Eero Tarasti: "The Emancipation of the Sign: On the Corporeal and Gestural Meanings in Music" (10/11)
189

The other trend is to think that all signs exist only on the basis of an order which is there before the scholar starts his/her work and which remains there when he/she has finished. This semiotic philosophy approaches the meaning (1) as a process, i.e. supposing that signs cannot be defined without taking into account the time, place and subject (actor), (2) as something immanent, i.e. believing like Mead and Merleau-Ponty primarily that meaning is produced within a given system, body, organism, in the first place without any meaning coming from outside as a deus ex machina (like in the 'redemption' at the end of Chausson's piece, the reconciling themes do not stem from outside but are generated from the materials within the piece); (3) by giving emphasis to the content, the signified, which however, can be something non-verbal, "ineffable", expressible only in terms of a quasi-corporeal experience. Thus it is the latter type of semiotics of music I was aiming for in my arguments for and against certain current theories and achievements springing from the so-called "new musicology".






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AS/SA Nº4, Article 1 : Page 10 / 11


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21.12.1997