I will then uphold that new political actors are incarnating and realizing this refoundation of humanism which the globalized world direly needs. I take as examples two of these experiences which cruelly lack a means of expression in today’s codes of humanism: adolescents in want of ideals and maternal passion at the cross-roads of biology and meaning. At these crossroads of body and meaning, of biology and sublimation it is perhaps dance more than other trans-linguistic experience that informs (...) and accompanies the process of transhumanisation as it counters the crisis and exceeds the impending threat of apocalypse. (shrink)

3 In live performances seated audiences have restricted opportunities for response. Some 4 responses are obvious, such as applause and cheering, but there are also many apparently 5 incidental movements including posture shifts, fixing hair, scratching and adjusting glasses. 6 Do these movements provide clues to people’s level of engagement with a performance? Our 7 basic hypothesis is that audience responses are part of a bi-directional system of audience- 8 performer communication. This communication is part of what distinguishes live from (...) recorded 9 performance and underpins live performers’ moment-to-moment sense of how well a performance 10 is going. Here we investigate the range of visible real-time movements of audiences in four live 11 contemporary dance performances. Video recordings of performers and audiences were analysed 12 using computer vision techniques for extracting face, hand and body movement data. The 13 meaning of audience movements were analysed by comparing clips of the audience at moments 14 of maximum and minimum movement to expert and novice judges. The results show that audience 15 clips with the lowest overall movement are judged as displaying the highest engagement. In 16 addition, we found that while there is no systematic relationship between audience and dancers 17 movement, hands seem to play an especially significant role since they move significantly more 18 compared to the rest of the body. We draw on these findings to argue that collective stillness is 19 an especially salient signal of audience engagement. (shrink)

An abrupt break in the prevailing modes of artistic expression, for many, marks the advent of modernism in the early twentieth century, but revisionary attempts to pin down a precise moment of its emergence remain disputed. History of a Shiver proffers a different approach, tracing the first inkling of modernism instead to the nineteenth century's fascination with music.As Jed Rasula deftly shows, melomania--the passion for music--gave rise to concepts like Richard Wagner's "endless melody" and the Gesamtkunstwerk, or total work of (...) art, which in turn infused the arts of the fin de siècle with an aura of expectancy, challenging them to induce musical effects by their own means. With each art aspiring to produce the effects of another artistic medium, a synesthetic yearning ran like a shiver through the body of art that would emerge over the next half century. Rasula traces this pan-arts polyphony from German Romantic theory to early experiments in "visual music," encompassing such diverse phenomena as American fixation on Arcadia, early film theory, and the lure of the fourth dimension. All the while, he keeps focus on the paramount historical consequence in elevating music to a new universal aesthetic standard, arguing that Wagnerism was first among modern "isms."In surveying this momentous interplay among arts, History of a Shiver ranges from literature, music and painting to theatre, cinema, dance, photography, and civic pageantry. It retells the story of modernism by recovering not an idea, but a feeling--the hair-raising potential for each painting, literary text, or musical composition to herald an unprecedented domain of human enterprise. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Note From A Narcissist (Amores 1.11) OVID (Translated by Caleb M. X. Dance) Yoohoo! Yes! You! You do her hair. Right? Not like the one who does her legs or nails, right? You know where she goes, right? And you can let her know, like before, to rush those lovely toes— Oh! I mean her hair, to me. Oh, you’ve always been a friend! Right! Take this little note (...) to her tomor— Oh! and hand it to her. Understand? No delay! You’ve got a heart, right? You might be softer than you think and not as “plain Jane” as you think? I think you’ve felt a bit of love, no? You see it in me too, no? So— anyway, if she wants to know what I’m thinking, tell her I can’t wait to hold her close tonight. Right! Enough. My note will say the rest. Oh, it’s late! I’m blabbing. Go! No! Wait! Catch her in a good mood—when she’s free. Oh! but make her read it right away. Watch her eyes! And her face, reading. I mean as she reads. Oh, you learn a lot, even from dumb faces. Don’t be slow! When she’s read it, arion 27.1 spring/summer 2019 make her write right back. Lots. Tell her! It’s the worst when every page is filled with loads of empty space. She should pack them in—lines—so eyes linger on words in the margins. My eyes! No! Wait! Tell her not to tire fingers writing long. Let her only write: “Come!” No delay—I’ll praise these letters right away. I’ll dedicate them to... oh... you know, Lady Love herself, and I’ll note, “To Love: Ovid offers up these loyal saviors— you who just were scraps of paper.” 154 note from a narcissist... (shrink)

Human action has generally appeared to the sociologist as instrumental action, movement conceptualized and valued in terms of its utility, with the actor defined in terms of agency within rationalized social systems . Dance provides a way of seeing that conditions for human existence cannot be reduced to socio-economic relations and forms. Drawing on my ethnographic study of a dance improvisation group, I explore some of the ways in which innovative action resists the productive and textual relations that turn bodies (...) into objects of social control in the capitalist world-order, and creates relations that enable ‘free’ action and liberated subjectivities. Innovations disrupt the pre-existing frames of reference, physical and linguistic, that position the subject in the world of work, and establish an unlimited and undetermined time-space for experiencing ‘something new’. In this case the something new is an opportunity to create oneself anew through choices that are made moving ‘free’ from the constraints of practical activity. Within the intersubjective life-world established through innovative action a space is created for individuation and empowerment. Although these conditions for existence are episodically produced and contingent, they begin and end with the dancing, the relations are self-affirming rather than self-alienating. Dance improvisation experience provides a sociological context for presenting human activity as a contested category in sociological theory, and it raises some important questions about what it means to be human in the world. (shrink)

This article explores the rhythmic body with the example of the embodiment of the ‘bashment gal’ and the role she plays in the dancehall sound system session. It considers rhythm as an energetic patterning process operating both within and between media. Rhythm provides a means of communication and making sense that does not rely on representation or code. There are three elements to performance techniques of the rhythmic body – amplification, inflection and transduction. Amplification for the bashment gal’s performance techniques (...) involves increasing the size or effort of her dance movements, dancing in a chorus line accelerating her tempo. In what is considered as a hyper-sexualized arena of the dancehall session, it is argued that the bashment gal has to be understood in terms of African traditions where sexual pleasure and fertility are not separate. With rhythmic inflection the bashment gal gives distinctiveness to her performance, as is much prized in the style and fashion of the dancehall scene. The transduction of patterning from one medium to another, via tympanic surfaces, helps to forge the sound system session and the bashment gal as a rhythmic whole and fosters her sense of identity as a rhythmic body. (shrink)

Bodying Postqualitative Research posits the question of what happens when lived, fleshy human bodies engage in postqualitative research in education. It takes as its central concern research propositions aimed at dismantling the structures of humanism that typically govern research in education and uses postqualitative conceptions of data, methodology, and clarity in conjunction with insights from feminist science studies scholars to imagine how we might 'body' postqualitative work. This book uses the provocations offered by postqualitative research and takes these touchpoints to (...) dismantle dominant logics of research, born of neoliberalism and ongoing settler colonialism to offer alternative perspectives. Importantly, this book stays near to the body by proposing caffeine shakes, antipsychotic medications, and scars as moments to take seriously how bodies do researching practices. After each chapter, the book turns to poetry as a "fracture" or a moment of disruption to the rhythm of the text that incites readers to reconsider the previous chapter otherwise. It concludes by asking what bodying postqualitative research might mean for pedagogy and for propositions toward future inquiry. Drawing together the work of feminist science and education scholars oriented toward the biosciences and whose work has not yet been immersed into postqualitative scholarship in a sustained way, this book brings together a vein of feminist science studies theorizing that both deepens and troubles postqualitative scholarship through its focus on the politics of science and the possibilities of doing bodies with biology, culture, and life. The volume is suitable for students and scholars interested in postqualitative and embodied research methods in education, and feminist and gender studies. (shrink)

