Linked bibliography for the SEP article "The Philosophy of Dance" by Aili Bresnahan

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If everything goes well, this page should display the bibliography of the aforementioned article as it appears in the Stanford Encyclopedia of Philosophy, but with links added to PhilPapers records and Google Scholar for your convenience. Some bibliographies are not going to be represented correctly or fully up to date. In general, bibliographies of recent works are going to be much better linked than bibliographies of primary literature and older works. Entries with PhilPapers records have links on their titles. A green link indicates that the item is available online at least partially.

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Albright, Ann Cooper, 2011, “Situated Dancing: Notes from Three Decades in Contact with Phenomenology”, Dance Research Journal, 43(2): 5–18. doi:10.1017/s0149767711000027 (Scholar)
Albright, Ann Cooper and David Gere (eds.), 2003, Taken by Surprise: A Dance Improvisation Reader, Hanover, CT: Wesleyan University Press. (Scholar)
Alperson, Philip A., 1984, “On Musical Improvisation”, The Journal of Aesthetics and Art Criticism, 43(1): 17–29. doi:10.2307/430189 (Scholar)
–––, 1998, “Improvisation: An Overview”, in Kelly 1998. See also article with the same title and author in Kelly 2014: vol. 3, 439–441. (Scholar)
–––, 2010, “A Topography of Improvisation”, The Journal of Aesthetics and Art Criticism, 68(3): 273–280. (Scholar)
Alpert, Lauren R., 2016, “Co-Authorship and the Ontology of Dance Artworks”, presentation at the American Society for Aesthetics 74th Annual Meeting, Seattle, WA, 16–19 November 2016. [Alpert 2016 available online] (Scholar)
Armelagos, Adina and Mary Sirridge, 1978, “The Identity Crisis in Dance”, The Journal of Aesthetics and Art Criticism, 37(2): 129–139. doi:10.2307/429836 (Scholar)
Bannon, Fiona, 2018, Considering Ethics in Dance, Theatre and Performance, Cham: Springer International Publishing. doi:10.1007/978-3-319-91731-3 (Scholar)
Beardsley, Monroe C., 1982, “What Is Going on in a Dance?”, Dance Research Journal, 15(1): 31–37. doi:10.2307/1477692 (Scholar)
Beauquel, Julia, 2013, “Physical and Aesthetic Properties in Dance”, in Bunker, Pakes, and Rowell 2013: 165–184. (Scholar)
Bergamin, Joshua A., 2017, “Being-in-the-Flow: Expert Coping as beyond Both Thought and Automaticity”, Phenomenology and the Cognitive Sciences, 16(3): 403–424. doi:10.1007/s11097-016-9463-1 (Scholar)
Berleant, Arnold, 1991, “Dance as Performance”, in Art as Engagement, Philadelphia: Temple University Press, pp. 151–174. (Scholar)
Best, David, 1974, Expression in Movement and the Arts: A Philosophical Inquiry, London: Lepus Books, Henry Kimpton, Ltd. (Scholar)
–––,1999, “Dance Before You Think”, in McFee 1999: 101–122. (Scholar)
Blades, Hetty, 2015a, “Affective Traces in Virtual Spaces: Annotation and Emerging Dance Scores”, Performance Research, 20(6): 26–34. doi:10.1080/13528165.2015.1111048 (Scholar)
