000			03533nam a22004454i 4500
001			vtls002911583
003			ES-BaIT
005			20211104062521.0
008			201223s2018 xxk|||||||||| 001 0 eng c
010			_a2911583
020			_a9780198807728
035			_a.b72255018
039		9	_a202012231009 _balvarezrb _y202012231008 _zalvarezrb
040			_aES-TaURV _bcat _erda _cES-TaURV
080			_a793
100	1		_aSchlapbach, Karin, _eautor _9154444
245	1	4	_aThe Anatomy of dance discourse : _bliterary and philosophical approaches to dance in the later Graeco-Roman world / _cKarin Schlapbach
250			_aFirst edition
264		1	_aOxford : _bOxford University Press, _c2018
300			_ax, 339 pàgines ; _c24 cm
336			_atext _btxt _2rdacontent
337			_asense mediació _bn _2rdamedia
338			_avolum _bnc _2rdacarrier
500			_aÍndex
520			_a"Within the newly thriving field of ancient Greek and Roman performance and dance studies, The Anatomy of Dance Discourse offers a fresh and original perspective on ancient perceptions of dance. Focusing on the second century CE, it provides an overview of the dance discourse of this period and explores the conceptualization of dance across an array of different texts, from Plutarch and Lucian of Samosata, to the apocryphal Acts of John, Longus, and Apuleius. The volume is divided into two Parts: while the second Part discusses ekphraseis of dance performance in prose and poetry of the Roman imperial period, the first delves more deeply into an examination of how both philosophical and literary treatments of dance interacted with other areas of cultural expression, whether language and poetry, rhetoric and art, or philosophy and religion. Its distinctive contribution lies in this juxtaposition of ancient theorizations of dance and philosophical analyses of the medium with literary depictions of dance scenes and performances, and it attends not only to the highly encoded genre of pantomime, which dominated the stage in the Roman empire, but also to acrobatic, non-representational dances. This twofold nature of dance sparked highly sophisticated reflections on the relationship between dance and meaning in the ancient world, and the volume defends the novel claim that in the imperial period it became more and more palpable that dance, unlike painting or sculpture, could be representational or not: a performance of nothing but itself. It argues that dance was understood as a practice in which human beings, whether as dancers or spectators, are confronted with the irreducible reality of their own physical existence, which is constantly changing, and that its way to cognition and action is physical experience." -- Contracoberta
650		7	_aDansa _zGrècia _2lemac _9154445
650		7	_aDansa _zRoma _2lemac _9154446
650		7	_aDansa _xFilosofia _2 _956578
650		7	_aDansa _zRoma _xHistòria _2lemac _9154447
650		7	_aDansa _xAspectes antropològics _956572
650		7	_aDansa en la literatura _2lemac _975320
650		7	_aEurítmica _2lemac _964277
650		7	_aCivilització clàssica _2lemac _9154448
650		7	_aCivilització grecoromana _2lemac _9154449
907			_a.b72255018 _b23-12-20 _c19-11-18 _d19-11-18 _em _fa _g- _heng _ixxk _j0 _k0
940			_aCVA27
949			_AVIRTUAITEM _D10040 _G10040 _X1 _61900081466 _a793 SCH
998			_aVIRTUA
998			_aVTLSSORT0080*0200*0350*0400*0800*1000*2450*2500*2640*3000*3360*3370*3380*5200*5000*6500*6501*6502*6503*6504*6505*6506*6507*6508*9070*9400*9992
999			_c130449 _d130449