Iconography and intertextuality: the dsicreet charm of meaning

Sophia Preston

    Research output: Contribution to journalArticlepeer-review

    Abstract

    I was recently warned by a post-structuralist theatre historian to “Beware meaning for, as Baudrillard says: ‘meaning is the death certificate of Art’.” My methodology for the analysis of dance/music relationships (in which meanings or significances drawn from one dance are allowed to resonate in the interpretation of another) can be seen to reveal an allegiance to ‘bourgeois humanism’ (Eagleton, 1988). Bunuel’s film The discreet charm of the bourgeoisie indicates my probable fate. Using a work by Mark Morris as an example I propose that, taking a Peircean (rather than Saussurean) construction of semiotics, it becomes possible to deal with the contingent meanings that can result from, and contribute to, an ‘open’, intertextual, reading and thereby further the development of dance analysis.
    Original languageEnglish
    Pages (from-to)241-252
    JournalConference of the Society of Dance History Scholars
    Volume21
    Publication statusPublished - 1998

    Bibliographical note

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    Keywords

    • Dance Analysis
    • Mark Morris
    • "Dido and Aeneas"
    • Structuralism
    • Post-structuralism

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