Sports studies is currently dominated by the intellectualist approach to understanding skill and expertise, meaning that questions about the phenomenological nature of skilled performance in sport have generally been overshadowed by the emphasis on the cognitive. By contrast, this article responds to calls for a phenomenology of sporting embodiment by opening up a philosophical exploration of the nature of athletic being-in-the-world. In particular, the paper explores the conceptualisation of immanence and transcendence in relation to the embodied practice of dance, (...) engaging with Merleau-Ponty’s important insight that the body can be a source of transcendence. I also draw on data from in-depth qualitative interviews with professional contemporary dancers to explore dancers’ concepts of ‘being in your body’ and ‘being in the moment’, and to suggest that during the actual embodied practice of dance, dancers do not experience transcendence and immanence as they are conceptualised in philosophy. Rather, I argue, dancers experience a third mode of being that is somehow in-between these two binary terms. I have called this ‘inhabited transcendence’. (shrink)

When we attend a dance performance we expect to see human beings performing various sorts of bodily movements. Movement is, uncontroversially, the primary medium of a dance. Our intuition, then, is to think that our response to and understanding of the dance must be connected in some way to this movement. Attempts to relate our understanding of a dance, specifically our grasping the meaning of a dance, to the medium of movement, through a movement-oriented response have taken the form (...) of theories that rely on a notion of kinesthetic response or kinesthetic empathy. My intentions in this essay are to show that the intuition that our understanding of a dance is kinesthetically based is correct and that how the kinesthetic brings us to understand the dance is different from the earlier empathy theories, in a number of important ways. But I will also argue that current analytic strategies will not suffice and that the full defense of kinesthetic understanding, as I will call it, will require a different manner of explaining and understanding of the activities of human beings. My own analysis will draw on a number of resources, primarily the case study of Alexander Technique, a body therapy that seems to give us access to the kinesthetic organization of our activities and the philosophical work of a number of people, centrally Maurice Merleau-Ponty, who argues strongly for the role movement plays in constituting our world. I will show how kinesthetic understanding, given the historical trajectories permitted by tradition and the mechanics of the human body, can bring dancers, choreographers, and critics to a point of intersection where they can experience and talk about dance in terms of its kinesthetic basis, and that without this intersection the kind of meaning in movement I am discussing cannot take place. They will miss the preferred intersection unless they achieve kinesthetic understanding. (shrink)

The objective of the research presented in this paper was to investigate whether an association existed between the activation of the body schema and reaching adulthood among people in late adolescence. Three activities that are known to enjoy popularity among young people were analysed, namely: dancing, playing computer games that require motor involvement, and playing computer games of an educational and entertaining character. It was assumed that the chosen forms of activity correspond to three levels of activation of the body (...) schema. The following research methods have been applied to this study: the Rosenberg Self-Esteem Scale, the Defence Style Questionnaire, and the Bodily Self Representation Questionnaire. The study has proven that the activation of body schema through dance is significantly related to high self-esteem and the use of mainly mature and neurotic defence mechanisms in threat situations. (shrink)

Dance is regarded as visual art form by common arts and science perspectives. Definitions of dance as means of communication agree that its message is conveyed by the dancer/choreographer via the human body for the observer, leaving no doubt that dance is performed to be watched. Brain activation elicited by the visual perception of dance has also become a topic of interest in cognitive neuroscience, with regards to action observation in the context of learning, expertise and aesthetics. The view that (...) the aesthetic experience of dance is primarily a visual one is still shared by many artists and cultural institutions, yet there is growing interest in making dance performances accessible for individuals with visual impairment / blindness. Means of supporting the non-visual experience of dance include verbal (audio description), auditive (choreographed body sounds, movement sonification), and haptic (touch tour) techniques, applied for different purposes by artists and researchers, with three main objectives: to strengthen the cultural participation of a non-sighted audience in the cultural and aesthetic experience of dance; to expand the scope of dance as an artistic research laboratory toward novel ways of perceiving what dance can convey; and to inspire new lines of (neuro-cognitive) research beyond watching dance. Reviewing literature from different disciplines and drawing on the personal experience of an inclusive performance of Simon Mayer's “Sons of Sissy,” we argue that a non-exclusively visual approach can be enriching and promising for all three perspectives and conclude by proposing hypotheses for multidisciplinary lines of research. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Books ReceivedAquinas on Being. By Anthony Kenny. Oxford: Clarendon Press, 2002. Pp. x + 212. Price not given.Before and after Avicenna: Proceedings of the First Conference of the Avicenna Study Group. Edited by David C. Reisman, with the assistance of Ahmed H. al Rahim. Leiden: Brill, 2003. Pp. xix + 302. Price not given.Beside Still Waters: Jews, Christians, and the Way of the Buddha. Edited by Harold Kasimow, John (...) P. Keenan, and Linda Klepinger Keenan. Boston: Wisdom Publications, 2003. Pp. 284. Paper $14.95.The Buddhist Unconscious: The ālaya-vijñāna in the Context of Indian Buddhist Thought. By William S. Waldron. London and New York: RoutledgeCurzon, 2003. Pp. xvi + 269. Price not given.Comparative Political Philosophy: Studies under the Upas Tree. Edited by Anthony J. Parel and Ronald C. Keith. Lanham, Maryland: Lexington Books, 2003. Pp. xxxviii + 260. Paper $26.95.The Confucian Quest for Order: The Origin and Formation of the Political Thought of Xun Zi. By Masayuki Sato. Leiden: Brill, 2003. Pp. xviii + 500. Price not given.Gathering the Meanings: The Compendium of Categories: The Arthaviniścaya Sūtra and Its Commentary Nibandhana. Translated from the Sanskrit by N. H. Samtani. Berkeley: Dharma Publishing, 2002. Pp. xxxiv + 390. Price not given.I Have Arrived, I Am Home: Celebrating Twenty Years of Plum Village Life. By Thich Nhat Hanh. Berkeley: Parallax Press, 2003. Pp. 253. Paper $25.00.Identity and the Moral Life. By Mrinal Miri. New Delhi: Oxford University Press, 2003. Pp. xvii + 132. Hardcover Rs 645.00.Indian Philosophers and Postmodern Thinkers: Dialogues on the Margins of Culture. By Carl Olson. New Delhi: Oxford University Press, 2002. Pp. xv + 331. Hardcover Rs 950.00.Islamic Humanism. By Lenn E. Goodman. New York: Oxford University Press, 2003. Pp. xiii + 273. Price not given.Letting Go: The Story of Zen Master Tōsui. Translated by Peter Haskel. Honolulu: University of Hawai'i Press, 2001. Pp. xv + 167. Hardcover $45.00. Paper $16.95.A Life Journey to the East: Sinological Studies in Memory of Giuliano Bertuccioli (1923-2001). Edited by Antonino Forte and Federico Masini. Kyoto: Scuola Italiana di Studi sull'Asia Orientale, 2002. Pp. xxxv + 280. Price not given.The Measure of Things: Humanism, Humility and Mystery. By David E. Cooper. Oxford: Clarendon Press, 2002. Pp. ix + 372. Price not given. [End Page 277]Mencius, Hume and the Foundations of Ethics. By Xiusheng Liu. Aldershot, Hampshire: Ashgate Publishing Limited, 2003. Pp. vii + 204. Price not given.Monks and Monarchs, Kinship and Kingship: Tanqian in Sui Buddhism and Politics. By Chen Jinhua. Kyoto: Scuola Italiana di Studi sull'Asia Orientale, 2002. Pp. xiii + 310. Price not given.Music in the Sky: The Life, Art, and Teachings of the 17th Gyalwa Karmapa Ogyen Trinley Dorje. By Michele Martin. Ithaca: Snow Lion Publications, 2003. Pp. 351. Paper $18.95, U.K. £12.95.New Confucianism: A Critical Examination. Edited by John Makeham. New York: Palgrave Macmillan, 2003. Pp. 262. Hardcover $55.00.On the Boundaries of Theological Tolerance in Islam: Abū Hāmid Al-Ghāzalī's Faysal al-Tafriqa Bayna al-Islām wa al-Zandaqa. By Sherman A. Jackson. Oxford: Oxford University Press, 2002. Pp. xiv + 156. Hardcover Rs 295.00.Pandita Ramabai's American Encounter: The Peoples of the United States (1889). By Pandita Ramabai and translated and edited by Meera Kosambi. Bloomington: Indiana University Press, 2003. Pp. xi + 284. Hardcover $59.95. Paper $29.95.Parmenides of Elea: A Verse Translation with Interpretative Essays and Commentary to the Text. By Martin J. Henn. Westport, Connecticut: Praeger, 2003. Pp. 147. Hardcover $59.95.Philosophes taoïstes, tome II: Huainan Zi, texte traduit, présenté et annoté sous la direction de Charles le Blanc et de Rémi Mathieu. Paris: Éditions Gallimard, 2003. Pp. lxxxiii + 1182. Hardcover €56,90.The Philosophy and Ethics of the Vīraśaiva Community. By Dan A. Chekki. Lewiston, New York: The Edwin Mellen Press, 2003. Pp. xxv + 287. Hardcover $119.95.Poems of Hanshan. Translated by Peter Hobson with introduction by T. H. Barrett. Walnut Creek, California: AltaMira Press, 2003. Pp. viii + 151. Hardcover $65.00. Paper $19.95.Psychoanalysis and Buddhism: An Unfolding Dialogue. Edited by Jeremy D. Safran. Boston... (shrink)

