Results for 'dance'

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Bibliography: Dance in Aesthetics
  1. Improvisational Artistry in Live Dance Performance as Embodied and Extended Agency.Aili Bresnahan - 2014 - Dance Research Journal 46 (1):84-94.
    This paper provides an account of improvisational artistry in live dance performance that construes the contribution of the dance performer as a kind of agency. Andy Clark’s theory of the embodied and extended mind is used in order to consider how this account is supported by research on how a thinking-while-doing person navigates the world. I claim here that while a dance performer’s improvisational artistry does include embodied and extended features that occur outside of the brain and (...)
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  2.  73
    Core Aspects of Dance: Schiller and Dewey on Grace.Joshua M. Hall - 2013 - Dance Chronicle 40 (1):74-98.
    Part of a larger project of constructing a new, historically informed philosophy of dance, built on four phenomenological constructs that I call “Moves,” this essay concerns the third Move, “grace.” The etymology of the word “grace” reveals the entwined meanings of pleasing quality and authoritative power, which may be combined as “beautiful force.” I examine the treatments of grace in German philosopher Friedrich Schiller, who understands it as playful, naive transformation of matter; and in American philosopher John Dewey, for (...)
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  3.  68
    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 (...)
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  4. 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 (...) practice and choreographic cognition, which is deeply informed and empirically inspired by the best current theory in the sciences of the embodied mind [footnote 1]. These sciences must themselves increasingly deal with culture and cognition all at once: questions about pleasure in movement, habit and skill, and kinaesthetic memory, for example, require neuroscientific, physiological, psychological, sociological, and anthropological investigation simultaneously. These then are essentially collaborative enterprises, and the active interpenetration of the concerns of dance practitioners and academic researchers is one remarkable success of Unspok en Knowledges and Conceiving Connections. (shrink)
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  5.  45
    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.
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  6. Kinesthetic Empathy, Dance, and Technology.Andrew J. Corsa - 2016 - Polymath: An Interdisciplinary Arts and Sciences Journal 6 (2):1-34.
    I argue that when we use email, text messaging, or social media websites such as Facebook to interact, rather than communicating face-to-face, we do not experience the best kind of empathy, which is most conducive to experiencing benevolence for others. My arguments rely on drawing interdisciplinary connections between sources: early modern accounts of sympathy, dance theory, philosophy of technology, and neuroscience/psychology. I reflect on theories from these disciplines which, taken together, suggest that to empathize optimally, we must see or (...)
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  7. The Postcolonial Reality of Using the Term " Liturgical " to Describe Hindu Dance.Sabrina D. MisirHiralall - 2014 - Journal of Research on Christian Education 2 (23):154-175.
    Homi Bhabha, a postcolonial scholar influenced by the work of Franz Fanon and Edward Said, indicates that identities stimulate a need to negotiate in spaces that result in the remaking of boundaries. There is a call to expose the limitations of the East and the West in an effort to acknowledge the space in-between that interconnects the past traditions and history, with the present and the future. This study applies Homi Bhabha’s theory of hybridity to determine whether the term liturgical (...)
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  8. Mindfulness as a Pedagogical Tool: Kuchipudi Indian Classical Hindu Dance.Sabrina D. MisirHiralall - 2015 - Arts in Religious and Theological Studies (ARTS) Journal 1 (27):33-39.
    Contemplative pedagogy is necessary in the dance world because it can be a very dangerous place without it. Dance students who aim to sustain the so-called “right”body image too often develop a physical obsession that leads to dangers like bulimia and anorexia. Moreover, the stresses of performing on stage, combined with other pressures of daily life, may overwhelm dancers to the point where they might feel depressed or even suicidal. Thus, it is vital to develop a pedagogy that (...)
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  9.  42
    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 (...)
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  10.  60
    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 (...)
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  11.  84
    Filming Dance: Embodied Syntax in Sasha Waltz' S.Helen A. Fielding - 2015 - Paragraph 38 (1):69-85.
