Results for 'Dance criticism'

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  1.  29
    Dance Criticism by Croce, Denby, and Siegel.Julie Van Camp - manuscript
    This article may be printed or downloaded for personal, scholarly, or educational use, but only if the full citation, copyright notice, and this permission notice are included in full. It may not be sold or otherwise used for commercial purposes without written permission.
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  2. Philosophical Problems of Dance Criticism.Julie Charlotte Van Camp - 1982 - Dissertation, Temple University
    Several philosophical problems concerning the object of criticism in dance are identified and analyzed as preliminary to an eventual theory of evaluation of dance. Basic to philosophical adequacy is understanding the artform as it is actually practiced and appreciated, recognizing its complexity as a performing artform using unique human bodies as instruments. ;Definitions of "dance" proposed by philosophers, dance historians, and others are inadequate to specify necessary and sufficient conditions of dance, to distinguish (...) from other human non-art phenomena, and to distinguish dance from other artforms. Definitions can be adequate for a specific purpose, using descriptive characteristics and standards for evaluation and appreciation by an audience. ;The ontological status of dance is best understood as consisting of the primary media of movement by human bodies and music and secondary media of the visual dimensions of costumes, scenery, and lighting. Improved understanding of the artform is possible with this more comprehenive recognition of its complex multi-media status, as shown in an analysis of "appropriateness" of the various media, a typical criterion for evaluation. ;The identity of a work of art in dance can be established using a notational system in conjunction with a standard for acceptable compliance with that notation. "Substantial similarity," as determined by lay observers, the test for copyright infringement, provides a useful standard for dance. Other theories have required too much of an identity standard; its purpose is to identify a particular performance as one of a certain work, not to teach dancers to perform the work, nor to enable directors to produce it, nor to provide standards for a good performance of the work. ;A necessary condition of the proper object of criticism is perceivability. The considerable interest in the dance world in production and other factors not perceivable on stage during performance is best understood as a interest in the on-going skills of artists, as opposed to the evaluation of an aesthetic object. (shrink)
     
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  3.  22
    The Humanities and Dance Criticism.Julie Van Camp - manuscript
    /p. 14 The humanities, as defined by Congress, include the history, theory, and criticism of the arts. While the National Endowment for the Arts funds the creation, performance, and display of art, the National Endowment for the Humanities funds the theoretical dimensions that place the arts within a broader cultural context. Admittedly, the line is sometimes difficult to draw precisely, but generally, the humanities center on verbal analysis of the phenomenon of art, using the methodology and content of various (...)
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  4.  16
    Some Notes on Aesthetics and Dance Criticism.Curtis Carter - unknown
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  5.  11
    The Lateral Dance: The Deconstructive Criticism of J. Hillis Miller.Vincent B. Leitch - 1980 - Critical Inquiry 6 (4):593-607.
    Miller undermines traditional ideas and beliefs about language, literature, truth, meaning, consciousness, and interpretation. In effect, he assumes the role of unrelenting destroyer—or nihilistic magician—who dances demonically upon the broken and scattered fragments of the Western tradition. Everything touched soon appears torn. Nothing is ever finally darned over, or choreographed for coherence, or foregrounded as magical illusion. Miller, the relentless rift-maker, refuses any apparent repair and rampages onward, dancing, spell-casting, destroying all. As though he were a wizard, he appears in (...)
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  6.  20
    What Is Dance? Readings in Theory and Criticism.Marshall Cohen & Roger Copeland - 1984 - Journal of Aesthetics and Art Criticism 43 (1):104-105.
  7.  18
    Understanding Dance.Graham Mcfee - 1993 - Journal of Aesthetics and Art Criticism 51 (4):644-646.
  8.  1
    Marshall Cohen and Roger Copeland, Eds., What Is Dance? Readings in Theory and Criticism.William James Earle - 1984 - Journal of Aesthetics and Art Criticism 43 (1):104-105.
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  9.  30
    Dancing Around the Issues: Prospects for an Empirically Grounded Philosophy of Dance.David Davies - 2013 - Journal of Aesthetics and Art Criticism 71 (2):195-202.
  10.  45
    Illuminating Dance: Philosophical Explorations.Maxine Sheets-Johnstone (ed.) - 1984 - Wiley-Blackwell.
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  11.  15
    Dancing at the Devil's Party: Some Notes on Politics and Poetry.Alicia Ostriker - 1987 - Critical Inquiry 13 (3):579-596.