–––, 2015b, “Inscribing Work and Process: The Ontological Implications of Virtual Scoring Practices for Dance”, in The Performing Subject in the Space of Technology: Through the Virtual, Towards the Real, Matthew Causey, Emma Meehan, and Neil O’Dwyer (eds.), (Palgrave Studies in Performance and Technology), London: Palgrave McMillan, pp. 202–219. (Scholar)
–––, 2016, “Work(s) and (Non)production in Contemporary Movement Practices”, Performance Philosophy Journal, 2(1): 35–48. [Blades 2016 available online] (Scholar)
Bläsing, Bettina, Beatriz Calvo-Merino, Emily S. Cross, Corinne Jola, Juliane Honisch, and Catherine J. Stevens, 2012, “Neurocognitive Control in Dance Perception and Performance”, Acta Psychologica, 139(2): 300–308. doi:10.1016/j.actpsy.2011.12.005 (Scholar)
Bläsing, Bettina, Martin Puttke, and Thomas Schack (eds.), 2019, The Neurocognition of Dance: Mind, Movement and Motor Skills, second edition, Abingdon: Routledge. (Scholar)
Bond, Karen E. (ed.), 2019, Dance and Quality of Life, (Social Indicators Research Series, 73), Netherlands: Springer. doi:10.1007/978-3-319-95699-2 (Scholar)
Boyce, Kristin, 2013, “Dance, Philosophy and Modernism”, in Bunker, Pakes, and Rowell 2013: 37–51. (Scholar)
–––, forthcoming, “Thought, Dance, and Aesthetic Reason”, in Farinas and Van Camp. (Scholar)
Brannigan, Erin, 2014, “Dance: Dance and Film”, in Kelly 2014 (Volume 2), 271–274. (Scholar)
Bresnahan, Aili, 2013, “Review: The Philosophical Aesthetics of Dance: Identity, Performance, and Understanding by Graham McFee. 2011”, Dance Research Journal, 45(2): 142–145. doi:10.1017/s0149767713000077 (Scholar)
–––, 2014a, “Improvisational Artistry in Live Dance Performance as Embodied and Extended Agency”, Dance Research Journal, 46(1): 85–94. doi:10.1017/s0149767714000035 (Scholar)
–––, 2014b, “Toward A Deweyan Theory of Ethical and Aesthetic Performing Arts Practice”, Journal of Aesthetics and Phenomenology, 1(2): 133–148. doi:10.2752/205393214x14083775794871 (Scholar)
–––, 2015, “Improvisation in the Arts: Improvisation in the Arts”, Philosophy Compass, 10(9): 573–582. doi:10.1111/phc3.12251 (Scholar)
–––, 2017a, “Dancing in Time”, in The Routledge Handbook of Philosophy of Temporal Experience, Ian Phillips (ed.), Abingdon: Routledge, pp. 339–348. (Scholar)
–––, 2017b, “Appreciating Dance: The View from the Audience”, in Aesthetics: A Reader in Philosophy of the Arts, fourth edition, David Goldblatt, Lee B. Brown, and Stephanie Patridge (eds.), New York: Routledge, pp. 347–350. (Scholar)
–––, 2019a, “Perceiving Live Improvisation in the Performing Arts”, in Perception, Cognition, and Aesthetics, Dena Shottenkirk, Manuel Curado, and Steven S. Gouveia (eds.), New York and Abingdon: Routledge, pp. 106–119. (Scholar)
–––, 2019b, “Dance Rhythm”, in The Philosophy of Rhythm: Aesthetics, Music, Poetics, Peter Cheyne, Andy Hamilton, and Max Paddison (eds.), Oxford: Oxford University Press, 91–98. (Scholar)
