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  1. The Spring of Action: In Butō Improvisation.Carla Bagnoli - forthcoming - In Routledge Handbook Philosophy of Improvisation in the Arts. London: Routledge.
    This chapter discusses butō dance as an example of improvisation that challenges not only the extant philosophical definitions of improvisation, but also some fundamental presumptions about self-government and agency that are current in action theory. In the first part of the chapter, I identify the main features of butō improvisation, with regard to the nature of its basic movement, and the kind of subjectivity implicated in its generation. I then raise some questions regarding the philosophical characterization of this form of (...)
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  2. Dancing-With: A Method for Poetic Social Justice.Joshua M. Hall - forthcoming - In Rebecca L. Farinas, Craig Hanks, Julie C. Van Camp & Aili Bresnahan (eds.), Dance and Philosophy. London:
    This chapter outlines a new theoretical method, which I call “dancing-with,” emerging from the process of writing my dissertation and the book manuscript that followed it. Defined formally, a given theorist X can be said to “dance-with” with a second theorist Y insofar as X “choreographs” an interpretation of Y which is both true to Y and Y’s historical communities, and also meaningful and actionable (i.e. facilitating social justice) for X and X’s historical communities. In this pursuit, the method of (...)
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  3. Dancing with 4E Cognitive Science and Human Science Psychology.Joshua M. Hall - forthcoming - Middle Voices.
    According to the “Embodied Cognition” entry in the Stanford Encyclopedia of Philosophy, the three landmark texts in the 4E cognitive science tradition are Lakoff and Johnson’s Metaphors We Live By, Varela, Thompson, and Rosch’s The Embodied Mind, and Andy Clark’s Being There. In my first section, I offer a phenomenological interpretation of these three texts, identifying recuring affirmations of the figure of dance alongside explicit marginalization of the practice of dance, perhaps in part due to cognitive science’s overemphasis on cognition (...)
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  4. Dancing with Clio: History, Cultural Studies, Foucault, Phenomenology, and the Emergence of Dance Studies as a Disciplinary Practice.Helena Hammond - forthcoming - In Ann R. David, Michael Huxley & Sarah Whatley (eds.), Dance Fields: Staking a claim for Dance Studies in the 21st century. Binsted, Hampshire: Dance Books. pp. 220-248.
    This chapter is particularly concerned with the status of history, dance history especially, within Dance Studies. It asks what has befallen the more recent status of history, once an epistemological support at a critical stage in Dance Studies’s early development, now that Dance Studies is better established, relatively speaking, within the academy. Is history so much scaffolding which, having fulfilled its purpose in enabling the disciplinary plant to take root, is to be dismantled and, if not actually discarded, at least (...)
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  5. Unplanned Coordination: Ensemble Improvisation as Collective Action.Ali Hasan & Jennifer Kayle - forthcoming - Journal of Social Ontology.
    The characteristic features of ensemble dance improvisation (EDI) make it an interesting case for theories of intentional collective action. These features include the high degree of freedom enjoyed by each individual, and the lack of fixed hierarchical roles, rigid decision procedures, or detailed plans. In this article, we present a “reductive” approach to collective action, apply it to EDI, and show how the theory enriches our perspective on this practice. We show, with the help of our theory of collective action, (...)
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  6. Crossmodal Aesthetics: How Music and Dance Can Match.Solveig Aasen - 2021 - Philosophical Quarterly 71 (2):223-240.
    The relationship between music and dance can sometimes be a ‘match’, a remarkable fit between the audible manifestation that music is and the visual or kinaesthetic manifestation that dance is. A match between two things seems to require a common measure with respect to which the match obtains. What can this be for two so different phenomena as music and dance? I argue that the most promising answer is: movement. This answer will not be satisfactory unless the movement of music (...)
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  7. A Practice-Inspired Mindset for Researching the Psychophysiological and Medical Health Effects of Recreational Dance.Julia F. Christensen, Meghedi Vartanian, Luisa Sancho-Escanero, Shahrzad Khorsandi, S. H. N. Yazdi, Fahimeh Farahi, Khatereh Borhani & Antoni Gomila - 2021 - Frontiers in Psychology 11.
