Bodies moving and moved : a phenomenological analysis ot the dancing subject and the cognitive and ethical values of dance art /
Parviainen, Jaana
Bodies moving and moved : a phenomenological analysis ot the dancing subject and the cognitive and ethical values of dance art / Jaana Parviainen - 197 pàgines; 15 cm
Títol original: Liikuvia Ja Liikutettuja Kehoja Inclou referències bibliogràfiques
Bibliografia, pàgines 179-192
I. A PHENOMENOLOGICAL THEORY OF THE BODY. 1. The Cartesian Gaze and the Objectification of the Body . 2. The Docile Body, Body Politics and the Social Body. 3. Returning to the Philosophy of Existence. 4. The Lived Body 33 (i) The body-self . (ii) The objective body. (iii) Perception and the sentient, sensuous body. (iv) Temporality and spatiality. (v) Motility. (vi) Bodily knowledge. (vii) Body memory and recollection. 5. The Body in the Process of Change. 6. Flesh and Reversibility. 7. The Self and Otherness -- II. THE ROLE OF DANCE TRADITION AND THE DANCE FIELD 1. Dancing as a Living Bodily Heritage. (i) Tradition. (ii) A narrative of modern dance. 2. Autonomous Art Field. (i) Objective art and pure aesthetics.(ii) Art as a social field. (iii) The dance field. 3. The Body Politics of the Dance Field and Dance Aesthetics. (i) The frame of movement aesthetics. (ii) Dance technique and technical competence.(iii) Dancers as material. (iv) Dancing for pure gaze. 4. Towards Ethical Reflections on Dance – III. THE DANCER’S PATH. 1. Existential Project . (i) Givenness, freedom, and choosing oneself . (ii) The dancer’s projection and practice of the self. 2. Path. (i) The transformation of the body. (ii) The dancer’s knowledge and skills as a path. (iii) Dialogue with the world. (iv) Poetising meanings through the moving body. 3. Sorge and Manque as Existential Reasons for Artist Production. IV. TOWARDS AN ONTOLOGY OF DANCE AS A WORK OF ART. 1. Martin Heidegger’s Conception of the Work of Art. 2. Beyond Pure Dance Aesthetics. (i) Wholeness and the work as a world. (ii) The call to authenticity. 3. Dancework. (i) Theme. (ii) Choreographic process and collaboration. (iii) Intertwining bodily movements, space/place, and other materials of dancework. 4. Performance.(i) Momentness and nonproductivity. (ii) Reversibility of perception in performance
"Developing a phenomenological theory of the body which focuses on the analysis of movement, Jaana Parviainen outlines in new terms the dancing subject in contemporary dance, exploring the cognitive and ethical values of dance practice and danceworks. The present study explains the moral issues of dance art not only as representation or symbolic presentation, but with the human body itself as the standpoint from which moral issues emerge, as the subject of action itself. Developing a philosophical dance discourse, Parviainen brings both Western philosophy as a tradition of thinking and Western dance as a tradition of bodily movement into a mutual dialogue.The ontological standpoint is Maurice Merleau-Ponty's phenomenology of perception and its theory of the body. In addition to Merleau-Ponty's theory of the body, the study draws on the work of David Michael Levin,, Michel Foucault, Pierre Bourdieu and Martin Heidegger." -- Contracoberta
951444440X
Dansa--Filosofia
Dansa contemporània
Performance (Art)
Moviment, Estètica del
Dansa--Aspectes ètics i morals
Ballarins--Psicologia
Ballarins--Formació
Tesis i dissertacions acadèmiques
793.5
Bodies moving and moved : a phenomenological analysis ot the dancing subject and the cognitive and ethical values of dance art / Jaana Parviainen - 197 pàgines; 15 cm
Títol original: Liikuvia Ja Liikutettuja Kehoja Inclou referències bibliogràfiques
Bibliografia, pàgines 179-192
I. A PHENOMENOLOGICAL THEORY OF THE BODY. 1. The Cartesian Gaze and the Objectification of the Body . 2. The Docile Body, Body Politics and the Social Body. 3. Returning to the Philosophy of Existence. 4. The Lived Body 33 (i) The body-self . (ii) The objective body. (iii) Perception and the sentient, sensuous body. (iv) Temporality and spatiality. (v) Motility. (vi) Bodily knowledge. (vii) Body memory and recollection. 5. The Body in the Process of Change. 6. Flesh and Reversibility. 7. The Self and Otherness -- II. THE ROLE OF DANCE TRADITION AND THE DANCE FIELD 1. Dancing as a Living Bodily Heritage. (i) Tradition. (ii) A narrative of modern dance. 2. Autonomous Art Field. (i) Objective art and pure aesthetics.(ii) Art as a social field. (iii) The dance field. 3. The Body Politics of the Dance Field and Dance Aesthetics. (i) The frame of movement aesthetics. (ii) Dance technique and technical competence.(iii) Dancers as material. (iv) Dancing for pure gaze. 4. Towards Ethical Reflections on Dance – III. THE DANCER’S PATH. 1. Existential Project . (i) Givenness, freedom, and choosing oneself . (ii) The dancer’s projection and practice of the self. 2. Path. (i) The transformation of the body. (ii) The dancer’s knowledge and skills as a path. (iii) Dialogue with the world. (iv) Poetising meanings through the moving body. 3. Sorge and Manque as Existential Reasons for Artist Production. IV. TOWARDS AN ONTOLOGY OF DANCE AS A WORK OF ART. 1. Martin Heidegger’s Conception of the Work of Art. 2. Beyond Pure Dance Aesthetics. (i) Wholeness and the work as a world. (ii) The call to authenticity. 3. Dancework. (i) Theme. (ii) Choreographic process and collaboration. (iii) Intertwining bodily movements, space/place, and other materials of dancework. 4. Performance.(i) Momentness and nonproductivity. (ii) Reversibility of perception in performance
"Developing a phenomenological theory of the body which focuses on the analysis of movement, Jaana Parviainen outlines in new terms the dancing subject in contemporary dance, exploring the cognitive and ethical values of dance practice and danceworks. The present study explains the moral issues of dance art not only as representation or symbolic presentation, but with the human body itself as the standpoint from which moral issues emerge, as the subject of action itself. Developing a philosophical dance discourse, Parviainen brings both Western philosophy as a tradition of thinking and Western dance as a tradition of bodily movement into a mutual dialogue.The ontological standpoint is Maurice Merleau-Ponty's phenomenology of perception and its theory of the body. In addition to Merleau-Ponty's theory of the body, the study draws on the work of David Michael Levin,, Michel Foucault, Pierre Bourdieu and Martin Heidegger." -- Contracoberta
951444440X
Dansa--Filosofia
Dansa contemporània
Performance (Art)
Moviment, Estètica del
Dansa--Aspectes ètics i morals
Ballarins--Psicologia
Ballarins--Formació
Tesis i dissertacions acadèmiques
793.5