Bresnahan, Aili, Einav Katan-Schmid and Sara Houston, 2020, “Dance as Embodied Ethics”, in The Routledge Companion to Performance Philosophy, Alice Lagaay and Laura Cull Ó Maoilearca (eds.), Abingdon: Routledge, 379–386. (Scholar)
Bresnahan, Aili and Michael Deckard, 2019, “Beauty in Disability: An Aesthetics for Dance and for Life”, in Bond 2019: 185–206. doi:10.1007/978-3-319-95699-2_11 (Scholar)
Brown, Lee B., 1996, “Musical Works, Improvisation, and the Principle of Continuity”, The Journal of Aesthetics and Art Criticism, 54(4): 353–369. doi:10.2307/431917 (Scholar)
Bullot, Nicolas J., William P. Seeley, and Stephen Davies, 2017, “Art and Science: A Philosophical Sketch of Their Historical Complexity and Codependence”, The Journal of Aesthetics and Art Criticism, 75(4): 453–463. doi:10.1111/jaac.12398 (Scholar)
Bunker, Jenny, Anna Pakes, and Bonnie Rowell (eds.), 2013, Thinking Through Dance: The Philosophy of Dance Performance and Practices, Hampshire: Dance Books Ltd. (Scholar)
Burt, Ramsay, 2009, “The Specter of Interdisciplinarity”, Dance Research Journal, 41(1): 3–22. doi:10.1017/s0149767700000504 (Scholar)
Butterworth, Jo and Liesbeth Wildschut (eds.), 2017, Contemporary Choreography: A Critical Reader, second edition, New York: Routledge. (Scholar)
Carr, David, 1987, “Thought and Action in the Art of Dance”, The British Journal of Aesthetics, 27(4): 345–357. doi:10.1093/bjaesthetics/27.4.345 (Scholar)
–––, 1997, “Meaning in Dance”, The British Journal of Aesthetics, 37(4): 349–366. doi:10.1093/bjaesthetics/37.4.349 (Scholar)
Carr, Jane, 2013, “Embodiment and Dance: Puzzles of Consciousness and Agency”, in Bunker, Pakes, and Rowell 2013: 63–82. (Scholar)
Carroll, Noël, 2001, “Toward a Definition of Moving-Picture Dance”, Dance Research Journal, 33(1): 46–61. doi:10.2307/1478856 (Scholar)
–––, 2003, “Dance”, in The Oxford Handbook of Aesthetics, Jerrold Levinson (ed.), Oxford: Oxford University Press, pp. 582–593. (Scholar)
Carroll, Noel and Sally Banes, 1982, “Working and Dancing: A Response to Monroe Beardsley’s ‘What Is Going on in a Dance?’”, Dance Research Journal, 15(1): 37–41. doi:10.2307/1477693 (Scholar)
Carroll, Noël and Margaret Moore, 2011, “Moving in Concert: Dance and Music”, in Schellekens and Goldie 2011: 333–345. (Scholar)
Carroll, Noël and William P. Seeley, 2013, “Kinesthetic Understanding and Appreciation in Dance: Kinesthetic Understanding and Appreciation in Dance”, The Journal of Aesthetics and Art Criticism, 71(2): 177–186. doi:10.1111/jaac.12007 (Scholar)
Carter, Curtis L., 2000, “Improvisation in Dance”, The Journal of Aesthetics and Art Criticism, 58(2): 181–190. doi:10.2307/432097 (Scholar)
Challis, Chris, 1999, “Dancing Bodies: Can the Art of Dance Be Restored to Dance Studies?” in McFee 1999: 143–154. (Scholar)
Clark, Andy, 2011, Supersizing the Mind: Embodiment, Action, and Cognitive Extension, New York: Oxford University Press. doi:10.1093/acprof:oso/9780195333213.001.0001 (Scholar)
Clemente, Karen, 1990, “Playing with Performance: The Element of the Game in Experimental Dance and Theater”, The Journal of Popular Culture, 24(3): 1–10. doi:10.1111/j.0022-3840.1990.2403_1.x (Scholar)