    My education in political poetry begins with William Blake’s remark about John Milton in The Marriage of Heaven and Hell: “The reason Milton wrote in fetters when he wrote of Angels & God, and at liberty when of Devils & Hell, is because he was a true Poet and of the Devil’s party without knowing it.”1 The statement is usually taken as a charming misreading of Milton or as some sort of hyperbole. We find it lumped with other readings which (...)
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  12.  29
    A Dance to the Music of Architecture.Edward Winters - 2011 - Journal of Aesthetics and Art Criticism 69 (1):61-67.
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  13. Moving and Thinking Together in Dance.John Sutton - 2005 - In Robin Grove, Kate Stevens & Shirley McKechnie (eds.), Thinking in Four Dimensions: creativity and cognition in contemporary dance. Melbourne UP. pp. 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 (...)
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  14.  15
    Dance Perspective 41: The Shapes of Space, the Art of Mary Wigman and Oskar Schlemmer.A. Page & Ernst Scheyer - 1971 - Journal of Aesthetics and Art Criticism 29 (4):567.
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  15.  42
    The Dance in the Chinese Theater.Sophia Delza - 1958 - Journal of Aesthetics and Art Criticism 16 (4):437-452.
  16.  17
    America Dancing.John Martin, W. O. E. Oesterley, Ted Shawn & Mabel Elsworth Todd - 1969 - Journal of Aesthetics and Art Criticism 28 (1):112-113.
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  17. The Identity Crisis in Dance.Adina Armelagos & Mary Sirridge - 1978 - Journal of Aesthetics and Art Criticism 37 (2):129-139.
  18.  11
    The Dance. The Story of the Dance Told in Pictures and Text.John Martin - 1947 - Journal of Aesthetics and Art Criticism 6 (1):71-72.
  19.  2
    Dance We MustThe New Ballet, Kurt Jooss and His Work.Lynn D. Poole, Ted Shawn, A. V. Coton & Kurt Jooss - 1947 - Journal of Aesthetics and Art Criticism 6 (2):191.
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  20.  6
    Dancing in the Dark: Youth, Popular Culture, and the Electronic Media.Quentin Schultze, Roy Anker, James Bratt, William Romanowski, John Worst & Lambert Zuidervaart - 1992 - Journal of Aesthetics and Art Criticism 50 (1):80-81.
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  21.  25
    Dance as an Art of Imitation.Selma Jeanne Cohen - 1953 - Journal of Aesthetics and Art Criticism 12 (2):232-236.
  22.  14
    Illuminating Dance: Philosophical Explorations.Sarah B. Fowler - 1986 - Journal of Aesthetics and Art Criticism 44 (4):417-419.
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  23.  8
    The Dancing MasterOrchestra, or a Poem of DancingA Primer for Movement DescriptionRhyme and Meaning in the Poetry of Yeats.Mary Francis Slattery, Pierre Rameau, John Davies, Cecily Dell & Marjorie Perloff - 1971 - Journal of Aesthetics and Art Criticism 29 (4):567.
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  24.  6
    Dance News Annual, 1953.Selma Jeanne Cohen, Winthrop Palmer & Anatole Chujoy - 1954 - Journal of Aesthetics and Art Criticism 12 (3):404.
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  25.  14
    MCFEE, GRAHAM. Dance and the Philosophy of Action: A Framework for the Aesthetics of Dance. Binstead, Hampshire, UK: Dance Books Ltd., 2018, 342 Pp., £25.00 Paper. [REVIEW]Renee M. Conroy - 2019 - Journal of Aesthetics and Art Criticism 77 (1):103-106.
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  26.  20
    The Artist as Critic: Dance Training, Neuroscience, and Aesthetic Evaluation.Barbara Gail Montero - 2013 - Journal of Aesthetics and Art Criticism 71 (2):169-175.
  27.  96
    Improvisation in Dance.Curtis Carter - 2000 - Journal of Aesthetics and Art Criticism 58 (2):181-190.
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  28. The Future of Dance Aesthetics.Francis Sparshott - 1993 - Journal of Aesthetics and Art Criticism 51 (2):227-234.
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  29. Lessons From The Dancing Ground to the Studio: Implications of Pueblo Indian Dance for Modern Dance.Valentina Litvinoff - 1970 - Journal of Aesthetics and Art Criticism 28 (3):397-408.
