Abstract

Copyright law is often premised on the identification of an author of a literary, dramatic, musical, or artistic work, and then giving this author exclusive rights for a limited period to control the commercial exploitation of his or her intellectual creation. However, the hegemonic modernist position of the romantic authorial text has been challenged by numerous scholars who have argued that the meaning of a text lies not in its origin but in its destination. Roland Barthes’ work, controversial at the time of publication with its assault on modernity and the primacy of authorial control, has nonetheless laid the groundwork for an important body of scholarship on interpretive communities. Whether one adopts the position of neoconservative postmodernism or poststructural postmodernism, this article argues that a semiotic analysis of works of copyright as “signs”, “myths” and “polysemous texts” will nonetheless offer an important framework to understand the full reach of the transformative use doctrine in the United States today.