In everyday life, the way people dress is thought to furnish the attentive observer with information about them. In ethnomethodological terms, we would say that clothing is a source of “social information,” allowing subjects to form an idea of the “social and personal identity” of other people. For the sake of convenience, albeit simplifying somewhat, we may distinguish three aspects of this phenomenon: the dress observed, the interpretative process, and the results of the interpretation. This article is concerned with the process of interpretation itself. What I am trying to aim at is this: how to represent this process in a metalanguage, by means of a kind of artificial mechanism capable of simulating it adequately. And I shall be arguing that semiotics can provide a worthwhile conceptual framework for such a metalanguage.

What is a telenovela? Its literal meaning is “a novel transmitted by televison.” This implies a means of transmission—the television—and a form of discourse—the novel. The telenovela.

Iouri Lotman, taking as a starting point the idea that the rapport with the sign determines all the codes of a given culture and their systems of classification, proposes a typology of cultures. His resarch has been received with little interest in France, to the extent that some important articles in which it is described have not yet been translated. This is surprising considering the interest in Lotman's hypotheses, which give a boost and a broader outlook to semiotics which it had lost in certain scholarly minutiae. It may also be held that this indifference is normal for those whose profession is to reflect on the sign, unwilling to consider their object as a relative entity subject to the contingencies of history and culture, but also refusing to recognize the sign as a concrete force in Man's life, capable of directing his knowledge and his exchanges.

For the last twenty years Luis Prieto, in his published work in French, has reiterated that the systematic study of the codes (other than natural languages) which were invented by men for communication purposes is in and of itself an undertaking essential for an understanding of both the laws of communication in general and of the mechanisms of these systems of communication—the totality of which would make up the (Saussurian) semiology of communication (Prieto 1966, 1968, 1975). Among these systems the symbols of chemistry—referred to as such for a long time— and their combinatory rules constitute a very ancient code or series of codes (Crosland, 1962). Up to now this code has not been subjected to a genuine semiological study, except for the essay by Dagognet (1969, see Mounin 1970) which is more literary or poetical and metaphysical than scientific.

A quest for meaning characterizes the thought of this century everywhere in humanistic studies, and it is a quest justified by exploring and mapping old and new terrains of which the resources are still uncertain. The Monastery of Escorial today raises so many questions about the traditional ideas with which we treat the history of art in the sixteenth century, that they are the subject of this paper. It is in four parts: the Escorial as Mannerism; as estilo desornamentado, as Renaissance magic; and as an application of the aesthetic system of Saint Augustine.