    “Dance” has been associated with many psychophysiological and medical health effects. However, varying definitions of what constitute “dance” have led to a rather heterogenous body of evidence about such potential effects, leaving the picture piecemeal at best. It remains unclear what exact parameters may be driving positive effects. We believe that this heterogeneity of evidence is partly due to a lack of a clear definition of dance for such empirical purposes. A differentiation is needed between the effects on the individual (...)
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  8. Dance and Philosophy.Rebecca L. Farinas, Craig Hanks, Julie C. Van Camp & Aili Bresnahan (eds.) - 2021 - London: Bloomsbury.
    Craig Hanks and Aili Bresnahan are contributing editors only -- not main editors.
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  9. Teaching Dance and Philosophy to Non Majors: The Integration of Movement Practices and Thought Experiments to Articulate Big Ideas.Megan Brunsvold Mercedes & Kristopher G. Phillips - 2021 - In Rebecca Farinas & Julie Van Camp (eds.), The Bloomsbury Handbook of Dance and Philosophy. London, UK: pp. 20-35.
    Philosophers sometimes wonder whether academic work can ever be truly interdisciplinary. Whether true interdisciplinarity is possible is an open question, but given current trends in higher education, it seems that at least gesturing toward such work is increasingly important. This volume serves as a testament to the fact that such work can be done. Of course, while it is the case that high-level theoretical work can flourish at the intersection of dance and philosophy, it remains to be seen how we (...)
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  10. Dance as Embodied Ethics.Aili Bresnahan, Einav Katan Schmid & Sara Houston - 2020 - In Laura Cull Ó Maoilearca & Alice Lagaay (eds.), The Routledge Companion to Performance Philosophy. Abingdon, UK: pp. 379-386.
    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 (...)
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  11. Afro-Latin Dance as Reconstructive Gestural Discourse: The Figuration Philosophy of Dance on Salsa.Joshua M. Hall - 2020 - Research in Dance Education 22:1-15.
    The Afro-Latin dance known as ‘salsa’ is a fusion of multiple dances from West Africa, Muslim Spain, enslaved communities in the Caribbean, and the United States. In part due to its global origins, salsa was pivotal in the development of the Figuration philosophy of dance, and for ‘dancing with,’ the theoretical method for social justice derived therefrom. In the present article, I apply the completed theory Figuration exclusively to salsa for the first time, after situating the latter in the dance (...)
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  12. iZombie Cyborg Dancers: Rechoreographing Smartphone Abusers.Joshua M. Hall - 2020 - Philosophy in the Contemporary World 26 (1):105-126.
    Compulsive smartphone users’ psyches, today, are increasingly directed away from their bodies and onto their devices. This phenomenon has now entered our global vocabulary as “smartphone zombies,” or what I will call “iZombies.” Given the importance of mind to virtually all conceptions of human identity, these compulsive users could thus be productively understood as a kind of human-machine hybrid entity, the cyborg. Assuming for the sake of argument that this hybridization is at worst axiologically neutral, I will construct a kind (...)
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  13. Judith Butler and a Pedagogy of Dancing Resilience.Joshua M. Hall - 2020 - Journal of Aesthetic Education 54 (3):1-16.
    This essay is part of a larger project in which I construct a new, historically-informed, social justice-centered philosophy of dance, centered on four central phenomenological constructs, or “Moves.” This essay in particular is about the fourth Move, “resilience.” More specifically, I explore how Judith Butler engages with the etymological aspects of this word, suggesting that resilience involves a productive form of madness and a healthy form of compulsion, respectively. I then conclude by showing how “resilience” can be used in the (...)
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  14. Time Course of Creativity in Dance.David Kirsh, Catherine J. Stevens & Daniel W. Piepers - 2020 - Frontiers in Psychology 11.
    Time-motion studies revolutionized the design and efficiency of repetitive work last century. Would time-idea studies revolutionize the rules of intellectual/creative work this century? Collaborating with seven professional dancers, we set out to discover if there were any significant temporal patterns to be found in a timeline coded to show when dancers come up with ideas and when they modify or reject them. On each of 3 days, the dancers were given a choreographic problem to help them generate a novel, high (...)
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  15. The Arts of Action.C. Thi Nguyen - 2020 - Philosophers' Imprint 20 (14):1-27.