Humanistic management is a people-oriented management that seeks profits for human ends. It contrasts with other types of management that are essentially oriented toward profits, with people seen as mere resources to serve this goal. This article reviews the historical development of humanistic management and the ever-increasing body of literature on the concept as well as the different meanings that scholars attribute to it. It then explores what form a genuine humanism might have by presenting seven propositions labeled as: 1) (...) wholeness, 2) comprehensive knowledge, 3) human dignity, 4) development, 5) common good, 6) transcendence, and 7) stewardship-sustainability. Next, it looks at four characteristics of a humanistic ethos for managing business: the view of the individual and human work, the role of the individual in the society and in interacting with nature, the business firm, and the purpose of business in society. Finally, it presents some insights for the practice of humanistic management. (shrink)

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 of (...) dancing-with involves both (1) a creative “torsion” of Y’s thought (particularly in the direction of unconscious, embodied and political factors at work in Y’ texts), and (2) a resultant, sympathetic torsion of X’s thought toward Y. In other words, X and Y “meet in the middle,” like two dancers walking onto the dance floor, to explore the promise of a flourishing artistic partnership. In this partnership, each must attend to the way that political meanings are inscribed on the other’s raced/sexed/etc. body, both to react maximally justly, and to maximize the aesthetic movement options that can be brought into play. As the method of dancing-with is thus modeled on an ideal comportment for improvisational social dance (such as the contemporary Latin dance called “salsa”), I envision the end-goal of dancing-with as what I call “poetic social justice.” By this, I mean the “poetic justice” of two theorists’ mutually empowering each other for maximal social good. Though this process is admittedly more difficult between some theorists, in part as a function of their respective embodiments and sociohistorical positions, at least a move or two together is always possible. (shrink)

Susanne K. Langer contributed an exhaustive account of aesthetics, Feeling and Form, in which she articulated her schema of the virtual and wove together the aesthetic elements of music, visual arts, dance, and literature/theater. This analysis of her work centers on two key concepts within her philosophy: the virtual as the aesthetic effect of the work and the perception of the work through intuition. In this paper, I re-read Langers philosophy through a perspective built on intersections between phenomenology, pragmatism, and (...) post-structuralist theory in order to reveal the relevance of her work to current understandings of how the dancing body produces and conveys meaning. I endeavor to show how her work provides a practical, conceptual system for understanding dance as an a-linguistic form of meaning-making, bodily experience, and knowledge. (shrink)

Subject: Volume dedicated to the question of how dance, both in its historical and in its contemporary manifestations, is intricately linked to conceptualisations of the political. Whereas in this context the term "policy" means the reproduction of hegemonic power relations within already existing institutional structures, politics refers to those practices which question the space of policy as such by inscribing that into its surface which has had no place before. The art of choreography consists in distributing bodies and their relations (...) in space. It is a distribution of parts that within the field of the visible and the sayable allocates positions to specific bodies. Yet in the confrontation between bodies and their relations, a deframing and dislocating of positions may take place. The essays included in this book are aimed at the multiple connections between politics, community, dance, and globalisation from the perspective of e.g. Dance and Theatre Studies, History, Philosophy, and Sociology. (shrink)

I understand humanism to be the meta-ethical view that there exist discoverable (nonmoral) truths about the human condition, that is, about what it means to be human. We might think that as long as I believe I am realizing my unique human potential, I cannot be reasonably contradicted. Yet when we consider systemic oppression, this is unlikely. Systemic oppression makes dehumanizing conditions and treatment seem reasonable. In this paper, I consider the nature of understanding—drawing in particular upon recent defenses of (...) realism in the philosophy of science—and argue that humanism makes sense if we recognize more thoroughly the role of cause and effect in practical deliberation. By this I mean the cause-and-effect relation between mind and body and between minds, bodies, and the world. Three philosophical sources—Marxism, Buddhism and Christianity—show what this might mean, as I indicate in the second half of the paper. (shrink)

This paper aims to demonstrate the relation between eroticism, perceptually expanded experience (dilated, brought forth by the intelligence of the body), and the notion of interconnectivity and global consciousness. I discern two tendencies: the self's positional relation via technology proposed by philosophers like Descartes; and the self's non-positional relation via technology that seems to be proposed by some philosophers such as Fritjof Capra. I draw my sources from the second category: my work is enriched by an anthropological approach where I (...) expand my experience by integrating several typical dances from different countries, as well as traditional spiritual dances from a Western point of view. My process refers to oriental philosophy - it presents the exterior world and the interior world as two aspects of the same fabric, and questions the very notion of surface and bodily borders in which every thread of every energy and phenomenon, of every form of consciousness and its objects are woven into one continuous tapestry of infinite and mutually conditioned relations. This brings forth a redefinition of the notion of limit, time and reality. The bodily experience, enriched by training from several different cultures transports us to an experience of interiority which leads to states of expanded consciousness. (shrink)

Carceral spaces such as prisons are designed to restrict freedoms and keep inhabitants confined and under surveillance through various mechanisms. As a result, prisons are spaces where movement is restricted through confinement, while prisoners’ ability to move is conflated with freedom. We aim to move beyond this dichotomy and consider a complex rethinking of the body in criminological theory and practice through dance in carceral space. In doing so, we explore under what conditions movement represents agentic practices. Understanding these nuances (...) requires an interrogation of prisoner agency, including prisoners’ subtle maneuverability of power dynamics within the prison. We explore these dynamics using feminist and arts-based methods, specifically dance workshops delivered to twenty participants incarcerated in a Canadian provincial women’s prison. We find that movement and expression in prison may create moments of agentic freedom for incarcerated women under certain conditions. We argue that more nuanced understandings of incarcerated women’s agency can be found in their daily negotiations of time and space, and movement can provide numerous meanings. Our findings suggest arts-based approaches within prison environments create opportunities for women to express their identity and sexuality through movement in ways otherwise not permitted in prison. For many incarcerated women in this study, this sense of freedom may be associated with the ability to focus and take care of themselves while confined. (shrink)

"Art history and art theory are inseparable. A history of art can be achieved only through the simultaneous construction of a theory of art." These words of the eminent scholar and critic Louis Marin suggest why he considered the paintings and the writings of Nicolas Poussin, painter and theoretician of painting, an enduring source of inspiration. Poussin was the artist to whom Marin returned most faithfully over the years. Since Marin did not live to write his proposed book on Poussin, (...) the ten major essays in this volume will remain his definitive statement on the painter who inspired his most eloquent and probing commentary. At the center of Marins inquiry into Poussins art are the theory and practice of "reading" paintings. Rather than explicate Poussins work through systematic textual and iconographic analysis, he sets out to explore a cluster of speculative questions about the meaning of pictorial art: Can painting be a discourse? If so, how can that discourse be deciphered? Marins horizon for interpreting Poussin depends more on the concepts of aesthetic philosophy and the insights of cultural history than on an account of the painters career or his relationship with his artistic predecessors. For example, he positions several of Poussins best-known landscapes with respect both to French seventeenth-century debates on the question of the sublime and to the philosophical tradition of reflection on the sublime. Among the topics Marin studies are the tempest as a major figure of the sublime in Poussins work, the presence of ruins in the paintings, Poussins use of the concept of metamorphosis, and the frequent presence of sleeping bodies in the work. The Poussin who emerges in these essays is preeminently a philosopher-artist whose painterly discourse embodies the limits of thought and of representation. (shrink)

