Cette contribution analyse les déclinaisons du thème iconographique de la parabole des dix vierges dans des estampes produites entre les xvie et xviie siècles aux Pays-Bas. Issues d’un processus culturel complexe de production et réception, ces artefacts culturels constituent un exemple significatif de la mise en œuvre d’un discours moralisateur de nature confessionnelle au service de la transformation du système de valeurs d’une population urbaine caractérisée par des changements significatifs dans les structures économiques et sociales de la modernité, dans lesquelles (...) les hommes et les femmes ne cessent de négocier leurs relations et leurs rôles sociaux. L’opposition symbolique entre l’image positive des femmes qui travaillent et celle négative des femmes qui dansent qui émerge de l’analyse, permet d’éclairer la complexité de l’articulation entre les représentations sociales de la danse et du genre que cette opposition implique et produit. (shrink)

L’histoire de la jeune Salomé charmant par sa danse le roi Hérode et obtenant de lui la tête de Jean Baptiste a été souvent représentée dans l’art italien de la Renaissance. La confrontation de quelques images des xive et xve siècles avec un texte de Francesco da Barberino au xive siècle veut éclairer l’évolution du regard jeté sur la danseuse et sur la danse en cette extrême fin du Moyen Âge, qui nuance les violentes condamnations cléricales des périodes précédentes.

Conceptualizing the image of a dancing Supreme Goddess in the Hindu tradition presents a philosophical challenge because it demands a coherent rational reconciliation between her nature as continuously changing into multiple forms and the realm of pure, absolute, never-changing, formless being. Different strategies have been proposed in the history of philosophy in India. This paper analyzes the image of the dancing Goddess as it appears in the Devī Māhātmya and in the Tantric iconography of the Goddess Kālī. An argument (...) is developed to show that Śākta philosophy resolves this tension through a radical non-dualist understanding of the role that a mental image (vikalpa) plays in accessing supreme reality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Note From A Narcissist (Amores 1.11) OVID (Translated by Caleb M. X. Dance) Yoohoo! Yes! You! You do her hair. Right? Not like the one who does her legs or nails, right? You know where she goes, right? And you can let her know, like before, to rush those lovely toes— Oh! I mean her hair, to me. Oh, you’ve always been a friend! Right! Take this little (...) note to her tomor— Oh! and hand it to her. Understand? No delay! You’ve got a heart, right? You might be softer than you think and not as “plain Jane” as you think? I think you’ve felt a bit of love, no? You see it in me too, no? So— anyway, if she wants to know what I’m thinking, tell her I can’t wait to hold her close tonight. Right! Enough. My note will say the rest. Oh, it’s late! I’m blabbing. Go! No! Wait! Catch her in a good mood—when she’s free. Oh! but make her read it right away. Watch her eyes! And her face, reading. I mean as she reads. Oh, you learn a lot, even from dumb faces. Don’t be slow! When she’s read it, arion 27.1 spring/summer 2019 make her write right back. Lots. Tell her! It’s the worst when every page is filled with loads of empty space. She should pack them in—lines—so eyes linger on words in the margins. My eyes! No! Wait! Tell her not to tire fingers writing long. Let her only write: “Come!” No delay—I’ll praise these letters right away. I’ll dedicate them to... oh... you know, Lady Love herself, and I’ll note, “To Love: Ovid offers up these loyal saviors— you who just were scraps of paper.” 154 note from a narcissist... (shrink)

Tough Fronts takes the difficult issues in urban education head on by putting street-savvy students at the forefront of the discussion on how to best make successful changes for inner city schools. Individual chapters discuss scholarly depictions of black America, the social complexity of the teacher-student relationship, individual success stories of 'at-risk' programs, popular images of urban students, and implications for education policy. With close attention to the voices of individual students, this engaging book gives vitality and legitimacy to arguments (...) for school changes that have been lacking in previous discussions. (shrink)

Review article, based on Robert Sokolowski, ‘Introduction to Phenomenology’.

