MYTHOLOGY (Notes, April 2016):
· Any mythology surrounding the caravan must be drawn, in some way, from history and not from the 'nature' of things. This is where the reason for caravans existing (advances in transport) and Victorian decor are relevant.
· A copy (reproduction) lends itself more to signification than the original does, perhaps because it is 'imperfect' or 'exaggerated'.
· "...myth in fact belongs to the province of a general science, coextensive with linguistics, which is semiology."
· The caravan, at first, stands as 'passionified' roses, but really the caravan becomes the roses (the signifier) and the signified becomes the passion. They exist and then form to become the third object, which is the 'sign'.
· Can this 'sign' become a concrete entity, like a word (which is born out of both a mental image (signifier) and a language (signified))?
· As form, the caravan's "meaning is shallow, isolated, impoverished".
· As concept, its meaning is "tied to the totality of the world" - Romani culture, Edwardian England, the world of The Wind in the Willows.
· There is more 'knowledge' in the concept than in the form.
· The caravan contains signifiers that can suggest different things.