Dance is proposed as the most representative of somaesthetic arts in Thinking Through the Body: Essays in Somaesthetics and other writings of Richard Shusterman. Shuster- man offers a useful, but incomplete approach to somaesthetics of dance. In the examples provided, dance appears as subordinate to another art form or as a means to achieving bodily excellence. Missing, for example, are accounts of the role of dance as an independent art form, how somaesthetics would address differences in varying approaches to dance, (...) and attention to the viewer’s somaesthetic dance experience. Three strategies for developing new directions for dance somaesthetics are offered here: identify a fuller range of applications of somaesthetics to dance as an independent art form ; develop somaesthetics for a wider range of theatre dance ; and relate somaesthetics to more general features of dance necessary for understanding the roles of the choreographer/dancer and the viewer. (shrink)

This article investigates the ways in which discourses and experiences of health and healing have shaped the development of contemporary dance in France. It confronts the problem of how to situate contemporary dance in relation to other dance genres and suggests Robert Desjarlais’ concept of the ‘aesthetic of experience’ as a helpful framework for understanding the ways in which technique and virtuosity operate differently in contemporary dance than in other dance forms. The article is ethnographic and historical and attempts to (...) create a dialogue between dance studies and medical anthropology. The ethnographic and historical material has three parts. First, I offer an analysis of the cultural idiom of illness as blocageand argue that contemporary dancers in Aix-en-Provence experience their work as a form of healing or dÈblocage. Next, I show how two historical and political events in France led to the promotion of dance as a means of social reform: (1) the Situationist art movement of the 1960s and its idea of ‘awakening’ society through public art; and (2) the renovation of the French Ministry of Culture in 1982 and its subsequent promotion of contemporary dance in state-funded community outreach projects in the 1980s. Finally, drawing on rich narratives from fieldwork interviews, I define awareness, expression and presence as the primary technical elements of contemporary dance in Aix-en-Provence, France, in 2002, and explain their relationship to the notion of ‘dance as l'intervention’ that has grown out of the historical context of contemporary dance in France. (shrink)

This article identifies two different paths where the amnesia described by Hannah- Arendt and the fragmentation identified by Willie James Jennings of our historical past has distorted how people today view dan-cing. I set out how the Christian entanglement with colonial powers has impacted on people’s abilities to relate to their bodies, lands and other creatures of the world. I describe how the colonial wound of Western society forms the basis of the loneliness and alienation that totalitarianism inculcates. After this, (...) I examine how people who seek to find a solid tradition of dance within the Western traditions of Christianity often end up in a conundrum when they seek to legitimize the existence of the tradition in the wrong places. I show how seeking roots for Christian dance practices in Jewish customs is often entangled in supersessionist understandings. These arguments are constructed by means of both J. Kameron- Carter’s writings on race and theology and the black political theology outlined by Vincent W. Lloyd. The second-most-often chosen option for creating a dance tradition for Western forms of Christianity is to romanticize the non-Western ‘other’. Using Lindsey Drury’s work, I argue that dancers have perpetuated the interests that seek to possess the ‘other’ by bringing exotic dancers to the Western marketplace. Finally, I describe the third option – more commonly found amongst those critical of Christian tradition – to seek the roots of transformational dance practices in Hellenistic and more esoteric teachings flourishing in the early twentieth century. We run into the often forgotten or neglected stories of renowned dance teachers like Rudolf Laban and Isadora Duncan on this path. By combining esoteric bodily practices, Mother Earth ‘spirituality’ and superior views about race, they not only promoted but laid the foundation for how people were manipulated in the Third Reich. I end by sharing ethnographic stories of resistance towards how these past historical patterns have affected how dance is viewed today. Those exhibiting such resistance are not always consciously aware of the historical roots I have described. However, engagement in contemplative and healing dance practices seems to be forging new and better ways to create community and to live in a connected way with creation and our creatureliness. The central theme of these practices is to resist the illusion of perfection and control while helping people to listen to and discern the Holy Spirit leading them into a new way of living. (shrink)

In this article I will discuss the dancer’s physical potential and the sensitive knowledge (‘la connaissance sensible’) that emerges from dance practice. For this, I take Lévi-Strauss’ (2010) theory of the ‘savage mind’ as a reference. This theory is important to understand how the discipline of dance does not need to be justified through modern science (Lévi-Strauss 2010). It is understood that dance operates from sensitive knowledge, while modern science is expressed through the intelligible. I will point out how the (...) dancer operates the sensitive, or dancing, thought, stressing that this type of knowledge is created through interest in how to use it and not through interest in how it serves, or what it means. I will then explain how, through sensitive knowledge, dancers propose new challenges during their aesthetic training in order to develop new body technologies, thereby increasing their expressive potential. For this, dancers need to develop body acuity. In other words, I will discuss the processes that dancers use to transform the perception of the self and of the world through danced gestures. In this process, the dancer is always looking for new challenges; he/she constantly deals with new risks in order to discover new knowledge. I will also discuss the problem that dance faces in traditional academia, which disregards sensitive knowledge and values scientific knowledge. (shrink)

Background: Previous studies have investigated the effects of dance interventions on Parkinson’s motor and non-motor symptoms in an effort to develop an integrated view of dance as a therapeutic intervention. This within-subject study questions whether dance can be simply considered a form of exercise by comparing a Dance for Parkinson’s class with a matched-intensity exercise session lacking dance elements like music, metaphorical language, and social reality of art-partaking.Methods: In this repeated-measure design, 7 adults with Parkinson’s were tested four times; before (...) and after a Dance for Parkinson’s class, as well as before and after a matched-intensity exercise session. Physiological measures included heart rate and electrodermal activity. Self-reported affect and body self-efficacy were collected. Gait symmetry and dual task cost were analyzed using the 6 min walking test and Timed-Up-and-Go test, respectively.Results: Average heart rate was the same for both conditions, while electrodermal activity was higher during Dance for Parkinson’s. Significant differences were found in body self-efficacy, beauty subscale, symmetry of gait, and dual task performance.Conclusion: Dance, compared to an exercise intervention of matched intensity, yields different outcomes through the means of intrinsic artistic elements, which may influence affective responses, the experience of beauty, self-efficacy, and gait performance. (shrink)

