In 1967, American biologist Adrian Wenner (1928-) launched an extensive challenge to Karl von Frisch's (1886-1982) theory that bees communicate to each other the direction and distance of food sources by a symbolic dance language. Wenner and various collaborators argued that bees locate foods solely by odors. Although the dispute had largely run its course by 1973 -- von Frisch was awarded a Nobel Prize, while Wenner withdrew from active bee research -- it offers us a rare window (...) into mid-twentieth century discussions about animals, language, and cognition. Historians, sociologists, and scientists have commented on the debate and its outcome, but none has seriously questioned why von Frisch and Wenner pursued such different explanations of the bees' dances. In this paper, I explore von Frisch and Wenner's differing visions of animals and their behaviors and show how these contributed to their respective positions. Von Frisch's early-twentieth-century training in experimental physiology disposed him to focus on individual animals, their abilities, and their behaviors' evolutionary significance. Wenner, by contrast, was trained in mathematics and statistics and the Schneirla school of behavior. He viewed the bees' behaviors probabilistically with an eye toward the entire hive and its surroundings and ultimately explained them in terms of simple stimulus--response conditioning. Finally, while the debate was resolved in von Frisch's favor, he neither waged nor won the battle by himself. Instead, I show that practitioners, whose agendas ranged from the nascent fields of sociobiology to cognitive ethology, took up the cause of the communicating bees. (shrink)

The Darwinian protolanguage hypothesis is one of the most popular theories of the evolution of human language. According to this hypothesis, language evolved through a three stage process involving general increases in intelligence, the emergence of grammatical structure as a result of sexual selection on protomusical songs, and finally the attachment of meaning to the components of those songs. The strongest evidence for the second stage of this process has been considered to be birdsong, and as a result (...) researchers have investigated the existence of various forms of grammar in the production and comprehension of songs by birds. Here, we argue that mating dances are another relevant source of sexually-selected complexity that has until now been largely overlooked by proponents of Darwinian protolanguage, focusing especially on the dances of long-tailed manakins. We end by sketching several lines of research that should be pursued to determine the relevance of mating dances to the evolution of language. (shrink)

In this article, I explore the relationship between dance and the work of Nelson Goodman, which is found primarily in his early book, Languages of Art. Drawing upon the book’s first main thread, I examine Goodman’s example of a dance gesture as a symbol that exemplifies itself. I argue that self-exemplifying dance gestures are unique in that they are often independent and internally motivated, or “meta-self-exemplifying.” Drawing upon the book’s second main thread, I retrace Goodman’s analysis of (...) dance’s relationship to both notation in general and also Labanotation in particular. My argument is that dance gives the false impression of being notational, or is “meta-notational.”. (shrink)

The author narrates her journey to women’s circle dances of the Balkans, and explores how they incorporate prehistoric signs which Marija Gimbutas called ‘the language of the Goddess’. These symbolic images appear in archaeological artefacts, textile motifs, song words, and dance patterns, and have been passed down for thousands of years in nonverbal ways. The interdisciplinary approach of archaeomythology suggests that the images may carry ideas and values from the Neolithic cultures in which these dances are said to (...) have their roots. Women’s ritual dances affirm the Old European values which honoured the Goddess, the mother principle, and the cycles of life, and offer an extraordinary oasis of women’s empowerment, even within patriarchal culture, indicating that the dances most likely originate in pre-patriarchal egalitarian matriarchy. For women today, even outside the Balkans, these women’s ritual dances offer insight and meaning through an embodied experience of the values of the Goddess. (shrink)

In this article I explore the place of movement, particularly dance, in understanding and communication of the lived experience. I look at the gap between corporeal sensation and the communication of that knowledge into wider social contexts. Drawing on narratives gathered from four case studies in British schools, I look at dance as a mode of language that can offer a methodological approach to understanding the lived experience. I take the pragmatist starting point of embodiment to argue (...) that the immediacy of empirical experience is limited by the use of verbal languages alone to organize meaning-making. I suggest that ideas are three-dimensional, having aspects that are revealed by the attributes of different languages but are not limited to the language through which they are communicated. Therefore a network of languages, including movement languages, can create a web of understanding that addresses the deficits of each single language within that web. I suggest that a focus on just one mode of language to communicate ideas could result in a loss of engagement with the full potential of an idea. I suggest that different languages have a rhizomatic relationship each having equal potential to add to the quality and ‘thickness’ of communication of the multi-layered experience of embodiment. (shrink)