This article examines the use of an STS approach to a forensic science lab course for nonscience majors at a university college in British Columbia, Canada. The transdisciplinary nature of forensic science provides opportunities to emphasize the relationships between natural sciences, associated technologies, and societal issues. A number of lab experiments are described to illustrate pedagogically important features relating to the STS emphasis of this course. Benefits and drawbacks that have been encountered in this class are discussed.

Local food critics have recently argued that locavores, unaware of economic laws and principles, are ironically promoting a future characterized by less food security and more environmental destruction. In this paper, we critically examine the ways in which mainstream economics discourse is employed in arguments to undermine the proclaimed benefits of local food. We focus on several core concepts in economics—comparative advantage, scale, trade and efficiency—and show how they have been used to challenge claims about local food’s benefits in the (...) areas of economy, environment, food security, and food quality. After reviewing the arguments, we then evaluate some shortcomings that emerge from this reliance on economic logic and, importantly, we assess what local food proponents may take away from these critiques. We conclude by identifying several pathways for future research. (shrink)

In response to widespread concern about illegal drug use and the associated risk of the spread of HIV/AIDS, a study was undertaken to examine whether it was, in principle, feasible to conduct a trial providing heroin to dependent users in a controlled manner. Such a trial involves real ethical issues which are examined in this paper. The general issues examined are: should a trial be an experiment or an exercise in public policy?; acts and omissions; countermobilization; termination of a trial, (...) and payment for drugs and for a trial. The specific issues examined are: selection of trial participants; privacy; issues for staff working on a trial; coupling the trial with other treatment, and issues for researchers. A number of alternative approaches to the various ethical issues are presented and discussed. (shrink)

With its unique combination of depth, clarity, and humor that has enchanted millions, this beloved classic by bestselling author Gary Zukav opens the fascinating world of quantum physics to readers with no mathematical or technical background. "Wu Li" is the Chinese phrase for physics. It means "patterns of organic energy," but it also means "nonsense," "my way," "I clutch my ideas," and "enlightenment." These captivating ideas frame Zukav's evocative exploration of quantum mechanics and relativity theory. Delightfully easy to read, The (...) Dancing Wu Li Masters illuminates the compelling powers at the core of all we know. (shrink)

La représentation de la Crucifixion dans de grandes compositions aux tympans des églises est un phénomène tardif dans l’Occident médiéval : elle pose le problème de l’intégration de l’iconographie monumentale dans le contexte religieux et homilétique. Les premiers exemples de la fin du XIe siècle étaient liés aux hérésies cathare et petrobrusienne du sud de la France1. Au XIVee siècle, la diffusion du thème rend plus difficile une approche globale de la question. Dans le contexte précis et bi...

Luigi Sacco (1769–1863) was the main protagonist of early vaccination campaign in Italy. He found a native source of vaccine lymph: with that, he personally vaccinated more than 500,000 people and furnished all Italy and some Middle East countries too. Starting from the pictures of his books, Sacco proposed to create wax models of real and spurious smallpox pustules in human, cow, sheep and horse; just to permit, not only to doctors, but also to all other health operators, the identification (...) of the right pustules from where to extract active lymph for vaccination. In the Museum of Pathological Anatomy of the Padua University Medical School, we have four anatomical waxes which corresponded exactly to the explicative pictures in 1809 Sacco’s treatise on Vaccine. We have found the same models also at the University of Milan, Pavia and Bologna—the main cities of Cisalpine Republic , the state of North Italy formed at the epoch of Sacco following the Napoleon conquest. The history of the diffusion of these models presented in this text will be a starting point to develop wider questions. In particular, this history could be useful to improve our understanding of the birth of scientific and experimental medicine through XIX and XX Century. (shrink)