How to inculcate virtue in the citizens of Magnesia by means of the dance component ofchoreiaconstitutes one of the principal concerns in theLaws(=Leg.), revealing Plato's evolving ideas about the expediency of music andpaideiafor the construction of his ideal city since theRepublic. Indeed, a steady stream of monographs and articles on theLawshas enriched our understanding of how Plato theorizes the body as a site of intervention and choral dance as instrumental in solidifying social relations and in conditioning the ethical and political (...) self. As one scholar has aptly put it: ‘a city and its sociopolitical character [are] effectively danced into existence.’ Drawing on this recent work, I focus on an enigmatic passage inLawsBook 7 that merits more attention than it has received, in which Plato curiously singles out Bacchic dances from those that are ‘without controversy’ (815b7–d4):τὴν τοίνυν ἀμφισβητουμένην ὄρχησιν δεῖ πρῶτον χωρὶς τῆς ἀναμφισβητήτου διατεμεῖν. τίς οὖν αὕτη, καὶ πῇ δεῖ χωρὶς τέμνειν ἑκατέραν; ὅση μὲν βακχεία τ᾽ ἐστὶν καὶ τῶν ταύταις ἑπομένων, ἃς Νύμφας τε καὶ Πᾶνας καὶ Σειληνοὺς καὶ Σατύρους ἐπονομάζοντες, ὥς φασιν, μιμοῦνται κατῳνωμένους, περὶ καθαρμούς τε καὶ τελετάς τινας ἀποτελούντων, σύμπαν τοῦτο τῆς ὀρχήσεως τὸ γένος οὔθ᾽ ὡς εἰρηνικὸν οὔθ᾽ ὡς πολεμικὸν οὔθ᾽ ὅτι ποτὲ βούλεται ῥᾴδιον ἀφορίσασθαι: διορίσασθαι μήν μοι ταύτῃ δοκεῖ σχεδὸν ὀρθότατον αὐτὸ εἶναι, χωρὶς μὲν πολεμικοῦ, χωρὶς δὲ εἰρηνικοῦ θέντας, εἰπεῖν ὡς οὐκ ἔστι πολιτικὸν τοῦτο τῆς ὀρχήσεως τὸ γένος, ἐνταῦθα δὲ κείμενον ἐάσαντας κεῖσθαι, νῦν ἐπὶ τὸ πολεμικὸν ἅμα καὶ εἰρηνικὸν ὡς ἀναμφισβητήτως ἡμέτερον ὂν ἐπανιέναι.So, first of all, we should separate questionable dancing far from dancing that is without controversy. Which is the controversial kind, and how are the two to be distinguished? All the dancing that is of a Bacchic kind and cultivated by those who indulge in intoxicated imitations of Nymphs, Pans, Sileni and Satyrs (as they name them), when performing certain rites of expiation and initiation—this entire class of dancing cannot easily be marked off either as pacific or as warlike, nor as of any one particular kind. The most correct way of defining it appears to me to be this—to place it away from both pacific and warlike dancing, and to pronounce that this type of dancing is οὐ πολιτικόν; having thus set aside and dismissed it, we will now return to the warlike and pacific types, which without controversy belong to us. (shrink)

In this paper, I argue that critical posthumanism is a crucial tool in nursing philosophy and scholarship. Posthumanism entails a reconsideration of what ‘human’ is and a rejection of the whole tradition founding Western life in the 2500 years of our civilization as narrated in founding texts and embodied in governments, economic formations and everyday life. Through an overview of historical periods, texts and philosophy movements, I problematize humanism, showing how it centres white, heterosexual, able‐bodied Man at the top of (...) a hierarchy of beings, and runs counter to many current aspirations in nursing and other disciplines: decolonization, antiracism, anti‐sexism and Indigenous resurgence. In nursing, the term humanism is often used colloquially to mean kind and humane; yet philosophically, humanism denotes a Western philosophical tradition whose tenets underpin much of nursing scholarship. These underpinnings of Western humanism have increasingly become problematic, especially since the 1960s motivating nurse scholars to engage with antihumanist and, recently, posthumanist theory. However, even current antihumanist nursing arguments manifest deep embeddedness in humanistic methodologies. I show both the problematic underside of humanism and critical posthumanism's usefulness as a tool to fight injustice and examine the materiality of nursing practice. In doing so, I hope to persuade readers not to be afraid of understanding and employing this critical tool in nursing research and scholarship. (shrink)

This article discusses the key existential stakes of implementing biometrics in human lifeworlds. In this pursuit, we offer a problematization and reinvention of central values often taken for granted within the “ethical turn” of AI development and discourse, such as autonomy, agency, privacy and integrity, as we revisit basic questions about what it means to be human and embodied. Within a framework of existential media studies, we introduce an existential ethics of care—through a conversation between existentialism, virtue ethics, a feminist (...) ethics of care and post-humanist ethics—aiming to deepen and nuance our understanding of the human behind “human-centered” AI directives. The key argument is that biometrics implicates humans through unprecedented forms of objectification, through which the existential body—the relational, intimate and frail human being—is at risk. We interrogate these risks as they become visible at three sites where embodied humans are challenged by biometrics, and thus where the existential body is challenged by the biometric body. This occurs through reductionism (biometric passports nailing bodies to identities, removing human judgment and compromising agency at the AI border), enforced transparency (smart home assistants surveying human intimacies and invading intimate spaces in the bedroom) and the breaching of bodily integrity (chipping bodies to capture sensory data, challenging the very concept of bodily integrity through self-invasive biohacking). Our existential ethics of care is importantly not a solutionist list of principles or suggestions, but a manifesto for a way of thinking about the ethical challenges of living with biometrics in today’s world, by raising the right questions. We argue that a revitalized discussion of the basic existential stakes within human lived experience is needed and should serve as the foundation on which comprehensive frameworks can be built to address the complexities and prospects for ethical machines, responsible biometrics and AI. (shrink)

The Mirror Game (MG) is a common exercise in dance/movement therapy and drama therapy. It is used to promote participants’ ability to enter and remain in a state of togetherness. In spite of the wide use of the MG by practitioners, it is only recently that scientists begun to use the MG in research, examining its correlates, validity and reliability. This study joins this effort by reporting on the identification of scale items to describe the nonverbal behaviour expressed during the (...) MG and its correlation to measures of attachment. Thus, we explored the application of the MG as a tool for assessing the embodiment of attachment in adulthood. Forty-eight participants (22 females, mean age = 33.2) played the MG with the same gender-matched expert players. All MG were videotaped. In addition, participants were evaluated on two central measurements of attachment in adulthood: The Adult Attachment Interview (AAI) and the Experience in Close Relationship questionnaire (ECR). To analyse the data, we developed the “mirror game scale” that coded the nonverbal behavior during the movement interaction, using 19 parameters. The sub-scales were reduced using factor analysis into two dimensions referred to as “together” and “free”. The free factor was significantly correlated to both measurements of attachment: Participants classified as having secure attachment on the AAI, received higher scores on the MG free factor than participants classified as insecure (t (46) = 7.858, p =.000). Participants who were high on the avoidance dimension on the ECR, were low on the MG free factor (r (48) =-.-285, p =.007). This is the first study to examine the MG as it is used by practitioners and its correlation to highly standardized measures. This exploratory study may be considered as part of the first steps of exploring the MG as a standardized assessment tool. The advantages of the MG as a simple, non-verbal movement interaction demonstrate some of the strengths of dance/movement and drama therapy practice. (shrink)

I argue that a fruitful approach to exploring the significance of the abstract expressionist Barnett Newman’s body of work, understood as as an attempt to “paint the sublime,” is by appeal to Peircian phenomenology and the conception of “originativity” that it entails. By attending, in particular, to Peirce’s conception of “the firstness of thirdness,” I show how this “reasonable feeling” both signifies our “affinity” with the world with which we transact and, with specific respect to what happens when looking at (...) Newman’s paintings, explains why we are spurred to reflect upon the meaning of these experiences. In this way, “the firstness of thirdness” accounts for our recognition of a form of reasonableness that exceeds that exhibited in ordinary conceptualization. (shrink)

Noted scholar and humanist argues that we can find answers to important human questions without recourse to faith in a supernatural deity. What gives purpose to our existence? What happens to our mind and body when we die? What invests our lives with meaning and propels us to go on from day to day? These are some of the questions that have occupied humankind for centuries. Do solutions to these problems of life and death depend, as many believe, on (...) the existence and intervention of a supernatural creator god? In this contribution to the Prometheus Lecture Series, noted scholar and humanist Kurt Baier, one of the leading ethical theorists of the 20th century, contends that rational humanism is the best alternative to theism. In Problems of Life & Death: A Humanist Perspective, he offers a lively discussion of humanism and supernaturalism; problems of practical wisdom featuring death and the good; and traditional moral problems. Part one traces contemporary rational humanism to its roots in ancient Greece; its revival in the Christian renaissance; its development during the scientific revolution, the 18th century Enlightenment, the Darwinian theory of evolution, and its contemporary developments. Part two answers broad questions of practical wisdom from the rationalist point of view. The third part offers a rationalist conception of morality to replace "the will of God" as the impetus for human action. Baier then applies this moral stance to a number of contemporary moral problems including how to lead a rewarding life, homosexual behavior, birth control, and suicide. With fresh ideas, a carefully argued thesis, and convincing conclusions, Baier shows how the rational humanist can come to grips with some of the deepest problems of human existence, without assumptions based on religious faith. (shrink)