니체는 전통형이상학의 출발점을 인간의 이성적 능력에 대한 맹목적인 믿음이라고 지 적한다. 그러므로 니체의 사유는 전통형이상학에 전제되어 있는 로고스중심주의의 한계를 비판하고, 이전과는 전혀 다른 새로운 철학을 정초하고자 한다. 이것은 니체에게 전통형이 상학적 진리, 다시 말해 감각적 지각(aisthēsis)을 배제하고, 탈감각화의 과정을 통해 보편 적이고 초월적인 앎을 추구하는 것을 거부하는 과정을 통해 드러난다. 주지하는 바와 같이, 전통형이상학에서 신체(Körper)는 의식과 구분되는 일종의 의식의 무덤으로 정의되었다. 그러나 니체는 전통형이상학과는 달리, 감각적 지각이 오히려 진리 로 향할 수 있는 길이라고 주장한다. 물론 여기에서 주의해야 할 점은 니체는 (...) 진리가 도처 에 있다고 주장한다는 점이다. 관점주의(Perspektivismus)로 규정되는 이러한 니체의 인 식론은 니체가 근대 주관성철학과 같이 더 이상 보편적 주체의 존재를 인정하지 않는다는 것을 의미한다. 왜냐하면 니체의 관점에서 삶의 주체는 더 이상 코기토(cogito)와 같이 보 편적 의식이 아니라, 개체의 각자적인 몸(Leib)이기 때문이다. 춤(Tanz)은 여기에서 이성중심적인 전통형이상학의 해체를 수행하는 니체철학을 관통 하고 있는 핵심적인 메타포이다. 특히 실존적인 삶의 문제에서 이성이 아니라, 몸의 역할 을 강조하는 니체에게 춤은 실존적인 삶의 적극적인 긍정을 위해 제시한 그의 미래철학과 밀접하게 관련되어 있다. 따라서 니체는 자신의 저작들에서 춤에 대한 다양한 논의를 전개 한다. 이것은 니체에게 춤이 단순히 예술적인 몸짓으로 국한되는 것이 아니라, 인간의 몸 을 통해 수행되는 끊임없는 창조의 놀이(Spiel)로 규정될 수 있기 때문이다. (shrink)

The article examines the impact of Georges Bataille’s philosophy on Hijikata Tatsumi’s butoh dance. Bataille’s understanding of dance as unproductive expenditure, the concepts of inner experience and communication are being reconsidered and incorporated in choreographic language of Hijikata, extending his technical and conceptual tooling. Bataille defines dance as an expenditure given in a form of sign. The butoh dance-experience is functioning as a metaphor of a speculation, created by a movement. It is experienced by dancers (...) and spectators as an execution. (shrink)

_A passionate and moving tribute to the captivating power of dance, not just as an art form but as a language that transcends barriers__ “[A] smart, bracing book of reflection, analysis, memoir and history.”—Willard Spiegelman, ___Wall Street Journal___ “A veritable master class.”—Anne Doventry, _Booklist__ Mindy Aloff, a journalist, an essayist, and a dance critic, analyzes dance as the ultimate expression of human energy and feeling. From her personal anecdotes, her engaging collection of stories about dance (...) from around the world, or her description of the captivating photograph by Helen Levitt of two children dancing, which she sees as one embodiment of the mystery and joy that dancing can evoke, Aloff’s exploration of the aesthetic, social, and spiritual impacts of dance will prove spellbinding. Aloff takes us on a journey through various forms of dance—rituals, religious observances, storytelling, musical interpretations—to show why dance matters to human beings. Interlaced with personal experiences, this book builds on analysis to reveal the intimate relationship we have with dance—personal, spiritual, soul-searching, medicinal, and entertaining. The ideas speak to both specialist and general readers. (shrink)

The paper examines a central question in the philosophy of dance from the vantage point of a specific choreographic practice: Movenglish. Movenglish attempts to establish a one-to-one mapping between English words and dance movement equivalents in the body in a way that maximally captures both the connotative and denotative aspects of the words in question. The paper argues that the success of Movenglish has several important consequences for the philosophy of dance as well as our understanding of (...) sign systems more generally. The paper elaborates one of the strongest contributions to the philosophy of dance – the work of Susanne Langer – in order to show how the conclusions drawn from the dance produced through Movenglish both contribute to and depart from Langer’s philosophy. (shrink)

This paper brings Merleau-Ponty’s phenomenological approach to Sasha Waltz’s dance film S, which focuses on the relation between sexuality and language. Maintaining that movement in cinema takes place in the viewers and not the film, the paper considers how the visual can be deepened to include the ways we move and are moved. Saussure’s insights into language are brought to the sensible, which is here understood in terms of divergences from norms. Though film would seem to privilege (...) vision, viewing this film helps to elucidate Merleau-Ponty’s claim that a film succeeds when it engages the viewer’s embodied understanding, and shifts the norms of the corporeal schema. (shrink)

