The field of neuroaesthetics attempts to identify the brain processes underlying aesthetic experience, including but not limited to beauty. Previous neuroaesthetic studies have focussed largely on paintings and music, while performing arts such as dance have been less studied. Nevertheless, increasing knowledge of the neural mechanisms that represent the bodies and actions of others, and which contribute to empathy, make a neuroaesthetics of dance timely. Here, we present the first neuroscientific study of aesthetic perception in the context of the performing (...) arts. We investigated brain areas whose activity during passive viewing of dance stimuli was related to later, independent aesthetic evaluation of the same stimuli. Brain activity of six naïve male subjects was measured using fMRI, while they watched 24 dance movements, and performed an irrelevant task. In a later session, participants rated each movement along a set of established aesthetic dimensions. The ratings were used to identify brain regions that were more active when viewing moves that received high average ratings than moves that received low average ratings. This contrast revealed bilateral activity in the occipital cortices and in right premotor cortex. Our results suggest a possible role of visual and sensorimotor brain areas in an automatic aesthetic response to dance. This sensorimotor response may explain why dance is widely appreciated in so many human cultures. (shrink)

This paper discusses possible correspondences between neuroscientific findings and phenomenologically informed methodologies in the investigation of kinesthetic empathy in watching dance. Interest in phenomenology has recently increased in cognitive science (Gallagher and Zahavi 2008 ) and dance scholars have recently contributed important new insights into the use of phenomenology in dance studies (e.g. Legrand and Ravn (Phenomenology and the Cognitive Sciences 8(3):389–408, 2009 ); Parviainen (Dance Research Journal 34(1):11–26, 2002 ); Rothfield (Topoi 24:43–53, 2005 )). In vision research, coherent neural (...) mechanisms for perceptual phenomena were uncovered, thus supporting correlation of phenomenology and neurophysiology Spillmann (Vision Research 49(12):1507–1521, 2009 ). Correspondingly, correlating subjects’ neurophysiological data with qualitative responses has been proposed as a means to research the human brain in the study of consciousness (Gallagher and Zahavi 2008 ), with similar issues in clinical psychology Mishara (Current Opinion in Psychiatry 20(6):559–569, 2007 ) and biology Kosslyn et al. (American Psychologist 57:341–351, 2002 ). Yet the relationship between neuroscience and qualitative research informed by phenomenology remains problematic. How qualitative research normally handles subjective experiences is difficult to reconcile with standard statistical analysis of objective data. Recent technological developments in cognitive neuroscience have inspired a number of researchers to use more naturalistic stimuli, outside the laboratory environment, such as dance, thereby perhaps helping to open up the cognitive sciences to more phenomenologically informed approaches. A question central to our research, addressed here, is how the phenomenal experiences of a dance audience member, as accessed by qualitative research methods, can be related to underlying neurophysiological events. We outline below some methodological challenges encountered in relating audiences’ first-person accounts of watching live dance performance to neurophysiological evidence of their experiences. (shrink)

Differences in empathic abilities between acting, dance, and psychology students were explored, in addition to the appropriateness of existing empathy measures in the context of these cohorts. Students (N= 176) across Higher Education Institutions in the United Kingdom and Europe were included in the online survey analysis, consisting of the Reading the Mind in the Eyes (RME) test, the Interpersonal Reactivity Index (IRI), the Empathy Quotient (EQ), and the E-drawing test (EDT), each measuring particular facets of empathy. Based on existing (...) evidence and our understanding of the discipline practices, we predicted that acting students would perform the best at identifying people’s emotional expressions but might lack other cognitive or affective empathy skills, particularly those related to emotional reactions. This cohort thus provides an opportunity to evaluate different empathy measures. While actors showed significantly higher RME scores than dancers, the difference between actors and psychologists was marginal. Moreover, actors’ scores did not differ significantly on other empathy measures, such as their concern for others’ emotional wellbeing or fantasy, both measured by IRI subscales. Psychology students scored highest in the IRI perspective taking subscale and the data supported anecdotal evidence that psychologists were more concerned for others’ emotional wellbeing than dancers or actors. Dancers seemed the least concerned with others’ perspectives and emotional states, which we explained through a somatosensory ‘inward’ focus required by their art form. Nevertheless, compared to the general population, our groups reported higher empathic abilities on all IRI subscales except for personal distress. Altogether, our study shows that the RME, the IRI, and the EDT vary in their susceptibility to different facets of empathic abilities in acting, dance, and psychology students whereas the EQ does not. Emotions can be expressed and perceived through language, facial expressions, or behavior. As many empathy tests focus on one type of signal they might miss other strategies. Where empathy tests are applied to individuals that have a predominance to read or respond to others in a particular way, as we showed through these three disciplines, they might not capture these empathic strategies. We thus propose that empathy tests must evolve by means of integrating varied forms of communication. (shrink)