    The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the (...)
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  16. Attentional Engines: A Perceptual Theory of the Arts.William P. Seeley - 2020 - New York, NY, USA: Oxford University Press.
    What is it about art that can be so captivating? How is it that we find value in the often odd and abstract objects and events we call artworks? William P. Seeley proposes that artworks are attentional engines. They are artifacts that have been intentionally designed to direct attention to critical stylistic features that reveal their point, purpose, or meaning. In developing this view, Seeley argues that there is a lot we can learn about the value of art from interdisciplinary (...)
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  17. Three Kinds of Movement.Barry Allen - 2019 - Midwest Studies in Philosophy 44 (1):231-238.
    Midwest Studies In Philosophy, Volume 44, Issue 1, Page 231-238, December 2019.
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  18. Algunos esbozos sobre el modo de ser de la obra performática.Carlos Eduardo Sanabria Bohórquez - 2019 - In Carlos Eduardo Sanabria Bohórquez & Sheyla Lisseth Yurivilca Aguilar (eds.), Aproximaciones teóricas a la danza. Bogota, Colombia: pp. 11-20.
    Los intentos de delimitación que se presentan a continuación, con motivo del arte danzario como forma de obra de arte performática o como instancia de lo performático, atienden a algunos cuestionamientos propuestos a la reflexión sobre el arte, por parte de algunas prácticas y fenómenos artísticos de la década de 1960 y que se relacionan con prácticas de la primera mitad del siglo XX. Son fenómenos artísticos que involucran la espacialidad, la corporeidad y el movimiento de quienes convergen con motivo (...)
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  19. Aproximaciones teóricas a la danza.Carlos Eduardo Sanabria Bohórquez & Sheyla Lusseth Yurivilca Aguilar - 2019 - Bogota, Colombia: Fundación Integrando Fronteras & Idartes.
    Aproximaciones teóricas a la danza es producto de un trabajo investigativo conjunto que permite la circulación del conocimiento producido por distintos actores involucrados en el campo de la danza en Colombia. Para la Red de Investigación Cuerpo Danza Movimiento, esta publicación es un logro investigativo colectivo que ofrece una visión del conjunto de esfuerzos y perspectivas actuales sobre la danza en Colombia y en otras latitudes en donde este arte se ha ido convirtiendo en un objeto de estudio específico. En (...)
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  20. Dance Rhythm.Aili Bresnahan - 2019 - In Peter Cheyne, Andy Hamilton & Max Paddison (eds.), The Philosophy of Rhythm: Aesthetic, Music, Poetics. Oxford: pp. 91-98.
    This chapter proposes a theory of dance rhythm as distinct from rhythm in dance. First, it distinguishes natural and intentional rhythm, constructed from combining theories by Dewey and Margolis. It then defends this account by exploring musical and non-musical connections between rhythm and dance. It argues that dance rhythm can arise in conjunction with music, or that it can – though need not – follow music, or that it can set the musical rhythm, or be completely independent of music, though (...)
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  21. Is Tap Dance a Form of Jazz Percussion?Aili Bresnahan - 2019 - Midwest Studies in Philosophy 44 (1):183-194.
    Midwest Studies In Philosophy, EarlyView.
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  22. Perceiving Live Improvisation in the Performing Arts.Aili Bresnahan - 2019 - In Dena Shottenkirik, Manuel Curado & Steven S. Gouveia (eds.), Perception, Cognition, and Aesthetics. London, UK: pp. 106-119.
    This chapter will explore the ways that live improvisational performances by professional-level actors, musicians, and dancers, take place at both cognitive and sub-cognitive levels in ways that are relevant for understanding perception and appreciation of the performing arts. First, evidence from cognitive science will be used to show that improvising, as in a dance or a music jam session or a scene in theatre, may involve physical responses that occur before we are conscious of the event to which we are (...)
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  23. Beauty in Disability: An Aesthetics for Dance and for Life.Aili Bresnahan & Michael Deckard - 2019 - In Karen Bond (ed.), Dance and Quality of Life, Social Indicators Research Series, Vol. 73. Netherlands: pp. 185-206.
