEMENT First and foremost, the writer likes to thank Allah SWT, the lord of the world for giving her the best guidance, brightest lights and deepest mercy. The pour of blessing lead her to finish this thesis. Shalawat and Salam always devoted to our Prophet Muhammad, peace be upon him, who has guided us from the darkness to enlightenment in the world. The writer would like to express my gratitude for my advisors Hilmi, M.Hum. and Drs. Saefudin, M.Pd. who always give inspirations, encouragements, critiques, and sincere guidance for me to finish the thesis. The writer also would like to take this opportunity for expressing my deep and sincere gratitude and thankfulness to: 1. Prof. Dr. Sukron Kamil, M.Ag., The Dean of Faculty of Letters and Humanities. 2. Drs. Saefudin, M.Pd., the Head of English Letters Department and advisor. 3. Mrs. Elve Oktafiyani, M.Hum., the Secretary of English Letters Department. 4. Hilmi, M.Hum., as my super advisor who always give inspirations, encouragements, critiques, and guidance. 5. M. Shohibussirri, MALG., MALGR., as my examiner and for sharing, helps, and critiques so that my thesis is more much better. 6. Abdurrosyid, S.S., M.EIL., as my examiner. 7. All of the lecturers in English Letters Department for their valuable knowledge. 8. All the librarians of Adab and Humanities Faculty and State Islamic v University. 9. My beloved parents: Asyudi and Martini (the late) for their limitless support, pray and endless love. And also my stepmother, Indah Puspa Dewi, indirectly teaches me to be stronger and more patient. 10. My beloved brothers and sister: Ramanda Raya, Muhammad Adnan Agus Maulana and Tia Gia Agatha, who always give me cheerful and joyful, and those really help to decrease my stress. 11. My beloved fiance: Tatang Rusmanta for his support, pray, and spirit in writing my thesis. 12. My friends especially Happy C Family for their support and suggestion in writing my thesis. Finally, the writer realizes that this thesis is not perfect, that is why the writer welcomes to receive the critic and suggestion for this thesis to be better. The writer hopes this thesis will be useful, particularly for the writer and for those who interested in this field. Jakarta, March 2015 The Writer vi THE LIST OF TABLES Table 1: The List of Unit Analysis…...………………………………….. 6 Table 2: The Website Address of Data……….………………..………… 9 Table 3: Peirce’s Thought of Semiotics……………………….………… 24 Table 4: Result of Simple Random Sampling…………………………… 28 vii THE LIST OF FIGURES Figure 1: BALENCIAGA Rosabotanica, Data 1 B…….………………… 34 Figure 2: Bobbi Brown Beach fragrance, Data 1 BB…………………….. 37 Figure 3: Boyfriend Billionaire Boyfriend, Data 1 BF…………….….…. 40 Figure 4: Calvin Klein Eternity, Data 2 CK……………………………... 43 Figure 5: Carolina Herrera 212 Sexy, Data 2 CH……………….……….. 46 Figure 6: CLEAN Cool Cotton, Data 8 C……………..…………………. 49 Figure 7: CLINIQUE Happy Rollerball, Data 6 CQ…………………….. 52 Figure 8: COACH Poppy, Data 1 CC……..……………………………... 55 Figure 9: Commodity Gold, Data 3 CM………………………………….. 58 Figure 10: Desigual Fun, Data 3 D………..……………………………… 61 Figure 11: Donna Karan New York Be Delicious, Data 1 DKNY………. 64 Figure 12: Donna Karan Cashmere Mist Rollerball, Data 4 DK………… 67 Figure 13: Elizabeth and James Nirvana White Rollerball, Data 5 EJ…... 