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  1.  87
    Choreographing Empathy.Susan Leigh Foster - 2004 - Topoi 24 (1):81-91.
    The paper builds an argument about empathy, kinesthesia, choreography, and power as they were constituted in early eighteenth century France. It examines the conditions under which one body could claim to know what another body was feeling, using two sets of documents – philosophical examinations of perception and kinesthesia by Condillac and notations of dances published by Feuillet. Reading these documents intertextually, I postulate a kind of corporeal episteme that grounds how the body is constructed. And I endeavor to situate (...)
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  2. Throwing Like a Girl, Dancing Like a Feminist Philosopher.Susan Leigh Foster - 2009 - In Ann Ferguson & Mechtild Nagel (eds.), Dancing with Iris: The Philosophy of Iris Marion Young. Oup Usa.
  3.  40
    Walking and Other Choreographic Tactics: Danced Inventions of Theatricality and Performativity.Susan Leigh Foster - 2002 - Substance 31 (2/3):125.
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  4.  49
    Introduction.Susan Leigh Foster, Philipa Rothfield & Colleen Dunagan - 2004 - Topoi 24 (1):3-4.
    The paper builds an argument about empathy, kinesthesia, choreography, and power as they were constituted in early eighteenth century France. It examines the conditions under which one body could claim to know what another body was feeling, using two sets of documents – philosophical examinations of perception and kinesthesia by Condillac and notations of dances published by Feuillet. Reading these documents intertextually, I postulate a kind of corporeal episteme that grounds how the body is constructed. And I endeavor to situate (...)
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  5.  19
    Philosophy and Dance.Susan Leigh Foster & Choreographing Empathy - 2005 - Topoi 24 (1):255-256.
    The paper builds an argument about empathy, kinesthesia, choreography, and power as they were constituted in early eighteenth century France. It examines the conditions under which one body could claim to know what another body was feeling, using two sets of documents – philosophical examinations of perception and kinesthesia by Condillac and notations of dances published by Feuillet. Reading these documents intertextually, I postulate a kind of corporeal episteme that grounds how the body is constructed. And I endeavor to situate (...)
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  6.  8
    Reading Dancing.Milton H. Snoeyenbos & Susan Leigh Foster - 1988 - Journal of Aesthetic Education 22 (3):118.
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