Cohen, Selma Jeanne, 1962, “A Prolegomenon to an Aesthetics of Dance”, The Journal of Aesthetics and Art Criticism, 21(1): 19–26. doi:10.2307/427634 (Scholar)
–––, 1982, Next Week, Swan Lake: Reflections on Dance and Dances, Middletown, CT: Wesleyan University Press. (Scholar)
––– (ed.), 1992, Dance as a Theatre Art: Source Readings in Dance History from 1581 to the Present, Second Edition, Highstown, NJ: Princeton Book Publishers. (Scholar)
Colebrook, Claire, 2005, “How Can We Tell the Dancer from the Dance?: The Subject of Dance and the Subject of Philosophy”, Topoi, 24(1): 5–14. doi:10.1007/s11245-004-4157-7 (Scholar)
Conroy, Renee M., 2012, “Dance”, in The Continuum Companion to Aesthetics, Anna Christina Ribeiro (ed.), London: Continuum, pp. 156–170. (Scholar)
–––, 2013, “Responding Bodily”, The Journal of Aesthetics and Art Criticism, 71(2): 203–210. doi:10.1111/jaac.12010 (Scholar)
–––, 2013b, “The Beat Goes On: Reconsidering Dancework Identity”, in Bunker, Pakes, and Rowell 2013: 102–126. (Scholar)
–––, 2015, “Gestural Fiction: Dance”, in Fiction and Art: Explorations in Contemporary Theory, Ananta C. Sukla (ed.), London and New York: Bloomsbury Academic, pp. 285–300. (Scholar)
Copeland, Roger, 1993, “Dance Criticism and the Descriptive Bias”, Dance Theatre Journal, 10: 26–32. (Scholar)
Copeland, Roger and Marshall Cohen (eds.), 1983, What Is Dance? Readings in Theory and Criticism, New York and Oxford: Oxford University Press. (Scholar)
Cross, Emily S. and Luca F. Ticini, 2012, “Neuroaesthetics and beyond: New Horizons in Applying the Science of the Brain to the Art of Dance”, Phenomenology and the Cognitive Sciences, 11(1): 5–16. doi:10.1007/s11097-010-9190-y (Scholar)
Cull Ó Maoilearca, Laura, 2012, Theatres of Immanence: Deleuze and the Ethics of Performance, London: Palgrave MacMillan. doi:10.1057/9781137291912 (Scholar)
–––, 2018, “Notes towards The Philosophy of Theatre”, Anglia: Journal of English Philology, 136(1): 11–42. doi:10.1515/ang-2018-0007 (Scholar)
Cvejić, Bojana, 2015a, Choreographing Problems: Expressive Concepts in Contemporary Dance and Performance, London: Palgrave MacMillan. doi:10.1057/9781137437396 (Scholar)
–––, 2015b, “From Odd Encounters to a Prospective Confluence: Dance-Philosophy”, Performance Philosophy, 1: 7-23. [Cvejić 2015b available online] (Scholar)
–––, 2017, “Choreography that Causes Problems”, in Butterworth and Wildschut 2017: 54–67. (Scholar)
Danto, Arthur C., 1981, The Transfiguration of the Commonplace, Cambridge, MA: Harvard University Press. (Scholar)
Davies, David, 2004, Art As Performance, Malden, MA: Blackwell Publishing Ltd. (Scholar)
–––, 2009, “The Primacy of Practice in the Ontology of Art”, The Journal of Aesthetics and Art Criticism, 67(2): 159–171. doi:10.1111/j.1540-6245.2009.01345.x (Scholar)
–––, 2011a, “‘I’ll Be Your Mirror’? Embodied Agency, Dance, and Neuroscience”, in Schellekens and Goldie 2011: 346–356.
