Foregrounding of Step 1 : symbol as a type of

sign
Symbolic Spots in
Robison’s Yours and
Step 2 : the symbolic and
Their Implications semiotic mechanisms

Step 3 : significations and

interpretations of the symbol
Lebanese University, including the psychological,
cultural and philosophical
Fifth Branch dimensions.

Step 4: the coded message

Genres of Writing and the receiver's emotional
and intellectual responses

Submitted to Pr. Elise

Saad

On .....June 2021
Beyond the material dimensions, the orange hue is tinged to add a
gothic and surreal mood for the atmosphere of the setting: a leaf-
littered porch of the house decorated with luminous pumpkins
(academia edu.).

The hue is no longer an ordinary tinge but a symbol and sign which
gains spiritual properties along with the lit pumpkin transcending the
material boundaries (academia.edu.; keir,1980).

The luminous pumpkin, which no longer stands to itself, is given

transcending properties with unique mental concept (Keir,1980,
academia.edu.). In other words, the object, which is the luminous
pumpkin, is semiotized through this process (Keir,1980;
academia.edu.)

Consequently, the connotations the symbol holds are completely

different from the denotations or secondary meanings for the
audience to work out ( Keir,1980; academia.edu.) .

2
The Sign vehicle or signifier, the Jack-o-lantern, points to some
ulterior cultural signification beyond the denotation( Keir,1980;
academia.edu.). The sign vehicle is semantically versatile at both
connotative and denotative levels for it stands for different signifieds
“depending on the context in which it appears” ( Keir,1980;
academia.edu.).

The object , the luminous pumpkin ,holds transforming and dynamic

signs ( Keir,1980; academia.edu.).Thus, there is no fixed relation
between the signifier and signified (Keir,1980; academia.edu.).

As a semantic unit, the illuminated pumpkin is signified by the

gestural system which enables the linguistic unit to be transcodified
(Keir,1980; academia.edu.).

Allison and Clark ,as active subjects , relate to the objects which are
the participating pumpkins in Allison’s and Clark’s subject agencies
(Keir,1980; academia.edu.).

This relational mechanism between the subjects and objects suggests

the symbolic use of verbal deictic or indexical symbol: yours, which
refers to the linguistic pun denotating the preference of Clark's or
3
Allison's carved pumpkins or it might be a farewell closing of the
letter (Keir,1980; academia.edu.).

Such techniques transmit the readers into the deictic imaginary field
of the characters shifting the readers from their deictic centre to
another especially when adopting scenic metonymy which is also a
symbolic feature in which carved Jack-o-lanterns along the streets
during the Halloween (academia .edu. ; Keir,1980; national
geographic. Org).

This scenic metonymy holds central signs in the fictional world

especially after they are produced by the characters reflecting their
feelings upon these pumpkins ( academia edu.; Keir 1980 ; Frutiger,
1989).

What is special about this stylization process is that it creates an

emotional response that cherishes these treasured possessions
especially after the process of adoption which gives the pumpkins a
distinguishing mark leading to ornamentation effect caused by an
awakening aesthetic sensitivity (Frutiger, 1989).

Jack-o-lantern is one of the gigantic symbol signs : figures with

colossal dimensions are produced as a part of rituals in religious
ceremonies and probably as a witness to a certain supernatural
encounter with gods and demons (Frutiger, 1989).
4
To delve more into the cultural background, a brief explanation about
the origin of Jack-o-lantern. It is said that the Jack-o-lantern is derived
from an Irish folktale about the stingy blacksmith Jack who tricked
the devil twice (national geographic .org)

He was pitied by the devil and offered a turnip to light it while he was
wandering in the eternity after he was barred out of heaven and hell
(national geographic.org)

A floating flame from far way signifies a lost spirit which trapped
between two worlds (national geographic.org). They would use Jack-
o-lantern to scare away the lost spirits during the fall.

Two sad faces and two happy faces reflect Allison's entrapment
between life and death due to her illness (academia edu.) One
ferocious , one astonished and serene faces reflect the stages Clark
trapped in due to the loss of his wife (academia edu.)

To add another psychological tip, the Jack-o-lanterns of Allison and

Clark resemble their psychic spheres analogous to the cells which
consist of the ego as the small part of the sphere and the self as the
nucleus and the glowing vigil candle resembles the self (Jung, 1964).

5
Due to the entrapment , they are unwilling to reach their selves
which is flickering unsteadily and may turn off at any time (academia
edu; Jung, 1964).

Allison is trapped between life and death which it feels like an

eternity as the time passes heavily adding a surreal feature . Allison
offered changing candles which signifies the life instinct to protect
oneself and transform it into something new to reach the essence
and continue to exist.

Allison mentioned about locking the garage which resembles locking

the gates of Hades' underworld so that the pessimistic spirits
wouldn’t take over. Death to Allison seems to be a decision springs
out of the human's emotions and opinions not a fate. She doesnot
believe in the inevitability of death.

Whereas Clark wanted to confess to Allison that it is the strive to

perfection of the self that prevents it to continue living and enjoying
life and it means loving yourself too little.

6
A gothic stare from Clark’s Jack-o-lanterns watching him arouses the
threat of loosing his wife if he said so for he does not intend to
achieve these feelings; he is trapped and confused.

As a reader I decoded the encoded aesthetic, cultural and

psychological codes depending on the dramatic context in which the
codes placed and depending on different resources.

7
References

Hassan, Mahmud. Critical Analysis of the Short Story Yours by Mary

Robison . Report of Hyberabad University.Web. Retrieved from
https://www.academia.edu/31914954/CRITICAL_ANALYSIS_OF_THE_
SHORT_STORY_YOURS_BY_MARY_ROBISON

M. Moschetta , Heather . PA Core Overview and Transition. Grade 6-

12 Lesson Plan of Baldwin-Whitehal School District. AIU. Web.
Retrieved from
http://bwsdcurriculum.weebly.com/uploads/1/4/5/6/14561828/bald
win_pa_core_handout.docx

Bachelor, Blane . The Twisted Transatlantic Tale of American Jack-o'-

lanterns. 2020. National Geographic. Web. Retrieved from
https://www.nationalgeographic.com/travel/article/the-twisted-
transatlantic-tale-of-american-jack-o-lanterns?
cmpid=int_org=ngp::int_mc=website::int_src=ngp::int_cmp=amp::int
_add=amp_readtherest

Frutiger, Adrian .Signs and Symbols: Their Design and Meaning. New
York: Van Nostrand Reinhold, 1989. Monoskop.org. Web. Retrieved
from
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https://monoskop.org/images/5/55/Frutiger_Adrian_Signs_and_Sym
bols_Their_Design_and_Meaning.pdf

G. Jung, Carl. Man and his Symbols. NewYork: Ferguson Publishing,

1964.
antilogicalism.com. Web. Retrieved from
https://antilogicalism.com/wp-content/uploads/2017/07/man-and-
his-symbols.pdf

Elam, Keir. The Semiotics of Theatre and Drama. NewYork: Methuen

and Co., 1980. Print.