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  30.  19
    Introduction to the Dance.John Martin - 1968 - Journal of Aesthetics and Art Criticism 26 (3):399-400.
  31.  39
    Lessons From the Dancing Ground to the Studio: Implications of Pueblo Indian Dance for Modern Dance.Valentina Litvinoff - 1974 - Journal of Aesthetics and Art Criticism 32 (3):397-407.
  32.  20
    The Phenomenology of Dance.Maxine Sheets - 1966 - Journal of Aesthetics and Art Criticism 25 (2):228-229.
  33.  25
    The Art of the Dance.James K. Feibleman - 1949 - Journal of Aesthetics and Art Criticism 8 (1):47-52.
  34.  27
    Off the Ground: First Steps to a Philosophical Consideration of the Dance.Curtis Carter - 1990 - Journal of Aesthetics and Art Criticism 48 (1):81-83.
  35.  89
    The Modern Dance.John Martin - 1968 - Journal of Aesthetics and Art Criticism 26 (3):399-399.
  36. Deborah Jowitt, The Dance in Mind: Profiles and Reviews 1976-83.Selma Jeanne Cohen - 1985 - Journal of Aesthetics and Art Criticism 44 (2):199-199.
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  37.  43
    Reflections on Affektenlehre and Dance Theory in the Eighteenth Century.Francis Sparshott - 1998 - Journal of Aesthetics and Art Criticism 56 (1):21-28.
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  38.  9
    Salome and the Dance of WritingPictures of Romance: Form Against Context in Painting and Literature.Stephen Melville, Francoise Meltzer & Wendy Steiner - 1989 - Journal of Aesthetics and Art Criticism 47 (1):91.
  39.  7
    Introduction: Dance Art and Science.Julie C. Van Camp Renee M. Conroy - 2013 - Journal of Aesthetics and Art Criticism 71 (2):167-168.
  40.  24
    The Philosophical Aesthetics of Dance: Identity, Performance and Understanding by Mcfee, Graham.Renee M. Conroy - 2012 - Journal of Aesthetics and Art Criticism 70 (4):397-399.
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  41.  11
    Discourse, but Also Dancing.Matthias Kettner - 2017 - Philosophy and Social Criticism 43 (3):282-283.
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  42.  13
    Writings on Dance, 1938-68AfterimagesDance Beat, Selected Views and Reviews 1967-1976Watching the Dance Go byI Was There, Selected Dance Reviews and Articles: 1936-1976. [REVIEW]Selma Jeanne Cohen, A. V. Coton, Arlene Croce, Deborah Jowitt, Marcia B. Siegel & Walter Terry - 1979 - Journal of Aesthetics and Art Criticism 37 (3):390.
  43.  22
    Some Theories of Dance in Contemporary Society.Selma Jeanne Cohen - 1950 - Journal of Aesthetics and Art Criticism 9 (2):111-118.
  44.  28
    The Relation of Dance to the Visual Arts.Barbara Mettler - 1947 - Journal of Aesthetics and Art Criticism 5 (3):195-203.
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  45. How Can We Tell the Dancer From the Dance?: The Subject of Dance and the Subject of Philosophy.Claire Colebrook - 2004 - 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 (...)
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  46.  1
    Graham McFee, Understanding Dance.Julie van Camp - 1993 - Journal of Aesthetics and Art Criticism 51 (4):644-645.
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  47. World History of the Dance.Curt Sachs - 1964 - Journal of Aesthetics and Art Criticism 22 (3):346-347.
  48.  47
    The Autographic Nature of the Dance.Joseph Margolis - 1981 - Journal of Aesthetics and Art Criticism 39 (4):419-427.
  49.  18
    Defusing Dualism: John Martin on Dance Appreciation.Graham Mcfee - 2013 - Journal of Aesthetics and Art Criticism 71 (2):187-194.
  50.  90
    Ender-Shiva: Lord of the Dance.Joshua M. Hall - 2013 - In D. E. Wittkower & Lucinda Rush (eds.), Ender's Game and Philosophy: Genocide is Child's Play. Chicago, IL, USA: pp. 75-84.
    [First paragraph]: Believe it or not, it’s no exaggeration to say that Ender’s Game has been the most transformative book of my life. In fact, when I first read it, at the age of fifteen, it almost single-handedly initiated a crisis of faith in me that ended up lasting for eight long years. The reason that it was able to do so is that it is positively full of important philosophical ideas (a fact attested to by the very existence of (...)
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