Dance receives relatively little attention in the history of philosophy. My strategy for connecting that history to dance consists in tracing a genealogy of its dance-relevant moments. In preparation, I perform a phenomenological analysis of my own eighteen years of dance experience, in order to generate a small cluster of central concepts or “Moves” for elucidating dance. At this genealogical-phenomenological intersection, I find what I term “positure” most helpfully treated in Plato, Aristotle and Nietzsche; “gesture” (...) similarly in Condillac, Mead and Kristeva; “grace” in Avicenna, Schiller and Dewey; and “resilience” in Fanon, (Judith) Butler and Deleuze. With these analyses in place, I apply the four Moves in analyzing various forms of dancing (including salsa dancing and the pollen dance of the honeybee) and coordinate them to outline a comprehensive philosophy of dance. This philosophy points to certain conditions for an ideally flourishing, dancing society. And these conditions create the possibility for a coalition of sympathetic discourses (including critical race theory, queer theory, disability studies and democratic theory) united in pursuit of political virtue. The development of a philosophy of dance offers a deeper understanding of the intellectual values of a practice often identified with bodily immediacy and therefore judged uninteresting. It also reinvigorates philosophy with the dynamism and bodily relevance of the practice of dancing. Most important, it demonstrates the meaningful intersection of aesthetics and political ethics, by exploring how aesthetic practices underlie and inspire human flourishing. (shrink)

First published in 1983, this book studies how people are tied together and yet isolated by hidden threads of rhythm and walls of time. Time is treated as a language, organizer, and message system revealing people's feelings about each other and reflecting differences between cultures.

Booth says, "Burke seems to be claiming to know better than Keats himself some of what the poem 'means', and the meaning he finds is antithetical not just to the poet's intentions but to any intentions he might conceivably have entertained!" The notion underlying my analysis is this: Formal social norms of "propriety" are related to poetic "propriety" as Emily Post's Book of Etiquette is to the depths of what goes on in the poet's search "for what feels just right." (...) Wellek stops with Emily Post. The official aesthetic isn't likely to cover the ground. If I may offer a perhaps "outrageously" honorific example, on pages 329-30 of my Language as Symbolic Action, when discussing a sonnet of mine, "Atlantis," I indicate how one can both know and not know when one's imagination is working at a level of "propriety" not reducible to the official code. My lines had a Swiftian, Aristophanic dimension; and though they were not "programmatically" so designed, my experience with them both ab intra and ab extra indicates how such things can operate.Kenneth Burke's numerous writings include The Complete White Oxen , Towards a Better Life , Collected Poems, and among his critical works, A Grammar of Motives, A Rhetoric of Motives, Language as Symbolic Action, and The Philosophy of Literary Form. His contributions to Critical Inquiry are "ARTISTS ON ART: Post-Poesque Derivation of a Terministic Cluster" , " Motion/ Action" , "CRITICAL RESPONSE: A Critical Load, Beyond that Door; or, Before the Ultimate Confrontation; or, When Thinking of Deconstructionist Structuralists; or, A Hermeneutic Fantasy", and "CRITICAL RESPONSE: Methodological Repression and/or Strategies of Containment". (shrink)

Parallels to Shanker & King's (S&K's) proposal for a model of language teaching that values dyadic interaction have long existed in language development, for the neotenous human infant requires care, which is inherently interactive. Interaction with talking caregivers facilitates language learning. The “new” paradigm thus has a decidedly familiar look. It would be surprising if some other paradigm worked better in animals that have no evolutionary linguistic history.

Spiritualist mediums are sought out from a variety of cultures for their advanced spirit communication healing techniques. Otherworldly spirits use mediums to create spirit art, which guides an individual to discover their authentic self and work through self‐limiting beliefs. To serve as a bridge for the spirit world, the medium develops an ability to enter an altered state of consciousness and use a multisensory embodied language to communicate with spirits. I describe this language as “dancing with spirits.” To (...) investigate this language, I use my own spirit art as an innovative experiential ethnographic tool that blends auto‐ethnographic perceptions of spirits with sensory and artistic ethnography, and cultural healing techniques. I provide three case studies of how my spirit art provides unique insights into the less explored experiential dimensions of spirit communication. I layer my experimental ethnographic approach with Deleuze and Guattari's “rhizome” to show that spirit communication overcomes limitations of normal linguistic models. The spirit language serves as a rupture for unconscious forces to offer individually tailored healing and insight to a recipient through heightened sensory and physiological phenomena. Art, altered states of consciousness, and anomalous sensory experiences may offer insights to address a pressing global challenge, mental ill‐health. (shrink)