Contemporary debate suggests that the new genetics may be changing ideas about the body and what it is to be human. Specifically, there are notions that the new genetics seems to erode the ideas that underpin modernity, such as the figure of the integrated, discrete, conscious individual body-self. Holding these ideas against the practices of genetic medicine, however, this article suggests a quite different picture; one that does not erase, but helps to keep in play, some crucial tenets of humanism. (...) The article examines how the genetic clinic constructs clinical pictures as new forms of portraiture: assemblages in which multiple and heterogeneous images of bodies and their parts are juxtaposed. Rather than these portraits just making the distributed and hybrid nature of personhood explicit, shifts in ground mean that what is being portrayed is the possibility of a ‘syndrome–genotype’ relation. At first sight this appears as a straightforward geneticization of the body and the unravelling of the figure of the individual. But the article illustrates how, at the same time as the portraits of syndrome–genotypes are made up of many heterogeneous parts, the clinic still keeps in play an idea of persons that remains, unlike their bodies, much more than the sum of their parts. All the parts that make up the body of the person can still, at moments, be transcended, to refigure the human: the complex individual of humanist thought. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy—Aesthetics—Education:Reflections on DanceTyson Lewis (bio)To create is to lighten, to unburden life, to invent new possibilities of life. The creator is legislator—dancer.—Gilles Deleuze, Pure ImmanenceThe Italian philosopher Giorgio Agamben is perhaps best known for his ongoing interest in the problem of "biopower." Taking up where Michel Foucault ended, Agamben argues that the principle political and philosophical questions of the moment concern the connections between life and power. In this (...) sense, he stands in diametric opposition to one of the leading French intellectuals of our times: Alain Badiou. For Badiou, the key question of the present is not so much power and the body as it is the ethics of truth. According to Agamben, Badiou's project has abandoned thinking about the biopolitics of life and as such is both philosophically and politically suspect. But does Agamben's critique prematurely dismiss Badiou? In other words, does his critique prevent us from recognizing the precise location of biopolitics in Badiou's work? It is my contention that we must read Badiou not against but from within a biopolitical framework in order to realize both the validity of Agamben's criticism and its limitations. In fact, it is through the critical lens of biopolitical theory that we can begin to see the unique links in Badiou's thinking between aesthetics, the body, and education. In conclusion, I argue that Agamben provides insights missed by Badiou's reduction of the animal body to the disavowed grounds for the grace and beauty of truth, while at the same time Badiou provides Agamben's own theory of biopolitics with a unique educative practice: the practice of dance.Here I would like to justify this philosophical inquiry for educational theorists. With the fate of art-based educational programs uncertain in the [End Page 53] face of standardization, it is perhaps time to reassess legitimating claims for retaining arts education programs. By reading Badiou through Agamben, I hope to provide a new reason for advocating the centrality of dance in educational programs and assert the inherently educative qualities of movement-based curricula. Second, I hope to suggest in my conclusion that dance is an important form of educational practice antithetical to current forms of capitalist "bioproduction." As such, I will link together my own theory of dance education with the critical pedagogical tradition in order to anchor the "utopian imagination" in a practice of the body. This is an attempt to fill in a rather vague sphere of critical pedagogical research and theory: aesthetic practice. Overall, this article will bring together two important philosophical traditions—Agamben's biopolitical theory and Badiou's theory of truth—in order to examine their relation to education and, in turn, how education is a central concept for thinking through contemporary continental philosophical traditions.Biopower and Event: Situating the Subject in Relation to TruthMichel Foucault first coined the theoretical concept "biopower" in his work on the history of sexuality.1 In order to understand Foucault's meaning we must first separate biopower from sovereign power, which is characterized by the "right to decide life and death."2 The sovereign—which for Foucault is not simply a form of territorial rule but is a principle of power relations—decides who lives and who dies. Power here is the power of the sword that marks the body directly through overt forms of public torture and violence. But in the classical age and with the rise of capitalist social relations, the form and function of power switched. Famously, Foucault wrote that the highest function of power "was perhaps no longer to kill, but to invest life through and through."3 This new form of power—whose concern was no longer death but the maintenance and regulation of life—operates on two interconnected levels. First, biopower conceives of the body as a machine, which must be disciplined in order to be made more efficient. Here, power acts as microphysics, training the individual body in order to reach a high level of social efficiency. Second, on the macro level, biopower transforms the populous into a population that has to be carefully regulated in terms of propagation rates, health levels... (shrink)

According to the biomedical model of medicine, the subject of the illness event is the pathology rather than the person diagnosed with the disease. In this view, a body-self becomes a ‘patient’ body-object that can be enrolled in a therapeutic protocol, investigated, assessed, and transformed. How can it be possible for cancer patients to make sense of the opposite dimensions of their body-self and their body-diseased-object? Could a creative embodied approach enable the coping with trauma tied to the experience of (...) illness? By applying a phenomenological approach and auto-ethnographic analysis to the experience of cancer, this visual exploration provides support for rethinking the cancer event through a performative perspective. This work previews images and video material collected over ten years of haematological treatments, video dance performances and physical explorations. This work displays how processes of healing can be set in motion by creative embodied practices, physical explorations and unexpected journeys. By resisting the biomedical model and allowing the emergence of new meanings, it illustrates how dance and performative practices offer ground for transformation. (shrink)

This paper utilizes the enactivist notion of ‘sense-making’ to discuss the nature of depression and examine some implications for treatment. As I understand it, sensemaking is fully embodied, fundamentally affective, and thoroughly embedded in a social environment. I begin by presenting an enactivist conceptualization of affective intentionality and describing how this general mode of intentional directedness to the world is disrupted in cases of major depressive disorder. Next, I utilize this enactivist framework to unpack the notion of ‘temporal desituatedness,’ and (...) maintain that the characteristic symptoms of depression result from a disruption to the future-directed structure of affective intentionality. This can be conceptualized as a loss of “online intelligence” and a shrinking of the field of affordances. Then, I argue that two of the standard modes of treatments for depression, medication and cognitive behavioral therapy, are not fully sufficient means of restoring online intelligence, and that these limitations stem partly from the approaches’ implicit commitment to a brain-bound, overly cognitivist view of the mind. I recommend expressive arts interventions such as dance-movement therapy and music therapy as important supplementary treatment methods that deserve further consideration. Insofar as they revitalize subjects’ bodies and emotions, cultivate an openness to the future, and promote self-insight and social synchrony, these treatment modes not only reflect key insights of enactivism, but also offer great potential for lasting healing. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Somaesthetics, Education, and the Art of DancePeter J. Arnold (bio)This essay has two related purposes. The first is to explicate what dance as an art form should minimally comprise if it is to be taught as a distinctive aspect of education in the school curriculum. The second and main purpose is to argue that dance, if taught in accordance with what is outlined, is not only an efficacious means (...) in the development, understanding and promotion of somaesthetics, a new term in aesthetic theory, but an example of itsvery embodiment. Put differently it will be upheld that the practice of danceis not only an excellent vehicle in the promotion of somaesthetics but a paradigm case of what it is.But what is somaesthetics? Briefly put, in common with the thinking of some noted philosophers in the past, it can be said that somaesthetics is as much concerned with the idea of being a person and living well as with the development of rational thought and the development of the intellect. It emphasizes, in particular, that the soma in the form of its physical skills, senses and pleasures plays no less a part in the living of a full life than conceptual understanding and the imaginative use of language.1 Richard Shusterman, upholding these sentiments, refers to somaesthetics asthe critical and meliorating study of the experience and use of one's body as a locus of sensory aesthetic appreciation and creative self-fashioning. It is....devoted to the knowledge, discourses, practices, and bodily disciplines that structure such somatic care or can improve it.2Although such values and concerns are known to many educationists, they are rarely acted upon or taught in a deliberate or systematic way. Even within the realms of dance and sport more could be done than is done somaesthetically to educate in the interests of what it is to be a whole person. [End Page 48]Before embarking on the task of exemplifying dance as a form of somaesthetics, it will be helpful first to say a little about education and the idea of dance as a valued human practice; and second, to say something about the aesthetic in relation to art.Education and the Art of Dance as a Valued Human PracticeWhat is clear about the idea of dance as an art form is that it is more than the human body making rhythmical and patterned movements in space. It can be more accurately described as a coherent and complex range of actions in which intentions are physically expressed in terms of a meaningful performance that is artistic in nature and not merely aesthetic in appeal.It is my view that these elements of what constitutes dance best come together and are most readily grasped when it is seen as a valued form of human practice. Following Alistair MacIntyre, I take the term "practice" to meanany coherent and complex form of socially established co-operative human activity through which goods internal to that activity are realized in the course of trying to achieve those standards of excellence which are appropriate to, and partially definitive of, that form of activity, with the result that human powers to achieve excellence and human conceptions of the ends and goods involved are systematically extended.3The idea of the arts as forms of practice is helpful in at least two important ways. First, it draws attention to the fact that an art, like medicine, the law, or sport, is a distinctive form of life with its own standards, values, and procedures. Second, it recognizes, in keeping with the idea of education, thatthe internal goods of an activity, like the art of dance, will enlighten and enlarge the powers of the participant. MacIntyre undoubtedly recognizes the connection between the idea of a practice and the concept of education when he observes the proper end of education isto help to discover activities whose ends are not outside themselves — The critical ability which ought to be the fruit of education serves nothing directly except itself, no one except those who exercise it — above all the task of education is to teach the value of activity for its own... (shrink)