    This paper brings Merleau-Ponty’s phenomenological approach to Sasha Waltz’s dance film S, which focuses on the relation between sexuality and language. Maintaining that movement in cinema takes place in the viewers and not the film, the paper considers how the visual can be deepened to include the ways we move and are moved. Saussure’s insights into language are brought to the sensible, which is here understood in terms of divergences from norms. Though film would seem to privilege vision, viewing (...)
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  12.  91
    Dance as Portrayed in the Media. Misirhiralall - 2013 - Journal of Aesthetic Education 47 (3):72.
    This article attempts to answer a question that many dancers and non-dancers may have. What is dance according to the media? Furthermore, how does the written word portray dance in the media? To answer these ques-tions, this research focuses on the role that the discourse of dance in media plays in the public sphere’s knowledge construction of dance. This is impor-tant to study because the public sphere’s meaning of dance will determine whether dance education (...)
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  13.  85
    Mind, Dance, and Pedagogy.Jay A. Seitz - 2002 - Journal of Aesthetic Education 36 (4):37-42.
    Explores the role of dance education both inside and outside the arts.
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  14.  57
    Figuration: A Philosophy of Dance.Joshua M. Hall - 2012 - Dissertation, Vanderbilt University
    Dance receives relatively little attention in the history of philosophy. My strategy for connecting that history to dance consists in tracing a genealogy of its dance-relevant moments. In preparation, I perform a phenomenological analysis of my own eighteen years of dance experience, in order to generate a small cluster of central concepts or “Moves” for elucidating dance. At this genealogical-phenomenological intersection, I find what I term “positure” most helpfully treated in Plato, Aristotle and Nietzsche; “gesture” (...)
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  15. 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 (...)
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  16. The Significance of Dance in Nietzsche's Thought.John E. Atwell - 1984 - In Maxine Sheets-Johnstone (ed.), Illuminating Dance: Philosophical Explorations. pp. 19--34.
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  17. How Marking in Dance Constitutes Thinking with the Body.David Kirsh - 2011 - The External Mind:183-214.
    In dance, there is a practice called ‘marking’. When dancers mark, they execute a dance phrase in a simplified, schematic or abstracted form. Based on our interviews with professional dancers in the classical, modern, and contemporary traditions, it is fair to assume that most dancers mark in the normal course of rehearsal and practice. When marking, dancers use their body-in-motion to represent some aspect of the full-out phrase they are thinking about. Their stated reason for marking is that (...)
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  18. 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 (...)
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  19.  34
    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 (...)
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  20.  14
    Aesthetic Development in Dance.Sarah Rubidge - 1982 - In Malcolm Ross (ed.), The Development of Aesthetic Experience. Oxford: Pergamon Press. pp. 124.
    To speak of aesthetic development in dance implies that there is a condition of aesthetic maturity which can be identified as a continuum of growth in aesthetlc understanding, and that aesthetic maturity in dance is distinct from aesthetic maturity in, say, the visual arts, literature, or music. This paper is an attempt to identify the "aesthetic behaviours" unique to dance, and to examine the notion that there is a growth of aesthetic understanding which can be monitored monl'tored.
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  21.  49
    Dance, Music and Dramaturgy: Collaboration Plan and Dramaturgical Apparatus.João Paulo Lucas & César Lignelli - 2017 - Revista Brasileira de Estudos de Presença 7 (1):19-44.
    Dance, Music and Dramaturgy: collaboration plan and dramaturgical apparatus – The unfolding of the concept of dramaturgy and the problematics of contemporary choreography are, today, a vast and diverse field of research, bearing numerous disclosures that lead to their reciprocal implication. Apart from that, dance and music share significant complementary ties allowing for the consideration of a common compositional inquiry. Reflecting on the compositional processes of dance and music, this article cross-examines the collaboration between choreographers and composers, (...)