    To what extent does dance contribute to an ideal of beauty that can enrich human quality of life? To what extent are standards of beauty predicated on an ideal human body that has no disability? In this chapter, we show how conceptions of proportionality, perfection, and ethereality from the Ancient Greeks through the 19th century can still be seen today in some kinds of dance, particularly in ballet. Disability studies and disability-inclusive dance companies, however, have started to change this. The (...)
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  24. Some Stabs at the Ontology of Dance.Noël Carroll - 2019 - Midwest Studies in Philosophy 44 (1):70-80.
    Midwest Studies In Philosophy, Volume 44, Issue 1, Page 70-80, December 2019.
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  25. Dances, Danceworks, and Choreographic Works: A Plea for Conceptual Clarity.Renee M. Conroy - 2019 - Midwest Studies in Philosophy 44 (1):7-20.
    Midwest Studies In Philosophy, EarlyView.
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  26. Dance Seen and Dance‐Screened.David Davies - 2019 - Midwest Studies in Philosophy 44 (1):117-132.
    Midwest Studies In Philosophy, EarlyView.
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  27. Sociohistorical Self-Choreography: A Second Dance with Castoriadis.Joshua M. Hall - 2019 - Culture and Dialogue 7 (1):87-104.
    Twentieth-century Greco-French philosopher, economist, psychoanalyst and activist Cornelius Castoriadis offers a creative new conception of imagination that is uniquely promising for social justice. Though it has been argued that this conception has one fatal flaw, the latter has recently been resolved through a creative dialogue with dance. The present article fleshes out this philosophical-dancing dialogue further, revealing a deeper layer of creative dialogue therein, namely between Castoriadis’ account of time and choreography. To wit, he reconceives time as the self-choreography of (...)
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  28. Core Aspects of Dance: Aristotle on Positure.Joshua M. Hall - 2019 - Journal of Aesthetic Education 53 (1):1.
    [First paragraph]: This article is part of a larger project in which I suggest a historically informed philosophy of dance, called “figuration,” consisting of new interpretations of canonical philosophers. Figuration consists of two major parts, comprising (a) four basic concepts, or “moves”—namely, “positure,” “gesture,” “grace,” and “resilience”—and (b) seven types, or “families” of dance—namely, “concert,” “folk,” “societal,” “agonistic,” “animal,” “astronomical,” and “discursive.” This article is devoted to the first of these four moves, as illustrated by both its importance for Aristotle (...)
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  29. Imaginatively Grounded Figures: Dancing with Castoriadis.Joshua Maloy Hall - 2019 - PhaenEx 13 (1):86-115.
    This paper argues that twentieth-century philosopher Cornelius Castoriadis’ innovative concept of imagination is closely related to his treatments of dance. More specifically, it revolves around his concept of “figure,” which thereby suggests a productive partnership with my own philosophy of dance, which I call “Figuration.” The first and second sections below review the interpretations of Castoriadis’ imagination in the two book manuscripts on him in English, Jeff Klooger’s Psyche, Society Autonomy (which supplements Castoriadis with Fichte) and Suzi Adams’ Castoriadis’ Ontology (...)
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  30. Rhythm and Movement: The Conceptual Interdependence of Music, Dance, and Poetry.Andy Hamilton - 2019 - Midwest Studies in Philosophy 44 (1):161-182.
    Midwest Studies In Philosophy, EarlyView.
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  31. Kierkegaard's Dancers of Faith and of Infinity.Alexander Jech - 2019 - Kierkegaard Studies Yearbook 24:29-58.
    The goal of Fear and Trembling is to illuminate the difficulty of faith. At an important juncture, he claims that both types of knight are dancers, but only the knight of faith can dance perfectly, doing what perhaps no dancer can do: he does not “hesitate” in the moment between landing from his leap and assuming the position from which to reengage with finitude. This analogy has been given small attention in the literature. Given Kierkegaard’s surprisingly precise grasp of classical (...)
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  32. Thought in Action: Expertise and the Conscious Mind. [REVIEW]Anton Killin - 2019 - British Journal of Aesthetics 59 (1):95-98.
    Thought in Action: Expertise and the Conscious MindMonteroBarbara Gailoup. 2016. pp. 304. £35.00.