This article establishes grounds on which attributions of information and encoding in animal signals are warranted. As common interest increases between evolutionary agents, the theoretical approach best suited to describing their interaction shifts from evolutionary game theory to communication theory, which warrants informational language. The take-home positive message is that in cooperative settings, signals can appropriately be described as transmitting encoded information, regardless of the cognitive powers of signalers. The canonical example is the honeybee waggle dance, which (...) is discussed extensively in the second and third sections. The take-home negative message is that signals are not always a consequence of coadaptation. The communication theory approach is just one end of a continuum explored more thoroughly by evolutionary game theory. The fourth and fifth sections explore this wider framework, as well as overturning some widely held misconceptions about information theory. (shrink)

Goodman gave us resources for recognizing art; he enumerated “symptoms of the aesthetic” or features which explain something’s functioning as a work of art. But that’s not enough to tell us how a work of art signifies or bears meaning. I apply Goodman’s notion of exemplification to address the question of how dances signify. It is too often assumed that if dance doesn’t fit the model of natural language then it can’t have cognitive content; this essay is concerned (...) with showing how it can. I consider Yvonne Rainer’s dance Trio A, an archetype of the pedestrian postmodem dance of the 1960s. Although at first sight it appears to be an instance of ordinary movement, Trio A is not ordinary movement simpliciter. I argue that Trio A conveys what it does by representing something we take to be pedestrian movement, and it represents by exemplifying certain features we associate with ordinary movement. Representation and signification cannot be equated and what is signified depends not only on what is represented but on how it comes to be represented by the work. (shrink)

Goodman gave us resources for recognizing art; he enumerated “symptoms of the aesthetic” or features which explain something’s functioning as a work of art. But that’s not enough to tell us how a work of art signifies or bears meaning. I apply Goodman’s notion of exemplification to address the question of how dances signify. It is too often assumed that if dance doesn’t fit the model of natural language then it can’t have cognitive content; this essay is concerned (...) with showing how it can. I consider Yvonne Rainer’s dance Trio A, an archetype of the pedestrian postmodem dance of the 1960s. Although at first sight it appears to be an instance of ordinary movement, Trio A is not ordinary movement simpliciter. I argue that Trio A conveys what it does by representing something we take to be pedestrian movement, and it represents by exemplifying certain features we associate with ordinary movement. Representation and signification cannot be equated and what is signified depends not only on what is represented but on how it comes to be represented by the work. (shrink)

This article takes as its point of departure Luce Irigaray'sElemental Passions, in which a woman‐speaker tries to make her lover and the discipline of philosophy understand that she is not how they have imagined her to be; that she is not at all but that she keeps becoming through perpetual movement. The article investigates Irigaray's investment in a form of materialist difference feminism that offers conceptual links to the posthumanist work of Karen Barad's agential realism, especially her theorization of intra‐action. (...) The link between Irigaray and Barad is established via a diffractive reading that incorporates the dance/movement research practice of Contact Improvisation. Although expressed through written language,Elemental Passionscreates the impression of the woman‐speaker dancing, of encountering herself, her environment, and her lover through moved and moving contact, searching for a practice of moving‐together, feeling‐with, and feeling‐between that can be experienced in an improvised dance duet. Exploring how touch and the sharing of weight in Contact Improvisation challenges boundaries and establishes ever‐changing configurations and entanglements between dancers, the article proposes that Irigaray's woman‐speaker envisions herself as a posthuman/ist woman and that improvised dancing offers a practice of intra‐action through which she can encounter the world in her becoming. (shrink)

Although we applaud the interactivist approach to language and communication taken in the target article, we notice that Shanker & King (S&K) give little attention to the theoretical frameworks developed by dynamical system theorists. We point out how the dynamical idea of causality, viewed as multidirectional across multiple scales of organization, could further strengthen the position taken in the target article.