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  22. Physical and Aesthetic Properties in Dance.Beauquel Julia - 2013 - In Bunker Jenny, Pakes Anna & Rowell Bonnie (eds.), Dance Books. pp. 165-184.
    Dance as art has been philosophically characterized as involving the natural expressiveness of human movements. But while some authors find the defense of expressiveness essential, others claim that it is not relevant to the understanding of dance and favour instead a focus on style, a supposedly more significant artistic feature. This paper is an attempt to provide an alternative account to both these positions, with the first (namely, that the dancers are supposed to convey emotions to us by (...)
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  23. The Identity Crisis in Dance.Adina Armelagos & Mary Sirridge - 1978 - Journal of Aesthetics and Art Criticism 37 (2):129-139.
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  24. Dance Techne: Kinetic Bodily Logos and Thinking in Movement.Jaana Parviainen - 2003 - Nordic Journal of Aesthetics (27-28):159-175.
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  25. Let's Dance! The Equivocation in Chalmers' Dancing Qualia Argument.B. van Heuveln, Eric Dietrich & M. Oshima - 1998 - Minds and Machines 8 (2):237-249.
    David Chalmers' dancing qualia argument is intended to show that phenomenal experiences, or qualia, are organizational invariants. The dancing qualia argument is a reductio ad absurdum, attempting to demonstrate that holding an alternative position, such as the famous inverted spectrum argument, leads one to an implausible position about the relation between consciousness and cognition. In this paper, we argue that Chalmers' dancing qualia argument fails to establish the plausibility of qualia being organizational invariants. Even stronger, we will argue that the (...)
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  26.  91
    Xopóσ: Dancing Into the Sacred Space of Chora: An Inquiry Into the Choir of Dance From the Chora.Nicoletta Isar - 2005 - Byzantion 75:199-224.
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  27.  46
    The Dance of Truth.Don Michael Hudson - manuscript
    We want God to make sense, to be reasonable, to act according to how we think God should act. This kind of thinking, though, is not far from where we live today. If I give money to the church, then God will bless me financially. If I have my “quiet time” in scripture, then God will bless my day. If I raise my children right, then surely they will turn out right. In themselves these actions are good and right; however, (...)
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  28.  71
    Move and Rest in Peace: “Pathosformel” in Mamootot, a Dance Work by Ohad Naharin, Batsheva Dance Company.Einav Katan - 2012 - In Markus Rath & Ulrike Feist (eds.), Et in Imagine Ego: Facetten von Bildakt Und Verkörperung. Akademie Verlag. pp. 239-254.
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  29.  30
    Relativism as a Means to Alleviate Biology From Genomic Reductionism: But is the Remedy Effective?: Denis Noble: Dance to the Tune of Life: Biological Relativity. Cambridge University Press, December 2016, 302pp, £17.99 HB.Sepehr Ehsani - 2018 - Metascience 27 (1):111-115.
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  30. Concepts in Modern Educational Dance.H. B. Redfern - 1982
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  31. The Splendid and the Savage: The Dance of the Opposites in Indigenous Andean Thought.Hillary S. Webb - 2013 - Journal of Transpersonal Research 4 (1).
    One of the most well-known and defining characteristics of indigenous Andean thought is its adherence to a “complementary dualism” in which the “opposites” of existence are viewed as interdependent parts of a harmonious whole. This is in many ways in stark contrast to Western philosophical models, which have historically tended towards an “antagonistic dualism,” the view that the opposites are engaged in an eternal struggle for dominance. This paper considers how a culture’s relationship to the opposites—whether seen as a “war” (...)
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  32.  64
    A Self-Critical Phenomenology of Criticism. [REVIEW]Joshua M. Hall - 2014 - Dance Chronicle 37:122-128.
    Noel Carroll, a central figure in analytic (Anglo-American) philosophy of art, and spouse of renowned dance scholar Sally Banes (who co-authored several of these essays), offers us something remarkable in his new book—namely, a collection of thirty years of his theoretical essays and dance reviews. Carroll wrote some of the pieces while he was a graduate student at the University of Illinois, Chicago, and there have been some dramatic changes since then in both the art world and Carroll’s (...)