–––, 2011b, Philosophy of the Performing Arts, Oxford: Wiley-Blackwell. doi:10.1002/9781444343458 (Scholar)
–––, 2013, “Dancing Around the Issues: Prospects for an Empirically Grounded Philosophy of Dance”, The Journal of Aesthetics and Art Criticism, 71(2): 195–202. doi:10.1111/jaac.12009 (Scholar)
–––, 2014, “ ‘This is Your Brain on Art’: What Can Philosophy of Art Learn from Neuroscience?”, in Aesthetics and the Sciences of the Mind, Greg Currie, Matthew Kieran, Aaron Meskin, and Jon Robson (eds.), Oxford: Oxford University Press, pp. 57–74. doi:10.1093/acprof:oso/9780199669639.003.0004
Davies, Stephen, 1991, “The Ontology of Musical Works and the Authenticity of Their Performances”, Noûs, 25(1): 21–41. doi:10.2307/2216091 (Scholar)
–––, 2001, Musical Works and Performances: A Philosophical Exploration, Oxford: Clarendon Press. doi:10.1093/0199241589.001.0001 (Scholar)
–––, 2006, “Balinese Legong: Revival or Decline?”, Asian Theatre Journal, 23(2): 314–341. doi:10.1353/atj.2006.0018 (Scholar)
–––, 2007, “Versions of Musical Works and Literary Translations”, in Philosophers on Music: Experience, Meaning, and Work, Kathleen Stock (ed.), Oxford: Oxford University Press, pp. 79–92. (Scholar)
–––, 2008, “The Origins of Balinese Legong”, Bijdragen Tot de Taal-, Land- En Volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia, 164(2–3): 194–211. doi:10.1163/22134379-90003656 (Scholar)
–––, 2012, “Beauty, Youth, and the Balinese Legong Dance”, in Beauty Unlimited, Peg Zeglin Brand (ed.), Indianapolis, IN: University of Indiana Press, pp. 259–279. (Scholar)
–––, 2017, “The Beautiful in Bali”, in Artistic Visions and the Promise of Beauty: Cross-Cultural Perspectives, Kathleen M. Higgins, Shakti Maira, and Sonia Sikka (eds.), (Sophia Studies in Cross-Cultural Philosophy of Traditions and Cultures 16), Cham: Springer International Publishing, 225–236. doi:10.1007/978-3-319-43893-1_17 (Scholar)
DeFrantz, Thomas F., 2005, “African American Dance: Philosophy, Aesthetics, and ‘Beauty’”, Topoi, 24(1): 93–102. doi:10.1007/s11245-004-4165-7 (Scholar)
–––, forthcoming, “Resisting the Universal: Black Dance, Aesthetics, and the Afterlives of Slavery”, in Farinas and Van Camp. (Scholar)
De Spain, Kent, 1993, “Dance Improvisation: Creating Chaos”, Contact Quarterly, 18(1): 21–27. (Scholar)
–––, 2003, “The Cutting Edge of Awareness: Reports from the Inside of Improvisation”, in Albright and Gere 2003: 27–38. (Scholar)
–––, 2014, Landscape of the Now: A Topography of Movement Improvisation, New York: Oxford University Press. (Scholar)
–––, 2019, “Lost in the Footlights: The Secret Life of Improvisation in Contemporary American Concert Dance”, in Midgelow 2019: 689–704. (Scholar)
Dewey, John, 1934, Art as Experience, New York: Minton, Balch & Co. Reprinted in 1989, John Dewey: The Later Works, 1925–1953, vol. 10, Jo Ann Boydston (ed.), Carbondale, IL: Southern Illinois University Press. Reprinted in 2005, New York: The Penguin Group, Perigree Edition. (Scholar)
Eddy, Martha, 2002, “Somatic Practices and Dance: Global Influences”, Dance Research Journal, 34(2): 46–62. doi:10.2307/1478459 (Scholar)
Farinas, Rebecca, and Julie Van Camp (eds.), forthcoming, The Bloomsbury Handbook to Dance and Philosophy, London: Bloomsbury. (Scholar)