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  33. Audiences Appreciating Dances.Graham McFee - 2019 - Midwest Studies in Philosophy 44 (1):92-116.
    Midwest Studies In Philosophy, Volume 44, Issue 1, Page 92-116, December 2019.
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  34. Can There Be Conceptual Dance?Anna Pakes - 2019 - Midwest Studies in Philosophy 44 (1):195-212.
    Midwest Studies In Philosophy, Volume 44, Issue 1, Page 195-212, December 2019.
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  35. Dance as Art, Theatre, and Practice: Somaesthetic Perspectives.Richard Shusterman - 2019 - Midwest Studies in Philosophy 44 (1):143-160.
    Midwest Studies In Philosophy, Volume 44, Issue 1, Page 143-160, December 2019.
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  36. On Dancers as Coauthors.Paul Thom - 2019 - Midwest Studies in Philosophy 44 (1):133-142.
    Midwest Studies In Philosophy, EarlyView.
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  37. Dance and the Philosophy of Action: A Framework for the Aesthetics of Dance.Julie C. Van Camp - 2019 - British Journal of Aesthetics 59 (3):348-351.
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  38. Identity in Dance: What Happened?Julie C. Van Camp - 2019 - Midwest Studies in Philosophy 44 (1):81-91.
    Midwest Studies In Philosophy, EarlyView.
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  39. Feeling at One: Socio-Affective Distribution, Vibe, and Dance-Music Consciousness.Maria A. G. Witek - 2019 - In Ruth Herbert, Eric Clarke & David Clarke (eds.), Music and Consciousness 2: Worlds, Practices, Modalities. New York: Oxford University Press. pp. 93–112.
    In this chapter, the embodied consciousness of clubbing and raving is considered through the theory of extended mind, according to which the mind is a distributed system where brain, body, and environment play equal parts. Building on the idea of music as affective atmosphere, a case is made for considering the vibe of a dance party as cognitively, socially, and affectively distributed. The chapter suggests that participating in the vibe affords primary musical consciousness—a kind of pre-reflexive state characterized by affective (...)
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  40. Dance as Experience Field of the Body: A Contribution to Aesthetics.Christoph Wulf - 2019 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 12 (2):19-26.
    I will focus on dances as performances that bring a knowledge of man and his body to the representation, which would not be visible and comprehensible without it. Dances will be conceived of as patterns in which collectively shared knowledge and collectively shared body practices are staged and performed, and in which a self-expression and self-interpretation of a common order takes place. These are productive, and not reproductive, activities that create communities and cultural identities—namely, by working through difference and alterity.
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  41. Philosophy of Dance and Disability.Joshua M. Hall - 2018 - Philosophy Compass 13 (12):e12551.
    The emerging field of the philosophy of dance, as suggested by Aili Bresnahan, increasingly recognizes the problem that (especially pre‐modern) dance has historically focused on bodily perfection, which privileges abled bodies as those that can best make and perform dance as art. One might expect that the philosophy of dance, given the critical and analytical powers of philosophy, might be helpful in illuminating and suggesting ameliorations for this tendency in dance. But this is particularly a difficult task since the analytic (...)
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  42. Religious Lightness in Infinite Vortex.Joshua M. Hall - 2018 - Epoché: A Journal for the History of Philosophy 23 (1):125-144.
    Dance is intimately connected to both Kierkegaard’s personal life and his life in writing, as exemplified in his famous nightly attendance at the dance-filled theater, and his invitation to the readers of “A First and Last Explanation” to “dance with” his pseudonyms. The present article’s acceptance of that dance invitation proceeds as follows: the first section surveys the limited secondary literature on dance in Kierkegaard, focusing on the work of M. Ferreira and Edward Mooney. The second section explores the hidden (...)
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  43. Bodily-Social Copresence Androgyny: Rehabilitating a Progressive Strategy.Joshua M. Hall - 2018 - International Journal of Applied Philosophy 32 (1).
    Historically, the concept of androgyny has been as problematic as it has been appealing to Western progressives. The appeal clearly includes, inter alia, the opportunity to abandon or ameliorate certain identities. As for the problematic dimension, the central problem seems to be the reduction of otherness to the norms of straight white middle/upper-class Western cismen, particularly because of the consequent worsening of actual others’ marginalization and exclusion from social institutions. Despite these problems, I wish to suggest that androgyny—as evidenced by (...)