My education in political poetry begins with William Blake’s remark about John Milton in The Marriage of Heaven and Hell: “The reason Milton wrote in fetters when he wrote of Angels & God, and at liberty when of Devils & Hell, is because he was a true Poet and of the Devil’s party without knowing it.”1 The statement is usually taken as a charming misreading of Milton or as some sort of hyperbole. We find it lumped with other readings which (...) supposedly view Satan as the hero of Paradise Lost, such as Percy Bysshe Shelley’s in A Defence of Poetry, although neither Blake nor Shelley says anything of the kind.2I consider Blake’s statement simply accurate. I think it the best single thing anybody has ever said about Paradise Lost. If not clear as a bell, then at least as compressed as diamonds. The insouciant opening gesture takes for granted what to Blake is obvious” that the poetry qua poetry is better, more exciting, more energetic in the sections dominated by Stan, worse, duller, less poetic in the sections dominated by God. As a lover of poetry Blake has evidently struck a perplexity. Why does Milton’s Satan excite me and this God bore me even though he plainly intends me to adore God and scorn Satan? The answer could have been that Milton “wrote in fetters” where constrained by theology and the danger of lapsing into inadvertent sacrilege, but “at liberty” otherwise. Other critics have claimed that it is impossible to make God talk successfully in a poem, but the Book of Job is enough to refute that position. Why did Milton choose to make God talk at all? Dante cleverly avoided that difficulty.The second half of Blake’s sentence not only solves the Paradise Lost problem but proposes a radical view of all poetry which might be summarized as follows: All art depends on opposition between God and the devil, reason and energy. The true poet is necessarily the partisan of energy, rebellion, and desire, and is opposed to passivity, obedience, and the authority of reason, laws, and institutions. To be a poet requires energy; energetic subjects make the best material for poems; the truer the poetry, the more it will embody the truths of Desire. But the poet need not think so. He can be of the devil’s party without knowing it. 1. William Blake, “The Marriage of Heaven and Hell,” Complete Poems, ed. Alicia Ostriker , p. 182.2. Let one instance serve: Marjorie Hope Nicolson wonders whether the members of the “‘Satanic School’ of Milton criticism” have read past books 1 and 2 of Paradise Lost . Alicia Ostriker, professor of English as Rutgers University, is the author of Stealing the Language: The Emergence of Women’s Poetry in America. Her most recent book of poetry is Imaginary Lover. (shrink)

The aim of this book is to demonstrate that American Indians have a world-view that is consistent, intelligible, and legitimate. It is a deft and self-aware exemplification of the task of cross-cultural comparison. The overall strategy in the argument is to employ a modified version of Nelson Goodman’s notion of world-making and then construct a simplified model of the American Indian worldview. Norton-Smith accomplishes this difficult task and in the process modifies Goodman in a realist direction, making a strong case (...) that the Native view deserves intellectual respect. The writing is accessible and shows a deft and helpful interplay between abstract language and concrete illustrative .. (shrink)

Dance is an art of human movements, and it is an art form that takes refined, organized and artistically processed human movements as the main means of expression, expresses people's thoughts and feelings, and reflects social life. Humans not only transfer knowledge by means of dance, but also communicate with heaven and earth and soothe the soul by means of dance. Dance drama, an art form, is more and more popular among the masses. With the development (...) of the times and science and technology, dance drama forms are constantly bringing forth the new. On the basis of the ancient stage art, it glows with new splendor and enriches the treasure house of human spirit and culture. During the development of history and culture, both religious culture and dance culture have tenacious vitality, and are constantly developing and evolving. The two are inextricably linked, interacting and influencing each other. This paper studies the relationship between dance and religion, trying to learn from historical experience, analyze the relationship between dance and religion, solve the problems in the creation of dance drama, provide theoretical basis for the development of dance drama, and promote the vigorous development of dance art. (shrink)

In Back to the Dance Itself, Sondra Fraleigh edits essays that illuminate how scholars apply a range of phenomenologies to explore questions of dance and the world; performing life and language; body and place; and self-knowing in performance. Some authors delve into theoretical perspectives, while others relate personal experiences and reflections that reveal fascinating insights arising from practice. Collectively, authors give particular consideration to the interactive lifeworld of making and doing that motivates performance. Their texts and photographs (...) study body and the environing world through points of convergence, as correlates in elemental and constant interchange modeled vividly in dance. Selected essays on eco-phenomenology and feminism extend this view to the importance of connections with, and caring for, all life. Contributors: Karen Barbour, Christine Bellerose, Robert Bingham, Kara Bond, Hillel Braude, Sondra Fraleigh, Kimerer LaMothe, Joanna McNamara, Vida Midgelow, Ami Shulman, and Amanda Williamson. (shrink)

This essay—part of a larger project of constructing a new, historically informed philosophy of dance, built on four phenomenological constructs that I call “Moves”—concerns the second Move, “gesture,” the etymology of which reveals its close connection to the Greek word “metaphor.” More specifically, I examine the treatments of gesture by the philosophers George Herbert Mead and Etienne Bonnot de Condillac, both of whom view it as the foundation of language. I conclude by showing how gesture can be used (...) in analyzing various types of dance, which in turn suggests transformational potential for philosophy, dance, and society as a whole. (shrink)