Foster, Susan Leigh, 1986, Reading Dancing: Bodies and Subjects in Contemporary American Dance, Berkeley, CA: University of California Press. (Scholar)
–––, 2003, “Taken by Surprise: Improvisation in Dance and Mind”, in Albright and Gere 2003: 3–12. (Scholar)
–––, 2008, “Movement’s Contagion: The Kinesthetic Impact of Performance”, in The Cambridge Companion to Performance Studies, Tracy C. Davis (ed.), Cambridge: Cambridge University Press, 46–59. doi:10.1017/ccol9780521874014.004 (Scholar)
–––, 2011, Choreographing Empathy: Kinesthesia in Performance, New York: Routledge. (Scholar)
Foster, Susan Leigh, Philipa Rothfield, and Colleen Dunagan (eds.), 2005, Philosophy and Dance, special issue of Topoi, 24(1). (Scholar)
Fraleigh, Sondra Horton, 1996, Dance and the Lived Body: A Descriptive Aesthetics, Pittsburgh, PA: University of Pittsburgh Press. (Scholar)
–––, 1999, “Witnessing the Frog Pond”, in Researching Dance: Evolving Modes of Inquiry, Sondra Horton Fraleigh and Penelope Hanstein (eds.), Pittsburgh: University of Pittsburgh Press, pp. 188–224. (Scholar)
–––, 2000, “Consciousness Matters”, Dance Research Journal, 32(1): 54–62. doi:10.2307/1478276 (Scholar)
–––, 2004, Dancing Identity: Metaphysics in Motion, Pittsburgh, CA: University of Pittsburgh Press. (Scholar)
–––, 2010, Butoh: Metamorphic Dance and Global Alchemy, Champaign, IL: University of Illinois Press. (Scholar)
–––, 2015, Moving Consciously: Somatic Transformations through Dance, Yoga, and Touch, Champaign, IL: University of Illinois Board of Trustees. (Scholar)
–––, 2018, Back to the Dance Itself: Phenomenologies of the Body in Performance, Champaign, IL: University of Illinois Press. (Scholar)
Franko, Mark, 1989, “Repeatability, Reconstruction and Beyond”, Theatre Journal, 41(1): 56–74. doi:10.2307/3207924 (Scholar)
–––, 1993, Dance as Text: Ideologies of the Baroque Body, Cambridge: Cambridge University Press. (Scholar)
–––, 1996, “History/Theory—Criticism/Practice”, Corporealities: Dancing Knowledge, Culture and Power, in Susan Leigh Foster (ed.), New York: Routledge, pp. 25–52. (Scholar)
–––, 2011a, “Writing for the Body: Notation, Reconstruction, and Reinvention in Dance”, Common Knowledge, 17(2): 321–334. doi:10.1215/0961754x-1188004 (Scholar)
––– (ed.), 2011b, Dance as Phenomenology: Critical Reappraisals, special issue, Dance Research Journal, 43(2). (Scholar)
–––, 2014a, “Dance: Dance Studies”, in Kelly 2014: vol. 2, 265–268. (Scholar)
–––, 2014b, “Dance: Authenticity in Dance”, in Kelly 2014: vol. 2, 268–271. (Scholar)
–––, 2017, The Oxford Handbook of Dance and Reenactment, Oxford: Oxford University Press. doi:10.1093/oxfordhb/9780199314201.001.0001 (Scholar)
Friedman, Jeff, forthcoming, “Entanglement: A Multi-layered Morphology of Post-colonial African Philosophical Frameworks for Dance Aesthetics”, in Farinas and Van Camp. (Scholar)
Friedman, Jeff with Aili Bresnahan, forthcoming, “Engagement: A Brief Introduction to Dance Philosophy, Aesthetics, and Practice”, in Farinas and Van Camp. (Scholar)
Friesen, Joanna, 1975, “Perceiving Dance”, Journal of Aesthetic Education, 9(4): 97–108. doi:10.2307/3331982 (Scholar)
Gallese, Vittorio, 2001, “The ‘Shared Manifold’ Hypothesis: From Mirror Neurons to Empathy”, Journal of Consciousness Studies, 8 (5–7): 33–50. (Scholar)