70 Figure 14: Escada Joyfull, Data 3 ES…………………………………….. 73 Figure 15: Gucci Flora by Gucci Eau de Parfum, Data 11 G……………. 76 Figure 16: I Love New York by Bond No.9 for All, Data 3 ILNY……… 79 Figure 17: Jimmy Choo Flash Rollerball, Data 6 JC…………………….. 82 Figure 18: Lavanila Vanilla Lavender Fragrance, Data 5 L……………... 85 Figure 19: MAISON MARTIN MARGIELA Beach Walk, Data 1 M….. 87 Figure 20: Nomaterra On-The-Go Fragrance Wipes, Data 1 N…………. 89 viii Figure 21: One Direction You & I, Data 1 OD………………………….. 65 Figure 22: Origins Ginger Essence Intensified Fragrance Spray, Data 2 O……………………………………………………… 94 Figure 23: Pharell Williams Girl, Data 1 PW……………………………. 96 Figure 24: Philosophy Falling in Love, Data 4 P………………………… 98 Figure 25: Pink Sugar, Data 1 PS………………………………………… 101 Figure 26: Ralph Lauren Midnight Romance, Data 2 RL………………... 104 Figure 27: Stella McCartney Stella Eau de Toilette, Data 2 SM…………. 107 Figure 28: Tocca Beauty Cleopatra, Data 3 TB…………………………... 109 Figure 29: Tory Burch, Data 1 TR………………………………………... 111 ix THE LIST OF DIAGRAMS Diagram 1: Peirce’s Diagram of Semiosis…..…………………………..… 20 Diagram 2: Icon’s Diagram of Data 1 B..………………………………… 35 Diagram 3: Symbol’s Diagram of Data 1 B..……………………………... 36 Diagram 4: Icon’s Diagram of Data 1 BB………………………………… 38 Diagram 5: Symbol’s Diagram of Data 1 BB……………………………... 39 Diagram 6: Icon’s Diagram of Data 1 BF…….………………..……….... 41 Diagram 7: Symbol’s Diagram of Data 1 BF…...……..………………….. 42 Diagram 8: Icon’s Diagram of Data 2 CK….…………………………….. 44 Diagram 9: Symbol’s Diagram of Data 2 CK….….………………….…... 45 Diagram10: Icon’s Diagram of Data 2 CH….…….……………………… 47 Diagram 11: Symbol’s Diagram of Data 2 CH…..……….……….……… 48 Diagram 12: Icon’s Diagram of Data 8 C……….………………………... 50 Diagram 13: Symbol’s Diagram of Data 8 C……..….……………………. 51 Diagram 14: Icon’s Diagram of Data 6 CQ….…………………………… 53 Diagram 15: Symbol’s Diagram of Data 6 CQ…….……………………... 54 Diagram 16: Icon’s Diagram of Data 1 CC….…………………………… 56 Diagram 17: Symbol’s Diagram of Data 1 CC………………………..…... 57 Diagram 18: Icon’s Diagram of Data 3 CM…………….………………... 59 Diagram 19: Symbol’s Diagram of Data 3 CM……….….……………… 60 Diagram 20: Icon’s Diagram of Data 3 D……..………………………… 62 Diagram 21: Symbol’s Diagram of Data 3 D……………………………… 63 x Diagram 22: Icon’s Diagram of Data 1 DKNY……………….…………. 65 Diagram 23: Symbol’s Diagram of Data 1 DKNY………………………. 66 Diagram 24: Icon’s Diagram of Data 4 DK……………………………… 68 Diagram 25: Symbol’s Diagram of Data 4 DK………………………….. 69 Diagram 26: Icon’s Diagram of Data 5 RJ………………………………. 71 Diagram 27: Symbol’s Diagram of Data 5 RJ…………………………… 72 Diagram 28: Icon’s Diagram of Data 3 ES………………………………. 74 Diagram 29: Symbol’s Diagram of Data 3 ES…………………………… 75 Diagram 30: Icon’s Diagram of Data 11 G………………………………. 77 Diagram 31: Symbol’s Diagram of Data 11 G…………………………… 78 Diagram 32: Icon’s Diagram of Data 3 ILNY……………………………. 80 Diagram 33: Symbol’s Diagram of Data 3 ILNY………………………… 81 Diagram 34: Icon’s Diagram of Data 6 JC……………………………….. 83 Diagram 35: Symbol’s Diagram of Data 6 JC……………………………. 84 Diagram 36: Icon’s Diagram of Data 5 L…………………………………. 86 Diagram 37: Icon’s Diagram of Data 1 M………………………………… 88 Diagram 38: Icon’s Diagram of Data 1 N………………………………… 90 Diagram 39: Icon’s Diagram of Data 1 OD……………………………….
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