This paper explores how educators might intervene in canonized texts of the human subject on which a particular and exclusive kind of humanism rests. In imagining possible interventions educators might make, I turn to and trace Jacques Derrida's on‐going deconstruction of the philosophical texts of subjectivity. In his body of work, Derrida destabilizes fixed notions of the human subject and the institutions it founds . From Derrida's points of destabilization and through a differing but similar deconstructive stance, I also consider (...) Gayatri Spivak's suggestive question ‘Who is not the subject of humanism?’ to provide another possible trajectory for intervention that educators might take. Departing from knowledge‐based conceptions of human subjectivity, Spivak urges educators to respond to their students in meaningful encounter with the ‘Other’ while Derrida suggests human beings might begin the difficult and complex task of re‐envisioning an altered humanism, a humanism founded on the call of the Other in institutional sites like education. By an engaged rereading of the texts of human subjectivity upon which human beings are written and by turning to respond to the face of the human beings in and outside their classrooms as a means of encountering the Other's humanity, I suggest that educators be the catalyst for changing what it means to be human and education the means by which we approach a humanism yet to be. (shrink)

For much of the 20th century, dance writers and critics regularly bemoaned a shortage of male dancers. As one writer put it, the average American father would rather see his son dead than performing on stage in tights. This article looks at commentary about male dancing as a means of understanding popular conceptions of effeminacy. It addresses the way discourses about sport, physical prowess and hard bodies have been appropriated in attempts to validate the manliness of male dancers. Drawing on (...) works by dance educators, critics and dancers, such as Gene Kelly and American modern dancer Ted Shawn, the article looks at gendered notions of the body and movement and the way these have been shaped by the late 19th-century conflation of effeminacy and homosexuality. The athleticism and muscularity of male dancers were to have brought them mainstream respect; that they have yet to do so at all but elite levels reminds us that even the hardest bodies must be read through the limitations of the discursive contexts in which they move. (shrink)

Contemporary philosopher Jacques Rancière has been criticized for a conception of “politics” that is insensitive to the diminished agency of the corporeally oppressed. In a recent article, Dana Mills locates a solution to this alleged problem in Rancière most recent book translated into English, Aisthesis, in its chapter on Mallarmé’s writings on modern dancer Loïe Fuller. My first section argues that Mills’ reading exacerbates an “homonymy” (Rancière’s term) in Rancière’s use of the word “inscription,” which means for him either a (...) vicious literal carving on living bodies, or else a virtuous figurative carving on nonliving bodies. The former, I call “bodily carving,” while the latter is the “corporeal writing” that I take Mallarmé to affirm in Fuller. My second section observes that Rancière himself misses a homonymy in Mallarmé on Fuller, namely “dance,” meaning either “ballet” or dance in general (including Fuller’s). My third section concludes that Rancière’s chapter on Fuller includes another “dance” homonymy, meaning either “concert dance” or what I term a new “art of meta-movement” in Fuller. The latter art, I conclude, is equivalent to Mallarmé’s “corporeal writing,” and can be understood as a new form of dance education, in pursuit of a new utopia of worker-dancers. (shrink)

Examines Hegel’s insights regarding the complexity and significance of embodiment in human life, identity, and experience. Meaning and Embodiment provides a detailed study of Hegel’s anthropology to examine the place of corporeity or embodiment in human life, identity, and experience. In Hegel’s view, to be human means in part to produce one’s own spiritual embodiment in culture and habits. Whereas for animals nature only has meaning relative to biological drives, humans experience meaning in a way that transcends (...) these limits, and which allows for aesthetic appreciation of beauty and sublimity, nihilistic feelings of meaninglessness, and the complex and different systems of symbolic speech and action characterizing language and culture. By elucidating the different forms of embodiment, Nicholas Mowad shows how for Hegel we are embodied in several different ways at once: as extended, subject to physical-chemical forces, living, and human. Many difficult problems in philosophy and everyday experience come down to using the right concept of embodiment. Mowad traces Hegel’s account through the growth and development of the body, gender and racial difference, cycles of sleep and waking, and sensibility and mental illness. “This book offers a lucid explanation of very difficult Hegelian concepts in clear language, along with a passionate, searing, provocative, and intelligent foray into questions of race and gender.” — Lydia Moland, Colby College. (shrink)

This paper explores how educators might intervene in canonized texts of the human subject on which a particular and exclusive kind of humanism rests. In imagining possible interventions educators might make, I turn to and trace Jacques Derrida's on‐going deconstruction of the philosophical texts of subjectivity. In his body of work, Derrida destabilizes fixed notions of the human subject and the institutions it founds (like philosophy and education). From Derrida's points of destabilization and through a differing but similar deconstructive stance, (...) I also consider Gayatri Spivak's suggestive question ‘Who is not the subject of humanism?’ to provide another possible trajectory for intervention that educators might take. Departing from knowledge‐based conceptions of human subjectivity, Spivak urges educators to respond to their students in meaningful encounter with the ‘Other’ while Derrida suggests human beings might begin the difficult and complex task of re‐envisioning an altered humanism, a humanism founded on the call of the Other in institutional sites like education. By an engaged rereading of the texts of human subjectivity upon which human beings are written and by turning to respond to the face of the human beings in and outside their classrooms as a means of encountering the Other's humanity, I suggest that educators be the catalyst for changing what it means to be human and education the means by which we approach a humanism yet to be. (shrink)

'The interpretours of Plato,' wrote Sir Thomas Elyot in The Governour, 'do think that the wonderful and incomprehensible order of the celestial bodies, I mean sterres and planettes, and their motions harmonicall, gave to them that intensifly and by the deepe serche of raison beholde their coursis, in the sondrye diversities of number and tyme, a forme of imitation of a semblable motion, which they called daunsigne or sltation.' The image of the planets and stars engaged in an ordered and (...) measured dance is an ancient one. Plato articulated it in a passage in the Timaeus, where he likened the apparent motions of the planets and stars to 'choreiai'. Through the centuries the analogy has challenged Plator's interpreters to define and elaborate the image. Miller has examined a range of poetic and philosophical texts influenced by Plato cosmology, and has discovered frequent comparisons of the cosmic order to 'daunsigne.' He suggests that the vision of the cosmic dance did not develop at random in Western intellectual history but originated in a specific philosophical context and passed through stages of evolution that reflect Gnostic, Christian, Stoic, and Neoplatonic responses to Plato. He argues that the historical variations of the image were often closely related to adaption or criticisms of Plato's theories of visual perception and intellectual vision. The dance, in conjunction with images such as the Great chain of Being and the Lyre of the Heavens, became the dominant image of a peculiarly Late Antique world-view which Miller has called the 'poetic universe'; a world where metaphors, metonymies, and personifications could exist in fact as well as in word. The result of Miller's analysis is vast in scope. The nine chapters of the book each present a thesis on a particular author, but all function together like links in a chain. Miller has been described as 'an historian of visions'; the book has been likened to Auerbach's Mimesis. It is a remarkable contribution to an understanding of the complex interaction of ideas and images in time. (shrink)