From Detroit Red to El-Hajj Malik El-Shabazz, the man best known as Malcolm X restlessly redefined himself throughout a controversial life. His transformations have appeared repeatedly in books, photographs, paintings, and films, while his murder set in motion a series of tugs-of-war among journalists, biographers, artists, and his ideological champions over the interpretation of his cultural meaning. This book marks the first systematic examination of the images generated by this iconic cultural figure--images readily found on everything from T-shirts and hip-hop (...) album covers to coffee mugs. Graeme Abernethy captures both the multiplicity and global import of a person who has been framed as both villain and hero, cast by mainstream media during his lifetime as "the most feared man in American history," and elevated at his death as a heroic emblem of African American identity. As Abernethy shows, the resulting iconography of Malcolm X has shifted as profoundly as the American racial landscape itself. Abernethy explores Malcolm's visual prominence in the eras of civil rights, Black Power, and hip-hop. He analyzes this enigmatic figure's representation across a variety of media from 1960s magazines to urban murals, tracking the evolution of Malcolm's iconography from his autobiography and its radical milieu through the appearance of Spike Lee's 1992 biopic and beyond. Its remarkable gallery of illustrations includes reproductions of iconic photographs by Richard Avedon, Eve Arnold, Gordon Parks, Henri Cartier-Bresson, and John Launois. Abernethy reveals that Malcolm X himself was keenly aware of the power of imagery to redefine identity and worked tirelessly to shape how he was represented to the public. His theoretical grasp of what he termed "the science of imagery" enabled him both to analyze the role of representation in ideological control as well as to exploit his own image in the interests of black empowerment. This provocative work marks a startling shift from the biographical focus that has dominated Malcolm X studies, providing an up-to-date--and comprehensively illustrated--account of Malcolm's cultural afterlife, and addressing his iconography in relation to images of other major African American figures, including Martin Luther King, Jr., Angela Davis, Kanye West, and Barack Obama. Analyzing the competing interpretations behind so many images, Abernethy reveals what our lasting obsession with Malcolm X says about American culture over the last five decades. (shrink)

In the sense of phenomenology, actions are special cases of acts of consciousness. Within semiotics, first Jan Mukařovský and then A. J. Greimas have established, in different terms, a distinction between instrumental actions and actions which carry their meaning in themselves. But this is insufficient to account for the variety of actions which comprises everything from the creation of artefacts, dance, sporting events, theatre, rituals, and much else. Already those actions mentioned relate in different ways to instrumentality and intrinsic (...) meaning, as well as to iconicity and plasticity. In this paper, I will be particularly concerned with dancing, especially classical ballet, trying to delimit it from sporting events and theatre. Apart from the sign function and the spectacular function, I will notably have recourse to what I have elsewhere term secondary iconicity as well as to plasticity. In the process, I hope to be able to throw some light also on the nature of sport, by comparing and contrasting it to dance, as well as to the theatre as well as, more incidentally, to some other types of action. In a wider perspective, my ambition is to contribute to a general inquiry into the semiosis of actions. (shrink)

An analysis of movement, and particularly of dance,helps us to see in an extraordinarily effective way the meaningof embodiment. This paper then looks through the eyes ofdance theorists and at philosophers who consider dance andmovement and their meaning of embodiment. A study of movementand dance encompasses the fullest meaning of embodiment: that theembodied way of being-in-the-world is also an embedded way ofbeing in a world of others. Dance has critically importantsocial ramifications. In our own and other (...) cultures, dance playsan important role in healing and in health enhancement. (shrink)

The feminist sex wars have been characterized by debates between radical feminists and sex radical feminists about women's experiences of empowerment versus oppression in the sex industry. Based on a qualitative study of the experiences of exotic dancers, this article introduces a new theoretical paradigm to the feminist sex wars that values the contributions of both sex radicals and radical feminists. It articulates a twofold temporal dimension of sex workers' experiences: how women's feelings of pleasure and empowerment gradually decline over (...) time and how good and bad experiences rapidly transform into their opposites over the course of a single evening, making the strip bar a volatile and unsettling space for performers. (shrink)

This chapter, composed of three parts by three different authors, proposes that one of the many possible ways that dance might embody philosophic thought and discourse is via embodying ethical practice. Each author contributes a different perspective on the relationship between dance and ethical activity. The perspectives can be read both as separate ideas and as interrelated thoughts. Einav Katan-Schmid views ‘dance’ as a metaphor for ‘embodied ethics’. She analyses dance as an embodied activity of decision-making (...) which regulates the tension between co-existing physical dynamics. Following from the idea of ‘dancing’, she suggests that one think of ‘embodied ethics’ in performative terms – as a contemplative activity. Aili Bresnahan goes on to show how dance practice provides examples of applied ethics within the traditional western philosophical categories of both virtue ethics and consequentialist ethics. In the third section, Sara Houston argues that dance can encompass an ethics of care. She demonstrates how dance with an ethic of care involves attentiveness, putting person before form, and for the dance artists to give up a degree of control and autonomy over the work made. (shrink)