Goldman, Danielle, 2010, I Want to be Ready: Improvised Dance as a Practice of Freedom, Ann Arbor, MI: University of Michigan Press. (Scholar)
Goodman, Nelson, 1976, Languages of Art: An Approach to a Theory of Symbols, Indianapolis/Cambridge: Hackett Publishing Company Inc. (Scholar)
–––, 1978, Ways of Worldmaking, Indianapolis, IN: Hackett. (Scholar)
Gould, Carol S. and Kenneth Keaton, 2000, “The Essential Role of Improvisation in Musical Performance”, The Journal of Aesthetics and Art Criticism, 58(2): 143–148. doi:10.2307/432093 (Scholar)
Guest, Ann Hutchinson, 1985, “A Brief Survey of 53 Systems of Dance Notation”, National Centre for the Performing Arts Quarterly Journal, 14(1): 1–14. (Scholar)
–––, 1989, Choreographics: A Comparison of Dance Notation Systems from the Fifteenth Century to the Present, New York: Gordon and Breach. (Scholar)
–––, 1998, “Notation: Dance Notation”, in Kelly 1998. See also article with the same title and author in Kelly 2014: vol. 4, 528–530. (Scholar)
–––, 2005, Labanotation: The System of Analyzing and Recording Movement, New York: Routledge. (Scholar)
Guest, Ann Hutchinson and Claudia Jeschke, 1991, Nijinsky’s ‘Faune’ Restored: A Study of Vaslav Nijinsky’s Dance Score ‘L’Après-midi d’un Faune’, (Language of Dance, 3), The Netherlands: Gordon and Breach Science Publishers. (Scholar)
Hagberg, Garry L., 1998, “The Aesthetics of Jazz Improvisation”, in Kelly 1998: 479–482. See also “Improvisation: Jazz Improvisation”, in Kelly 2014: vol. 3, 441–448. (Scholar)
––– (ed.), 2000, Improvisation in the Arts, special issue of The Journal of Aesthetics and Art Criticism, 58(2). (Scholar)
Hagendoorn, Ivar, 2012, “Inscribing the Body, Exscribing Space”, Phenomenology and the Cognitive Sciences, 11(1): 69–78. doi:10.1007/s11097-011-9238-7 (Scholar)
Hall, Joshua M., 2012, “Revalorized Black Embodiment: Dancing with Fanon”, Journal of Black Studies, 43(3): 274–288. doi:10.1177/0021934711419363 (Scholar)
–––, 2017, “Core Aspects of Dance: Schiller and Dewey on Grace”, Dance Chronicle, 40(1): 74–98. doi:10.1080/01472526.2017.1274217 (Scholar)
–––, 2018, “Philosophy of Dance and Disability”, Philosophy Compass, 13(12): e12551. doi:10.1111/phc3.12551 (Scholar)
Hanna, Judith Lynne, 1979 [1987], To Dance is Human: A Theory of Nonverbal Communication, Austin, TX: University of Texas Press. Reprinted with a new Preface, Chicago and London: The University of Chicago Press, 1987. (Scholar)
–––, 1983, The Performer-Audience Connection: Emotion to Metaphor in Dance and Society, Austin, TX: University of Texas Press. (Scholar)
He, Jing and Susanne Ravn, 2018, “Sharing the Dance—on the Reciprocity of Movement in the Case of Elite Sports Dancers”, Phenomenology and the Cognitive Sciences, 17(1): 99–116. doi:10.1007/s11097-016-9496-5 (Scholar)
Hill, Constance Valis, 2003, “Stepping, Stealing, Sharing, and Daring”, in Albright and Gere 2003: 89–102. (Scholar)
Jang, Seon Hee and Frank E Pollick, 2011, “Experience Influences Brain Mechanisms of Watching Dance”, Dance Research, 29(supplement): 352–377. doi:10.3366/drs.2011.0024 (Scholar)
Johnson, Mark, 2007, The Meaning of the Body: Aesthetics of Human Understanding, Chicago: University of Chicago Press. (Scholar)
Jola, Corinne, Shantel Ehrenberg, and Dee Reynolds, 2012, “The Experience of Watching Dance: Phenomenological–Neuroscience Duets”, Phenomenology and the Cognitive Sciences, 11(1): 17–37. doi:10.1007/s11097-010-9191-x (Scholar)