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  33.  35
    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 (...)
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  34. 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, (...)
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  35.  19
    Unplanned Coordination: Ensemble Improvisation as Collective Action.Ali Hasan & Jennifer Kayle - manuscript
    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 or 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 (...)
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  36. 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 (...)
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  37.  37
    Judith Butler and a Pedagogy of Dancing Resilience.Joshua M. Hall - 2020 - Journal of Aesthetic Education 54 (3):1.
    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 (...)
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  38. The Postcolonial Pedagogical Challenge of Creativity.Sabrina D. MisirHiralall - 2017 - Religion and Education 2 (44):1-18.
    Edward Said pointed to the problem of Orientalism that develops when the West creates a fictitious imagined version of Eastern religion and culture. Said’s notion of Orientalism focuses on the general distorted representation of Eastern religion and culture by the West. Homi Bhabha extends Said’s notion of Orientalism to reveal the tension of the inevitable hybridity between the East and the West. Here, cultural practices develop in the space of hybridity with the intention to promote a feeling of coherence as (...)
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  39.  32
    Revalorized Black Embodiment: Dancing with Fanon.Joshua M. Hall - 2012 - Journal of Black Studies 43 (3):274-288.
    This article explores Fanon's thought on dance, beginning with his explicit treatment of it in Black Skin, White Masks and The Wretched of the Earth. It then broadens to consider his theorization of Black embodiment in racist and colonized societies, considering how these analyses can be reformulated as a phenomenology of dance. This will suggest possibilities for fruitful encounters between the two domains in which (a) dance can be valorized while (b) opening up sites of resignification and (...)
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  40.  94
    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 (...)
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  41.  51
    Choreographing the Borderline: Dancing with Kristeva.Joshua M. Hall - 2012 - Philosophy Today 56 (1):49-58.
    In this paper I will investigate Kristeva’s conception of dance in regard to the trope of the borderline. I will begin with her explicit treatments of dance, the earliest of which occurs in Revolution in Poetic Language, in terms of (a) her analogy between poetry and dance as practices erupting on the border of chora and society, (b) her presentation of dance as a phenomenon bordering art and religion in rituals, and (c) her brief remarks on (...)
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  42.  64
    Rearticulating Languages of Art: Dancing with Goodman.Joshua M. Hall - 2015 - Evental Aesthetics 3 (3):28-53.
    In this article, I explore the relationship between dance and the work of Nelson Goodman, which is found primarily in his early book, Languages of Art. Drawing upon the book’s first main thread, I examine Goodman’s example of a dance gesture as a symbol that exemplifies itself. I argue that self-exemplifying dance gestures are unique in that they are often independent and internally motivated, or “meta-self-exemplifying.” Drawing upon the book’s second main thread, I retrace Goodman’s analysis of (...)
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  43.  45
    Reattaching Shadows: Dancing with Schopenhauer.Joshua Maloy Hall - 2014 - PhaenEx 9 (1):1.
    The structure of my investigation is as follows. I will begin with Schopenhauer’s very brief explicit mention of dance, and then try to understand the exclusion of dance from his extended discussion of the individual arts. Toward this latter end I will then turn to Francis Sparshott essay, which situates Schopenhauer’s thought in terms of Plato’s privileging of dance (in the Laws) as the consummate participatory art, and which observes that Schopenhauer’s dance is that of Shiva, (...)
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  44. “Il governo del corpo attraverso il movimento disciplinato e la ricerca della variazione intensiva nella contact improvisation.”.Claudia Landolfi - 2014 - Passparnous 17 (2281-9223).
    The object of this investigation is the connection between dance and modern philosophy. The body has been disciplined in modern era in a very peculiar way which is conveyed into governmental processes of optimization of the bodily potentiality. Dance has not only an aesthetic value but a political one. In this contribution I analyse the government of the body through disciplined movement and the research for the intensive variations in the contemporary sperimental 'contact improvisation'.