The Jola are intensive wet-rice cultivators in the Lower Casamance region of Senegal. In this study, the author examines the reasons behind startling contrasts in the organization of agricultural tasks among three Jola communities located within a 45-kilometre radius from Ziguinchor. In Sambujat, situated in the non-Islamisized region south of the river, wet rice is a monocrop cultivated by both men and women. In Jipalom, in the Kajamutay region north of the river, Islam and cash cropping have been (...) adopted; and in Fatiya, in the so-called 'Mandingized' region of the Kalunay, social relations have become hierarchical and this has had profound effects on the cropping system and on the division of labour. The author examines the shift of power relations over time, and their effects on the way in which production has been organized by age and gender, kin and class. Larger issues dealt with are Islamization, women's labour and the introduction of cash cropping. A concluding section places the history of Jola labour relations within the context of the political economy of Senegal. (shrink)

One measure of the validity of [Joseph] Frank's insight is the extent to which other versions of his ideas appear in other contexts: for if "spatial form" refers to something real, it cannot have escaped notice by other readers. One thinks, for example, of Northrop Frye's description of the critic viewing all the elements of the poem as a simultaneous array before him; or of Gaston Bachelard's evocative descriptions of The Poetics of Space. Or Pound's interest in ideographic script; or (...) the frequent critical association of modern literature with impressionist painting. Or Eliot's poet synthesizing Spinoza, the sound of the typewriter, and the smell of cookery into a unified whole. Or—at the root of it all, perhaps—Poe's insistence on the unified effect of the story or poem.1 All of these instances reflect a more or less casual assumption of the basic premise of Frank's essay. More recently another critic, Frank Kermode, has offered an alternative description of this general problem. In The Romantic Image2 he assesses symbolist poetic theory; here the verbal image , autonomous and autotelic, presumably unites meaning and feeling without intervening reflection or discourse: the "image" so hypostatized seems very close to a "spatial" form, and certainly the suppression of discourse, of reflection generally, follows from the disruption of syntax and narrative that results from the impulse toward "spatial" effects. Provisionally, we might say that Joseph Frank's essay is grounded in an essentially formalist conception of the literary work as artifact, and that the striking features of his argument result from an attempt to assimilate extended works to a theory basically lyric in its orientation: as corollary, we must assume that the modern writers he cites had themselves operationally defined the concept in the course of their writing. · 1. Northrop Frye, "Literary Criticism," in The Aims and Methods of Scholarship in Modern Languages and Literature, ed. James Thorpe , p.65. See also Fables of Identity: Studies in Poetic Mythology , p. 21. Gaston Bachelard, The Poetics of Space, trans. Maria Jolas . Ernest Fenollosa, The Chinese Written Character as a Medium for Poetry, ed. Ezra Pound . T.S. Eliot, "The Metaphysical Poets," Selected Essays , p. 247. Edgar Allan Poe, review of Twice-Told Tales, in Works, 17 vols., ed. James A. Harrison 11: 104-13.· 2. Frank Kermode, The Romantic Image . William Holtz, professor of English at the University of Missouri-Columbia, is currently preparing an edition of an unpublished juvenile manuscript by Charlotte Brontë. (shrink)

Dans le Paris cosmopolite des années 1920 et 1930, les avant-gardes fleurissent et se fécondent mutuellement, grâce notamment à l'afflux d'émigrés du monde entier qui se sont expatriés pour des raisons politiques, idéologiques ou personnelles. Parmi eux, Carl Einstein, Allemand, et Benjamin Fondane, d'origine roumaine, tous deux Juifs et Parisiens de coeur, ont oeuvré en phase avec les courants d'avant-garde du début du siècle, travaillé au carrefour de l'esthétique, de la poésie, de la critique littéraire, de la philosophie et du (...) cinéma. Ce volume, qui présente les actes du colloque tenu à Dijon en juin 2007, explore leurs interactions avec d'autres acteurs des avant-gardes - T. Tzara, C. Brancusi, W. Benjamin, I. Voronca, E. Jolas, R. Allendy, F. Werfel, etc. - tout en discutant leurs conceptions de l'art moderne et du primitivisme et en soulignant l'originalité de leur apport et l'héritage contemporain de leurs oeuvres frontalières. (shrink)