单项选择题
Although the dance critic Connerton defines social memory as composed of the recollections and images of the past that a particular social group considers worthy of preservation, he does not properly account for its development. By Line highlighting the role of dance’s ritual enactment in conveying and sustaining (5) social memory, he emphasizes dance performance’s unconscious communications, rather than the conscious transmission of the community’s folklore and history. While he successfully establishes that "bodily social memory of dance" is a highly conservative force that creates an inertia in society’s structures and may be implicated in the legitimization of the present (10) social order, he does not adequately account for the complexities in the processes of bodily inscription, for it is precisely because bodily automatism limits the scope for critical evaluation, or readability, that the body is a site of intense struggle over the control of what is inscribed upon it. Nor does Connerton acknowledge that the very physical violence he describes as (15) perpetrated upon bodies, especially subordinate bodies, to habituate them to submissive dance postures, attests in reality to their unwillingness to submit to inscription, and not vice-versa. Thus his theory is helpful in articulating the nature of social memory, but ultimately fails to explain how such memories are acquired.
The passage suggests that an assumption underlying Connerton’s theory of dance and social memory is that（） A. the automatic nature of dance tends to restrict the extent to which dances can be "read"
B. the value and effectiveness of dance performance lies in transmitting social memory through unconscious means
C. the legitimization of most social orders stems from social memory transmitted through dance
D. folklore and community history are the principal narratives dance is capable of expressing
E. social structures would most likely be more conservative if dance did not transmit social memory