Honey bees are eusocial insects and the workers inform their nestmates of information regarding the location of food source using symbolic communication, called ‘dance communication’, that are based on their highly advanced learning abilities. Mushroom bodies (MBs), a higher-order center in the honey bee brain, comprise some subtypes/populations of interneurons termed Kenyon cells (KCs) that are distinguished by their cell body size and location in the MBs, as well as their gene expression profiles. Although the role of MBs in (...) learning ability has been studied extensively in the honey bee, the roles of each KC subtype and their evolution in hymenopteran insects remain mostly unknown. This mini-review describes recent progress in the analysis of gene/protein expression profiles and possible functions of KC subtypes/populations in the honey bee. Especially, the discovery of novel KC subtype/population, ‘middle-type KCs’ and ‘KC population expressing FoxP’, necessitated a redefinition of the KC subtype/population. Analysis of the effects of inhibiting gene function in a KC subtype-preferential manner revealed the function of the gene product as well as of the subtype where it is expressed. Genes expressed in a KC subtype/population-preferential manner can be used to trace the differentiation of KC subtypes during the honey bee ontogeny and the possible evolution of KC subtypes in hymenopteran insects. Current findings suggest that the three KC subtypes are unique characteristics to the aculeate hymenopteran insects. Finally, recent application of genome editing for the study of KC subtype functions in the honey bee is described. Genes expressed in a KC subtype-preferential manner can be good candidate target genes for genome editing, because they are likely related to highly advanced brain functions and some of them are dispensable for normal development and sexual maturation in honey bees. (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)

The translation of Rudolf Bode’s Rhythm and its Importance for Education and Rudolf Laban’s ‘Eurhythmy and kakorhythmy in art and education’ aims at unearthing rhythm-related discourses in the Germany of the 1920s. If for most of the English-speaking world the translation of Henri Lefebvre’s Rhythmanalysis: Space, Time and Everyday Life marks the moment in which rhythm descends into the theoretical arena, these texts, seen in their connection with other sources, express, instead, the degree to which rhythm was omnipresent in philosophical, (...) artistic, socio-economical and psychological discourses at the turn of the 20th century. Some commentators, such as Lubkoll, have recently highlighted the centrality of rhythm in Modernity, lamenting a lack of scholarship focusing on this phenomenon. This is arguably due to a lack of access to sources accentuated by the language barrier; if, indeed, the ‘rhythmanalysis’ of the turn of the century is not an exclusively Teutonic phenomenon, it is also true that a copious amount of material on rhythm of this period is written in German and remains untranslated. In this sense, then, this translation aims at contributing to the project of a cultural history of rhythm. (shrink)

Research has shown that both adults and children organize familiar activity into discrete units with consistent boundaries, despite the dynamic, continuous nature of everyday experiences. However, less is known about how observers segment unfamiliar event sequences. In the current study, we took advantage of the novelty that is inherent in modern dance. Modern dance features natural human motion but does not contain canonical goals—therefore, observers cannot recruit prior goal‐related knowledge to segment it. Our main aims were to identify (...) whether observers segment modern dance into the steps intended by the dancers, and what types of cues contribute to segmentation under these circumstances. Experiment 1 used a classic event segmentation task and found that adults were able to consistently identify only a few of the dancers’ intended steps. Experiment 2 tested adults in an offline labeling task. Results showed that steps which could more easily be labeled offline in Experiment 2 were more likely to be segmented online in Experiment 1. (shrink)

We argue that the dance metaphor does not appropriately characterize language. Indeed, language may be a red herring, distracting us from the intriguing question of the nature of apes' social interactions.

Miller undermines traditional ideas and beliefs about language, literature, truth, meaning, consciousness, and interpretation. In effect, he assumes the role of unrelenting destroyer—or nihilistic magician—who dances demonically upon the broken and scattered fragments of the Western tradition. Everything touched soon appears torn. Nothing is ever finally darned over, or choreographed for coherence, or foregrounded as magical illusion. Miller, the relentless rift-maker, refuses any apparent repair and rampages onward, dancing, spell-casting, destroying all. As though he were a wizard, he appears (...) in the guise of a bull-deconstructer loose in the china shop of Western tradition. Vincent B. Leitch, associate professor of English at Mercer University, is the editor of Robert Southwell's Marie Magdalens Funeral Teares and The Poetry of Estonia: Essays in Comparative Analysis. Sections of the present essay will appear in his The Poetics of Deconstruction, which offers a critical history and anatomy of deconstructive criticism. (shrink)

Whatever else language may be, it is complex and multifaceted. Shanker & King (S&K) have tried to contrast a dynamic interactive view of language with an information processing view. I take issue with two main claims: first, that the dynamic interactive view of language is a “new paradigm” in either animal research or human language studies; and second, that the dynamic systems language-as-dance view of language is in any way incompatible with an information-processing (...) view of language. That some information is defined in coregulated social interaction guarantees the dancing. That all information is composed of relevant differences guarantees the information processing. (shrink)