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  45.  53
    Hay’s Buddhist Philosophy of Gestural Language.Joshua M. Hall - 2017 - Asian Philosophy 27 (3):175-188.
    The central role of gestural language in Buddhism is widely acknowledged, as in the story of the Buddha pointing at the moon, the point being the student’s seeing beyond the finger to its gesture. Gesture’s role in dance is similarly central, as noted by scholars in the emerging interdisciplinary field of dance studies. Unsurprisingly, then, the intersection of these two fields is well-populated, including the formal gestures Buddhism inherited from classical Indian dance, and the masked dance (...)
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  46.  39
    A Divinely Tolerant Political Ethics: Dancing with Aurelius.Joshua M. Hall - 2016 - Epoché: A Journal for the History of Philosophy 20 (2):327-348.
    Marcus Aurelius’s Meditations constitutes an important source and subject for Michel Foucault’s 1981 lectures at the Collège de France, translated into English as Hermeneutics of the Subject. One recurring theme in these lectures is the deployment by Hellenistic/Roman philosophers such as Aurelius of the practice and figure of dance. Inspired by this discussion, the present essay offers a close reading of dance in the Meditations, followed by a survey of the secondary literature on this subject. Overall, I will (...)
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  47.  46
    Self-Mimetic Curved Silvering: Dancing with Irigaray.Joshua Maloy Hall - 2014 - Journal of French and Francophone Philosophy 22 (1):76-101.
    The upshot of this article is that dance functions in Irigaray’s work in the following three ways: as (1) a symbol of a more positive comportment for heterosexual relationships; (2) an indication that the ambivalence in Irigaray’s work is self-consciously strategic; and (3) an example that teases apart the concepts of negative and positive mimesis, specifically by fleshing out the latter. More concisely, dance constitutes a figure of positive ambivalence (whether between heterosexual lovers, participants in a philosophical dialogue, (...)
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  48.  30
    Apposite Bodies: Dancing with Danto.Joshua M. Hall - 2015 - Philosophy in the Contemporary World 22 (1):19-36.
    Though Arthur Danto has long been engaged with issues of embodiment in art and beyond, neither he nor most of his interlocutors have devoted significant attention to the art form in which art and embodiment most vividly intersect, namely dance. This article, first, considers Danto’s brief references to dance in his early magnum opus, The Transfiguration of the Commonplace. Second, it tracks the changes in Danto’s philosophy of art as evidenced in his later After the End of Art (...)
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  49. Thinking Toes...? Proposing a Reflective Order of Embodied Self-Consciousness in the Aesthetic Subject.Camille Buttingsrud - 2015 - Proceedings of the European Society for Aesthetics 7:115-123.
    Philosophers investigating the experiences of the dancing subject (Sheets-Johnstone 1980, 2009, 2011, 2012; Parviainen 1998; Legrand 2007, 2013; Legrand & Ravn 2009; Montero 2013; Foultier & Roos 2013) unearth vast variations of embodied consciousness and cognition in performing body experts. The traditional phenomenological literature provides us with descriptions and definitions of reflective self-consciousness as well as of pre-reflective bodily absorption, but when it comes to the states of self-consciousness dance philosophers refer to as thinking in movement and a form (...)
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  50.  44
    Reivew of Sally Banes' Dancing Women: Female Bodies on Stage. [REVIEW]Peg Zeglin Brand Weiser - 1999 - Dance Research Journal 31 (2):114-117.
    Sally Banes' analysis, Dancing Women: Female Bodies on Stage, is an exemplary model for future feminist criticism of all the arts. The reason is that Banes deliberately avoids judgments about dancing bodies that are overwhelmingly negative or positive, that is, inflexible indicators of either victimization or celebration. What she teaches us instead is the practice of looking.
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