Through the prism of iconography, we may be able to better understand Vecchietta's stylistic choices towards the end of his career. His last known bronze sculpture, a gaunt and pathetic Christ, executed in 1476, is widely agreed to represent the Risen Christ. Today, the sculpture stands atop the high altar of the Santissima Annunziata, the Hospital Church in Siena, but this was neither its original nor intended location. In fact, the figure was meant to be part of a larger (...) ensemble which, together, constituted Vecchietta's funerary chapel. This article demonstrates unequivocally that the present setting of the statue has fostered an iconographical misunderstanding: naturally, the subject of the statue is Christ; but he represents the Man of Sorrows, not the Risen Christ. An exploration of the significance of the iconography of the Man of Sorrows in mid-fifteenth-century Siena, and its possible antecedents, reveals connections especially with Northern European artefacts circulating in central Italy at the time. The result of these findings is to set Vecchietta's sculpture free from previous preconceptions, shedding new light on a famous artwork and triggering new questions about the artist who made it. (shrink)

The process of transmitting ballet’s complex technique to young dancers can interfere with the innate processes that give rise to efficient, expressive and harmonious movement. With the intention of identifying possible solutions, this article draws on research across the fields of neurology, psychology, motor learning, and education, and considers their relevance to ballet as an art form, a technique, and a training methodology. The integration of dancers’ technique and expressivity is a core theme throughout the paper. A brief outline of (...) the historical development of ballet’s aesthetics and training methods leads into factors that influence dancers’ performance. An exploration of the role of the neuromotor system in motor learning and the acquisition of expert skills reveals the roles of sensory awareness, imagery, and intention in cuing efficient, expressive movement. It also indicates potentially detrimental effects of conscious muscle control, explicit learning and persistent naïve beliefs. Finally, the paper presents a new theory regarding the acquisition of ballet skills. Recontextualization theory proposes that placing a problematic task within a new context may engender a new conceptual approach and/or sensory intention, and hence the genesis of new motor programs; and that these new programs may lead to performance that is more efficient, more rewarding for the dancer, more pleasing aesthetically, and more expressive. From an anecdotal point of view, this theory appears to be supported by the progress of many dancers at various stages of their dancing lives. (shrink)

The article examines the impact of Georges Bataille’s philosophy on Hijikata Tatsumi’s butoh dance. Bataille’s understanding of dance as unproductive expenditure, the concepts of inner experience and communication are being reconsidered and incorporated in choreographic language of Hijikata, extending his technical and conceptual tooling. Bataille defines dance as an expenditure given in a form of sign. The butoh dance-experience is functioning as a metaphor of a speculation, created by a movement. It is experienced by dancers and (...) spectators as an execution. (shrink)

I argue that core aspects of musical rhythm, especially "groove" and syncopation, can only be fully understood in the context of their origins in the participatory social experience of dance. Musical meter is first considered in the context of bodily movement. I then offer an interpretation of the pervasive but somewhat puzzling phenomenon of syncopation in terms of acoustic emphasis on certain offbeat components of the accompanying dance style. The reasons for the historical tendency of many musical styles (...) to divorce themselves from their dance-based roots are also briefly considered. To the extent that musical rhythms only make sense in the context of bodily movement, researchers interested in ecologically valid approaches to music cognition should make a more concerted effort to extend their analyses to dance, particularly if we hope to understand the cognitive constraints underlying rhythmic aspects of music like meter and groove. (shrink)

