This book examines the sensual and mental emphases of the movement research practiced by dancers of the Batsheva Dance Company and provides a comprehensive analysis of Gaga and Ohad Naharin's aesthetic approach.

Considering Ethics in Dance, Theatre and PerformanceBannonFionaPalgrave Macmillan. 2018. pp. xxi + 250. £59.99.

This chapter, composed of three parts by three different authors, proposes that one of the many possible ways that dance might embody philosophic thought and discourse is via embodying ethical practice. Each author contributes a different perspective on the relationship between dance and ethical activity. The perspectives can be read both as separate ideas and as interrelated thoughts. Einav Katan-Schmid views ‘dance’ as a metaphor for ‘embodied ethics’. She analyses dance as an embodied activity of decision-making which regulates the (...) tension between co-existing physical dynamics. Following from the idea of ‘dancing’, she suggests that one think of ‘embodied ethics’ in performative terms – as a contemplative activity. Aili Bresnahan goes on to show how dance practice provides examples of applied ethics within the traditional western philosophical categories of both virtue ethics and consequentialist ethics. In the third section, Sara Houston argues that dance can encompass an ethics of care. She demonstrates how dance with an ethic of care involves attentiveness, putting person before form, and for the dance artists to give up a degree of control and autonomy over the work made. (shrink)

[First paragraphs]: Einav Katan-Schmid’s thought-provoking new book, Embodied Philosophy of Dance, is composed of two related but at least partially separable components. Though the first (which dominates Part I of the book) contains original insights, most of it aligns with existing work in the reemerging philosophy of dance (including my own). This first component is, in essence, a hybrid dance theory derived from Katan-Schmid’s interpretations of central figures in the philosophical schools of phenomenology, hermeneutics and pragmatism (including Merleau-Ponty, (...) Gadamer, and Dewey). The second component, by contrast, is more original and provocative, and consists of Katan-Schmid’s analyses of choreographer Ohad Naharin’s Gaga method of movement research. It is thus to this second component that I will thus devote most of the present review. I will then conclude with a brief look at the recent biographical documentary on Naharin, entitled Mr. Gaga: A True Story of Love and Dance, focusing on elements that resonate with Embodied Philosophy of Dance. (shrink)

The life of Rabbi Elimelech of Lizhensk -- The Gate of Prayer -- The Tzetel katan -- The mitzvah of kiddush Hashem -- Hanhagos ha'adam -- Stories and teachings -- Be strong and don't give up -- Hebrew prayers.

Çağdaş düşünür Peter Singer’ın toplumsal eşitliğin tesisi için ortaya koyduğu etkin diğerkâmlık anlayışı kaynakların eşit paylaşımı yoluyla insanlar arası bir ortaklık ruhunun güçlendirilmesini ve bu ortaklık ruhunun demokratik bir politik vizyonun temeli olmasını hedefler. Singer’ın etkin diğerkâmlık teori ve pratiğinde açıkça Spinozacı bir köken olduğu ifade edilmese de, aralarında yüzyıllar olan bu iki düşünürün insanlar arası ilişkileri saf bir güç çatışması ve güçlü olanın hayatta kalması anlayışına indirgemeye dair bir direnç ve bu direncin belirlediği bir birlikte yetkinleşme fikri çevresinde buluştukları (...) düşünülebilir. Biz bu yazıda Peter Singer’ın etkin diğerkâmlık anlayışına uygun bir yaşam stratejisi geliştiren insanların, aynı zamanda, Spinozacı anlamda duyguların hesabını iyi yapabilen, kendi gerçekliğine dair doğru fikirleri üretirken insanın evrimsel sürecini de hesaba katan ve toplumsal yetkinleşmenin bireysel yetkinleşmenin mutlak koşulu olduğunu görebilen kişiler olarak görülebileceği fikrini temellendireceğiz. Bu bağlamda Spinza’nın yüce gönüllülük ve sağlamlık kavramlarına paralel olarak Singer’ın insanlar arası ilişkilerde dayanışmacı potansiyelleri ön plana çıkaran analizlerine odaklanacağız. (shrink)

kerekh 1. Ekh le-ehov yeled. Regaʻim ḥinukhiyim. Zekhut ha-yeled li-khevod -- kerekh 2. Prozah piyuṭit -- kerekh 3. Sipure ha-ḳaiṭanut -- kerekh 4. Yalde reḥov ṿe-yeled ha-ṭeraḳlin -- kerekh 5. ha-Tehilah ṿe-sipurim aḥadim -- kerekh 7. Humoresḳot u-filiṭonim, 2. -- kerekh 8. Ka-asher ashuv ṿe-ehyeh ḳaṭan. Bet ha-sefer shel ha-ḥayim -- kerekh 9. kelale ha-ḥayim, itonaʼut li-yeladim.

kerekh 1. Maʼamarim mi-masekhtot Berakhot ṿe-Shabat -- kerekh 2. Maʼamarim mi-masekhtot ʻEruvin, Pesaḥim, R.h. ṿe-Yoma -- kerekh 3. Masekhtot Sukah, Betsah, Taʻanit, Megilah, Moʻed ḳaṭan ṿa-Ḥagigah.

kerekh 1. Maʼamarim mi-masekhtot Berakhot ṿe-Shabat -- kerekh 2. Maʼamarim mi-masekhtot ʻEruvin, Pesaḥim, R.h. ṿe-Yoma -- kerekh 3. Masekhtot Sukah, Betsah, Taʻanit, Megilah, Moʻed ḳaṭan ṿa-Ḥagigah.