Jowitt, Deborah, 1998, “Modernism: Modern Dance”, in Kelly 1998. See also the article with the same title and author in Kelly 2014: vol. 4, 374–378. (Scholar)
Katan, Einav, 2016, Embodied Philosophy in Dance: Gaga and Ohad Naharin’s Movement Research, London: Palgrave Macmillan. doi:10.1057/978-1-137-60186-5 (Scholar)
Kelly, Michael, (ed.), 1998, Encyclopedia of Aesthetics, first edition, New York: Oxford University Press. (Scholar)
––– (ed.), 2014, Encyclopedia of Aesthetics, second edition, New York: Oxford University Press. Also available at Oxford Reference Online. (Scholar)
Khatchadourian, Haig, 1978, “Movement and Action in the Performing Arts”, The Journal of Aesthetics and Art Criticism, 37(1): 25–36. (Scholar)
Kit Wah Man, Eva, 2019, Bodies in China: Philosophy, Aesthetics, Gender, and Politics, Albany, NY: SUNY Press. (Scholar)
Kloppenberg, Annie, 2010, “Improvisation in Process: ‘Post-Control’ Choreography”, Dance Chronicle, 33(2): 180–207. doi:10.1080/01472526.2010.485867 (Scholar)
Kraut, Anthea, 2010, “‘Stealing Steps’ and Signature Moves: Embodied Theories of Dance as Intellectual Property”, Theatre Journal, 62(2): 173–189. doi:10.1353/tj.0.0357 (Scholar)
–––, 2011, “White Womanhood, Property Rights, and the Campaign for Choreographic Copyright: Loïe Fuller’s Serpentine Dance”, Dance Research Journal, 43(1): 3–26. doi:10.5406/danceresearchj.43.1.0003 (Scholar)
–––, 2016, Choreographing Copyright: Race, Gender, and Intellectual Property Rights in American Dance, Oxford: Oxford University Press. doi:10.1093/acprof:oso/9780199360369.001.0001 (Scholar)
Lakoff, George and Mark Johnson, 1999, Philosophy in the Flesh: The Embodied Mind and Its Challenge to Western Thought, New York: Basic Books. (Scholar)
LaMothe, Kimerer L., 2009, What a Body Knows: Finding Wisdom in Desire, Ripley, Hants: O Books. (Scholar)
–––, 2012, “‘Can They Dance?’ towards a Philosophy of Bodily Becoming”, Journal of Dance & Somatic Practices, 4(1): 93–107. doi:10.1386/jdsp.4.1.93_1 (Scholar)
–––, 2015, Why We Dance: A Philosophy of Bodily Becoming, New York: Columbia University Press. (Scholar)
Langer, Susanne Katherina Knauth, 1953a, “Virtual Powers”, in Langer 1953b: 169–187. (Scholar)
–––, 1953b, Feeling and Form: A Theory of Art Developed from Philosophy in a New Key, New York: Charles Scribner’s Sons. (Scholar)
Legrand, Dorothée and Susanne Ravn, 2009, “Perceiving Subjectivity in Bodily Movement: The Case of Dancers”, Phenomenology and the Cognitive Sciences, 8(3): 389–408. doi:10.1007/s11097-009-9135-5 (Scholar)
Lepecki, André, 2014, “Dance: Contemporary Dance”, in Kelly 2014: vol. 2, 274–278. (Scholar)
Levin, David Michael, 1983, “Philosophers and the Dance”, in Copeland and Cohen 1983: 85–94. (Scholar)
Levinson, Jerrold, 1980, “Autographic and Allographic Art Revisited”, Philosophical Studies, 38(4): 367–383. doi:10.1007/bf00419336 (Scholar)
–––, 1984, “Hybrid Art Forms”, Journal of Aesthetic Education, 18(4): 5–13. doi:10.2307/3332623 (Scholar)
Levinson, Jerrold and Philip Alperson, 1991, “What Is a Temporal Art?”, Midwest Studies in Philosophy, 16: 439–450. doi:10.1111/j.1475-4975.1991.tb00252.x (Scholar)
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