How to recognize a semiotics of dancing? An Introduction
By: Valeria De Luca Guest Editor
| ARTICLE INFO: Volume: 12 Issue: 01:Summer 2026 ISSN: 2459-2943 DOI: 10.18680/hss.2026.0001 Pages: 5-12 Lic.: CC BY-NC-ND 4.0 |
ABSTRACT
The semiotics of dancing – more than other sectoral or domain-specific semiotics, like the semiotics of music or of art – is possible only by recomposing parts drawn from other semiotic branches and epistemologies. A semiotics of dancing is simultaneously or according to the aims of this or that analysis, a semiotics of the body, of movement, of gesture, of space, of performance (cf. De Luca ed. 2020), and a semiotics of culture, a sociosemiotics, a cognitive semiotics, a semiotics of art, of practices, of writing – to name only the most relevant disciplinary “zones.” The studies composing this special issue inscribe themselves within this diagonal and transversal approach, within an extended semiotic perspective, ranging from those rooted in highly identifiable traditions and disciplinary branches to others that bring semiotic problematics into dialogue with the findings of contiguous disciplinary fields, notably the cognitive sciences, computer science, dance studies, neuroscience, somatic practices and knowledge, and psychoanalysis.
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