Herodas'Mimiamb7 has often attracted scholarly attention on account of its thematic preoccupation with the sexuality of ordinary people, thus offering a realistic and exciting glimpse of everyday life in the eastern Mediterranean of the third centuryb.c.e. In addition, his obscure reference in lines 62–3 to the obsession of women and dogs with dildos has been the focus of long-standing scholarly debate: while most scholars agree that the verses employ a metaphor, possibly of obscene nature, their exact meaning is still to (...) be clarified. In response, this article offers an additional paradigm which stresses the cultural osmosis between the Greeks and their eastern neighbours in the Hellenistic period; in my view, Herodas' peculiar choice of expression could be explained more aptly through this hitherto unnoticed perspective. Despite having frustratingly little information about the poet and his life, his familiarity with the Hellenistic East is often implied in his poetic settings: for example, Cos inMimiamb2 and probably locations in Asia Minor inMimiambs6 and 7 are considered likely to reflect the places where he lived. Hence, it is reasonable to assume that Herodas spent periods of his life in areas of the eastern Aegean where cultural interaction was practically unavoidable. Moreover, his first poem exhibits a certain amount of knowledge and admiration for Ptolemaic Egypt and, although this does not necessarily mean that he lived there, he must have been very familiar with Alexandria and its erudite circles. After all, Herodas, a contemporary of Theocritus who subscribed to his preference for short, elegant poetic forms, shared the latter's interest in the lowly mime, which both of them invested with learned language. Thus, specific motifs, such as the visit of an abandoned mistress to the witches in a desperate attempt to coax back a cruel lover, are treated by both poets and ultimately derive from the literary corpus of mimes by the influential Sophron. Theocritus was also familiar with locations in Cos, an island that appears to have been culturally diverse. One of the foreign communities that increasingly made its presence felt in third-centuryb.c.e. Asia Minor and the nearby islands of the eastern Aegean was that of the Jews, although the history of particular communities is often difficult to recover. Nevertheless, we do know that as early as the third centuryb.c.e. ‘various Jewish authors writing in Greek had adopted the prevailing patterns of Greek literature in its many forms, filling them with Jewish content’. The Jews had a prominent and well-documented presence at Alexandria, where their interaction with the Greeks was promoted by the Ptolemies. There, already by the middle of the third centuryb.c.e., the Pentateuch (the Hebrew Torah) had been translated into Koine Greek by royal request, which probably indicates a sizeable community able to participate dynamically in the cultural interface of Ptolemaic Alexandria. In the following pages, I shall revisit the past interpretations of the aforementioned verses inMimiamb7 before arguing that the key to their understanding lies in the interaction of the Greeks with near eastern cultures, particularly the Jews, who seemed to have employed a distinctive metaphor about ‘dogs’ and their perceived sexual habits. (shrink)

: My essay incorporates Irigaray's notion of the sensible transcendental, a dynamic attempt to reconstitute the body/mind dualism which founds Western thought, into a reading of the practice of European concert dance. I contend that Irigaray's efforts toward articulating a language of the body as active agent have much to offer (feminist) analyses of dance practice, and develop this claim through a reading which reflects philosophically on the changing nature of my own dance activity.

This is a meta-reflection on the methodological and epistemological challenges of doing ethnographic theology in a context outside the church or religious communities. Particularly, it argues that in a multi- or inter-disciplinary setting theologians are placed in a precarious position when it comes to use of language, theories and concepts if they want to speak simultaneously to the people they encounter in the field and to their “own” scientific community. The article asks how a researcher can do theology in (...) a secular environment without doing violence towards ones interlocutors and still be considered to “belong” in the theological community? Based on the lived experiences of ongoing research and particularly concerning the gathering and telling the stories of Women in the Natural sciences, the author weaves together Eileen Campbell-Reed’s and Sarah Coakley’s methodological frameworks in order to present her own method of contemplative dance. The author uses rich metaphors and the sensory experience of “Home” and “Exile” in relationship to the movements in a foot to bring forth her embodied insights about dancing in the messy entanglement of ethnographic research. (shrink)

My essay incorporates Irigaray's notion of the sensible transcendental, a dynamic attempt to reconstitute the body/mind dualism which founds Western thought, into a reading of the practice of European concert dance. I contend that Irigaray's efforts toward articulating a language of the body as active agent have much to offer analyses of dance practice, and develop this claim through a reading which reflects philosophically on the changing nature of my own dance activity.