Dance is regarded as visual art form by common arts and science perspectives. Definitions of dance as means of communication agree that its message is conveyed by the dancer/choreographer via the human body for the observer, leaving no doubt that dance is performed to be watched. Brain activation elicited by the visual perception of dance has also become a topic of interest in cognitive neuroscience, with regards to action observation in the context of learning, expertise and (...) aesthetics. The view that the aesthetic experience of dance is primarily a visual one is still shared by many artists and cultural institutions, yet there is growing interest in making dance performances accessible for individuals with visual impairment / blindness. Means of supporting the non-visual experience of dance include verbal (audio description), auditive (choreographed body sounds, movement sonification), and haptic (touch tour) techniques, applied for different purposes by artists and researchers, with three main objectives: to strengthen the cultural participation of a non-sighted audience in the cultural and aesthetic experience of dance; to expand the scope of dance as an artistic research laboratory toward novel ways of perceiving what dance can convey; and to inspire new lines of (neuro-cognitive) research beyond watching dance. Reviewing literature from different disciplines and drawing on the personal experience of an inclusive performance of Simon Mayer's “Sons of Sissy,” we argue that a non-exclusively visual approach can be enriching and promising for all three perspectives and conclude by proposing hypotheses for multidisciplinary lines of research. (shrink)

Music-Dance explores the identity of choreomusical work, its complex authorship and its modes of reception as well as the cognitive processes involved in the reception of dance performance. Scholars of dance and music analyse the ways in which a musical score changes its prescriptive status when it becomes part of a choreographic project, the encounter between sound and motion on stage, and the intersection of listening and seeing. As well as being of interest to musicologists and choreologists (...) considering issues such as notation, multimedia and the analysis of performance, this volume will appeal to scholars interested in applied research in the fields of cognition and neuroscience. The line-up of authors comprises representative figures of today's choreomusicology, dance historians, scholars of twentieth-century composition and specialists in cognitive science and performance studies. Among the topics covered are multimedia and the analysis of performance; the notational practice of choreographers and the parallel attempts of composers to find a graphic representation for musical gestures; and the experience of dance as a paradigm for a multimodal perception, which is investigated in terms of how the association of sound and movement triggers emotions and specific forms of cognition. (shrink)

Explores the role of dance education both inside and outside the arts.

This article aims to explore the relation between body and space – specifically how the relation between the embodied awareness of movement and the sense of one’s body-space can be modified and changed deliberately in different kinds of dance practices. Using a multi-sited design, the ethnographical fieldwork, which formed the empirical ground for the study, was from the outset focused on acknowledging the diversity of the dancers’ practices. Each in their own way, the 13 professional dancers involved in the (...) study relate to and experience bodied potentialities, body-space and the spatiality of movement differently. Through their practice, they indicate that the body image is shaped through a multisensorial process of reification, and that seeing is to be related to a broader perceptual engagement. Furthermore, they exemplify how seeing can be deliberately used to expand the sense of their body-space and thereby to affect the spatiality of the fields of their embodied interaction. (shrink)

En la Biblia de Ávila se encuentra el ciclo pictórico de la vida y la pasión de Cristo más completo del Románico español. Cada escena viene acompañada por una inscripción en latín añadida poco después de que se completaran las imágenes. Sin embargo, no todas las inscripciones identifican los personajes o las escenas correctamente. Uno de los errores se encuentra en el último folio del ciclo que, habiendo sido identificado como Pentecostés o la bajada del Espíritu Santo, no presenta ninguna (...) de las características iconográficas típicas de este tema. Este artículo investiga otras alternativas iconográficas que puedan explicar la peculiaridad de la imagen y la posición final del folio. (shrink)

As a contribution to the burgeoning field of health humanities, this paper seeks to explore the power of dance to mitigate human suffering and reacquaint us with what it means to be human through bringing the embodied practice of dance into dialogue with the work of the French philosopher Maurice Merleau-Ponty. Merleau-Ponty’s conceptualisation of subjectivity as embodied and of intersubjectivity as intercorporeality frees us from many of the constraints of Cartesian thinking and opens up a new way of (...) thinking about how dance functions as a healing art through its ability to ground and reconnect us with self, world, and others--with our humanity. It is argued that through a Merleau-Pontian framework, we can come to appreciate the true potential of dance as a positive and deeply humanising experience, demonstrating how expressive arts practice understood through the lens of philosophical theory can open up new dimensions of understanding and experience in relation to well-being and self- care. (shrink)