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  1. Claire Colebrook (2005). How Can We Tell the Dancer From the Dance?: The Subject of Dance and the Subject of Philosophy. Topoi 24 (1):5-14.
    One of the most important aspects of Gilles Deleuzes philosophy is his criticism of the traditional concept of praxis. In Aristotelian philosophy praxis is properly oriented towards some end, and in the case of human action the ends of praxis are oriented towards the agents good life. Human goods are, for both Aristotle and contemporary neo-Aristotelians, determined by the potentials of human life such as rationality, communality, and speech. Deleuzes account of action, by contrast, liberates movement from an external end. (...)
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  2. Beauquel Julia, Carroll Noel, Elgin Catherine Z., Karlsson Mikael M., Kintzler Catherine, Louis Fabrice, McFee Graham, Moore Margaret, Pouillaude Frédéric, Pouivet Roger & Van Camp Julie (eds.) (2010). Philosophie de la danse. Aesthetica, Presses Universitaires de Rennes.
    En posant avec clarté des questions de philosophie de l’esprit, d’ontologie et d’épistémologie, ce livre témoigne à la fois de l’intérêt réel de la danse comme objet philosophique et du rôle unique que peut jouer la philosophie dans une meilleure compréhension de cet art. Qu’est-ce que danser ? Que nous apprend le mouvement dansé sur la nature humaine et la relation entre le corps et l’esprit ? À quelles conditions une œuvre est-elle correctement interprétée par les danseurs et bien identifiée (...)
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  3. Amy Mullin (2008). Nietzsche's Dancers: Isadora Duncan, Martha Graham, and the Revaluation of Christian Valuesby Kimerer LaMothe. [REVIEW] Hypatia 23 (3):221-223.
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  4. John Sutton (2005). Moving and Thinking Together in Dance. In Robin Grove, Kate Stevens & Shirley McKechnie (eds.), Thinking in Four Dimensions: creativity and cognition in contemporary dance. Melbourne UP. 51-56.
    The collaborative projects described in this e-book have already produced thrilling new danceworks, new technologies, and innovative experimental methods. As the papers collected here show, a further happy outcome is the emergence of intriguing and hybrid kinds of writing. Aesthetic theory, cognitive psychology, and dance criticism merge, as authors are appropriately driven more by the heterogeneous nature of their topics than by any fixed disciplinary affiliation. We can spy here the beginnings of a mixed phenomenology and ethnography of dance practice (...)
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