Herodas'Mimiamb7 has often attracted scholarly attention on account of its thematic preoccupation with the sexuality of ordinary people, thus offering a realistic and exciting glimpse of everyday life in the eastern Mediterranean of the third centuryb.c.e. In addition, his obscure reference in lines 62–3 to the obsession of women and dogs with dildos has been the focus of long-standing scholarly debate: while most scholars agree that the verses employ a metaphor, possibly of obscene nature, their exact meaning is still to (...) be clarified. In response, this article offers an additional paradigm which stresses the cultural osmosis between the Greeks and their eastern neighbours in the Hellenistic period; in my view, Herodas' peculiar choice of expression could be explained more aptly through this hitherto unnoticed perspective. Despite having frustratingly little information about the poet and his life, his familiarity with the Hellenistic East is often implied in his poetic settings: for example, Cos inMimiamb2 and probably locations in Asia Minor inMimiambs6 and 7 are considered likely to reflect the places where he lived. Hence, it is reasonable to assume that Herodas spent periods of his life in areas of the eastern Aegean where cultural interaction was practically unavoidable. Moreover, his first poem exhibits a certain amount of knowledge and admiration for Ptolemaic Egypt and, although this does not necessarily mean that he lived there, he must have been very familiar with Alexandria and its erudite circles. After all, Herodas, a contemporary of Theocritus who subscribed to his preference for short, elegant poetic forms, shared the latter's interest in the lowly mime, which both of them invested with learned language. Thus, specific motifs, such as the visit of an abandoned mistress to the witches in a desperate attempt to coax back a cruel lover, are treated by both poets and ultimately derive from the literary corpus of mimes by the influential Sophron. Theocritus was also familiar with locations in Cos, an island that appears to have been culturally diverse. One of the foreign communities that increasingly made its presence felt in third-centuryb.c.e. Asia Minor and the nearby islands of the eastern Aegean was that of the Jews, although the history of particular communities is often difficult to recover. Nevertheless, we do know that as early as the third centuryb.c.e. ‘various Jewish authors writing in Greek had adopted the prevailing patterns of Greek literature in its many forms, filling them with Jewish content’. The Jews had a prominent and well-documented presence at Alexandria, where their interaction with the Greeks was promoted by the Ptolemies. There, already by the middle of the third centuryb.c.e., the Pentateuch (the Hebrew Torah) had been translated into Koine Greek by royal request, which probably indicates a sizeable community able to participate dynamically in the cultural interface of Ptolemaic Alexandria. In the following pages, I shall revisit the past interpretations of the aforementioned verses inMimiamb7 before arguing that the key to their understanding lies in the interaction of the Greeks with near eastern cultures, particularly the Jews, who seemed to have employed a distinctive metaphor about ‘dogs’ and their perceived sexual habits. (shrink)

There are at least two notable and distinct literatures on the subject of questions: the educational literature, analyzing questions with a pedagogical upshot in mind, and the philosophical literature, analyzing questions with the concerns of philosophy of language and logic. This paper goes some way towards bridging these literatures by taking a philosophical stance on questions and by examining how a basic treatment of questions as a philosophical theme can greatly aid the introduction of students to the study of (...) philosophy. The foreignness of philosophy to many students means that they enter philosophy courses with many assumptions about it. Discussing their assumptions about questions (e.g. “There are certain questions that should not be asked;” “There are certain questions that cannot be answered”) is a useful way to ease students into philosophical inquiry. This approach also allows for the enrichment of students’ taxonomies of questions. Unlike many other answer-oriented disciplines, philosophy places a high value on the role of questions in inquiry and pays close attention to how different types of questions call for different types of answers. The author defines a number of types of questions (normatively answerable, unanswerable, and defective) and addresses both their philosophical import as well as their value for students. (shrink)

In recent years, the notion of the body schema has been widely discussed, in particular in fields connecting philosophy, cognitive science, and dance studies, as it seems to have bearing across disciplines in a fruitful way. A main source in this literature is Shaun Gallagher’s distinction between the body schema – the “pre-noetic” conditions of bodily performance – and the body image – the body as intentional object –, another is Merleau-Ponty’s writings on the living body, that Gallagher often (...) draws upon. In this paper, I will first discuss Gallagher’s presumed clarification of body schema–body image, and discuss a recent critique by Saint Aubert (2013), who evaluates it against the backdrop of Merleau-Ponty’s thoughts on this issue. While I believe that Saint Aubert’s criticism overshoots the mark, it is useful for a clarification of Gallagher’s analysis and points to a problematic feature, namely the alleged inscrutability of the body schema to phenomenological reflection. This is particularly interesting in relation to contemporary dance and performance practice, where working with – and against – habitual structures is a core element. Certain contemporary training techniques are explicitly aimed at raising awareness of those bodily aspects that condition movement and expression – that Gallagher sees as pertaining to the body schema – and that in ordinary activities often remain hidden. In order to clarify the role that reflection on our own body and its habitual patterns plays in contemporary dance practice, I will examine the movement language and improvisation practice “Gaga”, where this aspect is arguably fundamental. (shrink)