In her remarkable book, Sondra Horton Fraleigh examines and describes dance through her consciousness of dance as an art, through the experience of dancing, and through the existential and phenomenological literature on the lived body. She describes, with performance photographs, specific imagery in dance masterworks by Doris Humphrey, Anna Sokolow, Viola Farber, Nina Weiner, and Garth Fagan.
In Researching Dance, an introduction to research methods in dance addressed primarily to graduate students, the editors explore dance as evolutional, defining it in view of its intrinsic participatory values, its developmental aspects, and its purposes from art to ritual, and they examine the role of theory in research. The editors have also included essays by nine dancer-scholars who examine qualitative and quantitative inquiry and delineate the most common approaches for investigating dance, raising concerns about philosophy and aesthetics, historical scholarship, movement analysis, sexual and gender identification, cultural diversity, and the resources available to students. The writers have included study questions, research exercises, and suggested readings to facilitate the book’s use as a classroom text.
"This collection contains critical and visual analyses of cultural spectacle and social identity by eighteen major Australian scholars and practitioners. It discusses and describes bodies in contemporary performance, theatre, visual art and dance; in circus and ethnographic shows; in performance training, butoh and wrestling; at gay and lesbian dance parties; and in relation to digital images. It explores historical and theoretical issues of gender and postcoloniality, technology, and the location of bodies in architectural, social and virtual spaces."--BACK COVER.
This study focuses on response to comedy. The author maintains we respond rather mindlessly to comic effect. Comedy itself, in the philosophical sense, is seen as play. The play impulse is manifest in numerous forms from theater to painting, the novel to sculpting, poetry to cartooning; and each medium has its own semiotic language.
Combining critical analysis with personal history and poetry, "Dancing Identity" presents a series of interconnected essays composed over a period of fifteen years that explore the role of movement in defining our sense of self.
This encyclopedia presents phenomenological thought and the phenomenological movement within philosophy and within more than a score of other disciplines on a level accessible to professional colleagues of other orientations as well as to advanced undergraduate and graduate students. Entries average 3,000 words. In practically all cases, they include lists of works "For Further Study." The Introduction briefly chronicles the changing phenomenological agenda and compares phenomenology with other 20th Century movements. The 166 entries are a baut matters of seven sorts: ( 1) the faur broad tendencies and periods within the phenomenological movement; (2) twenty-three national traditions ofphenomenology; (3) twenty-two philosophical sub-disciplines, including those referred to with the formula "the philosophy of x"; (4) phenomenological tendencies within twenty-one non-philosophical dis ciplines; (5) forty major phenomenological topics; (6) twenty-eight leading phenomenological figures; and (7) twenty-seven non-phenomenological figures and movements ofinteresting sim ilarities and differences with phenomenology. Conventions Concern ing persons, years ofbirth and death are given upon first mention in an entry ofthe names of deceased non-phenomenologists. The names of persons believed tobe phenomenologists and also, for cross-referencing purposes, the titles of other entries are printed entirely in SMALL CAPITAL letters, also upon first mention. In addition, all words thus occurring in all small capital letters are listed in the index with the numbers of all pages on which they occur. To facilitate indexing, Chinese, Hungarian, and Japanese names have been re-arranged so that the personal name precedes the family name.
New Directions for Adult and Continuing Education, Number 134
Author: Randee Lipson Lawrence
Publisher: John Wiley & Sons
Explore the multiple ways adults learn through their bodies.Embodied or somatic learning is a way of learning that relies onthe body’s knowledge. Our most basic form of learning inchildhood is preverbal; however, traditional schooling forces us tocheck our bodies at the door, requiring us to sit at a desk andraise our hands, focusing primarily on cognition to the exclusionof other ways of knowing. By the time we reach adulthood,“being in our bodies” is a foreign concept and a sourceof discomfort for many of us. This volume challenges the dominant paradigm of how knowledge isconstructed and shared. Embodied learning is examined through avariety of practice contexts, including higher education, communityeducation, health care, and the workplace, and through multiplemethods, including dance, theater, and outdoor experientialeducation. This is 134th volume of the Jossey-Bass quarterlyreport series ahref="http://www.josseybass.com/WileyCDA/WileyTitle/productCd-ACE.html"NewDirections for Adult and Continuing Education/a. Noted forits depth of coverage, it explores issues of common interestto instructors, administrators, counselors, and policymakers in abroad range of adult and continuing education settings, such ascolleges and universities, extension programs, businesses,libraries, and museums.