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  44. Consensuality.Joshua M. Hall - 2018 - The Philosophers' Magazine 82:32-38.
    The Oxford English Dictionary explains that the word “consent” originally derives from the “Latin consentīre to feel together, agree, accord harmonize”, further broken down into “con- together + sentīre to feel, think, judge, etc.” Thus, consent is originally a matter of mutual activity and receptivity, specifically a co-creating co-creation based on shared, ongoing feeling. What this seems to imply – and this is certainly always been true in my experiences with social Latin dance – is that consent is not a (...)
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  45. KATAN, EINAV. Embodied Philosophy in Dance: Gaga and Ohad Naharin's Movement Research. Palgrave Macmillan UK, 2016, Xviii + 228 Pp., 10 Color Illus., $99.99 Cloth. [REVIEW]Aili Bresnahan - 2017 - Journal of Aesthetics and Art Criticism 75 (3):310-311.
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  46. Dance Appreciation: The View From the Audience.Aili Bresnahan - 2017 - In David Goldbatt, Lee Brown & Stephanie Patridge (eds.), Aesthetics: A Reader in the Philosophy of the Arts, 4th edition. New York: pp. 347-350.
    Dance can be appreciated from all sorts of perspectives: For instance, by the dancer while dancing, by the choreographer while watching in the wings, by the musician in the orchestra pit who accompanies the dance, or by the loved-one of a dancer who watches while hoping that the dancer performs well and avoids injury. This essay will consider what it takes to appreciate dance from the perspective of a seated, non-moving audience member. A dance appreciator in this position is typically (...)
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  47. Dancing in Time.Aili Bresnahan - 2017 - In Ian Phillips (ed.), The Routledge Handbook of Philosophy of Temporal Experience. New York, NY, USA: pp. 339-348.
    This chapter will analyze the experience and, in particular the conscious experience, of dancing in time from the perspective of the trained dancer while performing. The focus is thus on the experience and consciousness of a dancer who is moving her body in time rather than on the experience of a seated audience member or dance appreciator who is watching a dancer move. The question of how temporality is experienced in dance by the appreciator will therefore not be addressed here. (...)
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  48. St. Vitus’s Women of Color: Dancing with Hegel.M. Hall Joshua - 2017 - Comparative and Continental Philosophy 9 (1).
    In the first section of this essay, I offer a brief overview of Hegel’s dozen or so mentions of dance in his Lectures on Aesthetics, focusing on the tension between Hegel’s denigration of dance as an “imperfect art” and his characterization of dance as a potential threat to the other arts. In the second section, I turn to an insightful essay from Hans-Christian Lucas on Hegel’s “Anthropology,” focusing on his argument that the Anthropology’s crucial final sections threaten to undermine Hegel’s (...)
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  49. Einav Katan-Schmid’s Embodied Philosophy in Dance. [REVIEW]Joshua M. Hall - 2017 - The Philosophers' Magazine 78:115-117.
    [First paragraphs]: Einav Katan-Schmid’s thought-provoking new book, Embodied Philosophy of Dance, is composed of two related but at least partially separable components. Though the first (which dominates Part I of the book) contains original insights, most of it aligns with existing work in the reemerging philosophy of dance (including my own). This first component is, in essence, a hybrid dance theory derived from Katan-Schmid’s interpretations of central figures in the philosophical schools of phenomenology, hermeneutics and pragmatism (including Merleau-Ponty, Gadamer, and (...)
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  50. Core Aspects of Dance: Condillac and Mead on Gesture.Joshua M. Hall - 2017 - Dance Chronicle 36 (1):352-371.
    This essay—part of a larger project of constructing a new, historically informed philosophy of dance, built on four phenomenological constructs that I call “Moves”—concerns the second Move, “gesture,” the etymology of which reveals its close connection to the Greek word “metaphor.” More specifically, I examine the treatments of gesture by the philosophers George Herbert Mead and Etienne Bonnot de Condillac, both of whom view it as the foundation of language. I conclude by showing how gesture can be used in analyzing (...)
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