Abstract
This excerpt from Kenneth King’s essay, “The Dancing Philosopher,” traces its genesis from Nietzsche’s Thus Spoke Zarathustra (a work that greatly impacted Isadora Duncan’s founding of modern dance) that, in tandem with the emerging technology of the writing machine (typewriter), camera and kinetoscope (cinematography), conjoined the kinetropic and lexigraphemic to inaugurate the kinetic cogito. Maurice Merleau-Ponty’s phenomenological exposition of corporeality further amplified the reflexive potential of movement and the philosophical understanding of kinesthesia, and King cites as well the technosophic synergy of John Cage’s and Merce Cunningham’s long artistic collaboration that furthered the frontier of a mind-body epistemic.
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References
Jacques Derrida (1973) Speech and Phenomena and Other Essays on Husserl’s Theory of Signs Northwestern University Press Evanston 87
Isadora Duncan (1928) The Art of the Dance Theater Arts Books New York 123
Kenneth King (2003) Writing in Motion: Body–Language–Technology Wesleyan University Press Middletown 153–168
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Maurice Merleau-Ponty (1965) Phenomenology of Perception translated from the French by Colin Smith Routledge & Kegan Paul London 102
Friedrich Nietzsche (1962) The Portable Nietzsche selected and translated by Walter Kaufmann, pp., Viking Press New York 342–343
Rothstein, Edward: 2002, ‘Is There a Gay Basis to Nietzsche’s Ideas?’, New York Times, July 6.
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King, K. The Dancing Philosopher. Topoi 24, 103–111 (2005). https://doi.org/10.1007/s11245-004-4164-8
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DOI: https://doi.org/10.1007/s11245-004-4164-8