This essay explores the interconnections among the humanistic epistemological theories of Ficino, Pomponazzi and Cusanus apparent in the context of their reception of ancient Greek and medieval philosophy, especially Plato's Theaetetus and Aristotle's De anima. It shows that preceding the opposition between the Platonic scheme of knowledge favored by Ficino and the Aristotelian account of the intellect championed by Pomponazzi, Cusanus attempted to articulate the nature of the mind as such which all modes of knowledge presuppose. Central to this project (...) is his work De coniecturis with its theory of the unity of the divine, reason, the understanding and the body, by means of which Cusanus undertook to show how all modes of knowledge are immanent in the mind even as knowledge itself is a process. Concluding critical remarks expound upon the principal significance for knowledge of the thought of nothing, which fundamentally defines the relation to self and other and therewith the horizon of the possible truth of knowledge. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Merging Traditional Technique Vocabularies with Democratic Teaching Perspectives in Dance EducationA Consideration of Aesthetic Values and Their Sociopolitical ContextsBecky Dyer (bio)IntroductionConventional aesthetic values in dance traditionally have been wed to long-established authoritarian teaching approaches in American professional dance companies and university dance programs. Developed over time from a mixture of enduring cultural tastes, aesthetic ideals, and historical influences, aesthetic values play a significant role in teaching and learning processes (...) in the classroom, although the impact of their presence on learning is often indiscernible or paid little attention. As dance educators in higher education make efforts to move toward more democratic teaching perspectives, they often find themselves philosophically lodged between established approaches to teaching traditional, codified vocabularies and aesthetics and more contemporary, student-centered, and democratically oriented perspectives to teaching and learning dance. Attention to the sociopolitical contexts of dance training gives practitioners opportunities to consider aesthetic values of dance from differing cultural vantage points and the perspectives by which these values are taught and learned.Each learning circumstance in dance is a complex weaving of personal and social experience involving individuals, communities, movers, and viewers. Movement aesthetic values emerge from personal and communal morals and ideals as well as social mores of the body, which create contextual lenses for experiencing, interpreting, and making meaning of movement vocabularies created and perpetuated in dance communities. It is important that teachers who seek to incorporate more democratically oriented, student-centered teaching perspectives become mindful of ways social values and perceptual/contextual frameworks impact personal [End Page 108] and communal practices in dance. Approaches to learning technique that consider sociocultural factors of dance movement aesthetics—wherein teachers and learners are led to recognize and reflect upon personal, social, and aesthetic values embodied in movement and embedded in movement vocabularies—can lead teachers and learners to better understand the significance of learning in dance as it relates to personal and social worlds beyond the classroom.This article will suggest how movement analysis from a socially contextualized perspective can inform understanding about the significance of sociopolitical contexts and aesthetic values in Western dance training. Perspectives of movement analysis will provide groundwork for discussing perceivable ways to address discrepancies between democratic and authoritarian teaching viewpoints and to challenge the prominent linking of conventional aesthetic values and vocabularies, as well as codified techniques, to authoritarian practices. The discussion will address relationships between pedagogical perspectives and ideologies held by teachers concerning the place and worth of conventional aesthetic values and the nature of aesthetic experiences in the dance technique classroom, and the potential understandings and meanings their students construct.Foundations of Movement Analysis: The Ideas and Practices of Rudolf LabanRecognizing embedded personal and social aesthetic values in movement is an important initial stage in developing more critically reflective practices that promote meaning, agency, and student interest in learning. The task is challenging because the only values accessibly evident to the bystander, and often the mover, are visual ones. Yet, as Rudolf Laban (1879-1958) suggested, intangible values also inspire movement. Laban created a theoretical framework—referred to as Laban Movement Analysis—for movement exploration, description, and analysis to consider both noticeably apparent and less-tangible values of movement by investigating movement phenomena and factors that generate them.1 The praxis-oriented system involves reflecting on movement observations, considering emotional and mental facets of movement, and taking into account experiential bodily perspectives of the mover.2Although one of Laban's fundamental purposes for developing a descriptive vocabulary for movement was to facilitate the mastery of dance technique,3 his teaching emphasized the "harmonious expressiveness of the whole individual," as he aimed to facilitate dancers' ability to understand and use their bodies in order to discover individual ways of expressing themselves and communicating.4 Laban's attitudes toward training were in sharp contrast to approaches of the day, yet interestingly, they were not [End Page 109] opposed to them. For example, common dance gestures and postures were expanded into free exploration and studied from diverse points of view rather than a narrow range of perspectives, aesthetic values, and movement qualities.5Laban's theory of "Effort," which he linked to emotions as well as... (shrink)

The recent studies on the relations between humanism or humanists and jurisprudence convince that Reneaissance, especially in XVIth century, when the national states began to raise, belonged to the periods of increased interest in the issue of law. Although Erasmus was not a layer, nor he introduced in any of his works a complete theory of law, he maintained close relations with many leading theoreticians of the law and jurists and sometimes spoke in the legal discussions of his age. Among (...) hist most important works concerning the matter of law were: Institutio principis Christiani, Ratio seu Methodus verae theologiae, Christiani matrimonii institutio, De interdicto esu carnium and Ecclesiastes. In the paper I’m going to concentrate on this latter work, in which Erasmus discusses the significance of preaching, preacher and widely understood Christian rhetoric. In the Ecclesiastes Erasmus touches the law subject with the special emphasis on historical character of law and relations between the divine law, the law of Christ and the law of Nature. After a short discussion about his understaning of law I will concentrate on the essential differentiation between the letter of law and the spirit of law, and I will point at proposed by Erasmus ways of introduction of law into human life. Erasmus, on the one hand, escaped a rigidity and abstraction of law and, on the other, he neutralised an aspect of the coercion of law. In his solution Erasmus appreciated the political dimension of preaching and acknowledged preacher as a more important guide of the people, than ruler. I’m going to interpret the Erasmian concept of preaching as an rhetorical mean of introduction of law in analogical way to “introduction” proposed by Plato in his Nomoi. (shrink)

How does pregnancy transform our embodiment? This question will be explored with the help of phenomenology and Butoh dance. Although Butoh has not yet been able to fulfil its true potential for disclosing female embodiment and particularly pregnant embodiment, it will provide us with helpful clues. In pregnancy, objects are less ready-to-hand, more out of reach - world as we know it becomes removed. The habit body vanishes away. But pregnancy is not just a loss of the ordinary: it also (...) opens up new dimensions. One such dimension is that of being touched from within. A phenomenology of the pregnant body thus leads to a removal of world, but also reveals new dimensions of world, and it even comes to disclose the other as a new world within. It means to carry something alien, like the stone in Butoh play Child’s Breath, which can only be carried slowly, awkwardly. (shrink)

This article addresses the ways in which art and philosophy have been discursively used to conceptualize critical political changes and frame narratives of liberation by including and excluding primitive consciousness simultaneously. More concretely, it analyzes the contribution of art and philosophy to the understanding of history and post-history through different representations of black bodies, black desires, and black agencies in the novels She (1886) by Rider Haggard and The Quest of the Silver Fleece (1911) by W. E. B. Du Bois. (...) At stake is the question of the archeology of the past as a living memory in the post-historical time. This past is politically relevant especially if its cognitive fossils negate the idea of exhausted primitive consciousness in the modern world and give meanings to incongruous bedfellows such as civilization and slavery, neoliberalism and poverty, democracy and Nazism, globalization, terrorism and racism, liberalism and homophobia. Arguably, the triumph of scientific ideas has left us with a perpetual quest for liberation rather than the actualization of liberation as a world phenomenon. I hypothesize the relation between exhaustible elements of technical consciousness simulating progress and their inexhaustible materiality at critical historical junctures as a struggle for taste and self-determination. Critical in this relation is the sense that not only primitive stages of consciousness are never fully exhausted at historical junctures, but that one never comes close to thinking about genuine liberation without engaging with real world matters both domestic/intimate and foreign. (shrink)