Bodies of the Text: Dance as Theory, Literature as Dance

Goellner, Ellen W.; Murphy, Jacqueline Shea

doi:10.2307/432078

Cited by 2 publications

(2 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…In the data analysis, the authors reach conclusions that approach the previous findings of another ethnography of the body, conducted in the cultural field of professional ballet by Wainwright and Turner (2004a), for enabling the understanding of the balletic body as a series of cultural practices. In methodological terms, Wainwright and Turner (2004a) use ethnography to challenge the disembodied literatures on dance, specifically on ballet, that tend to adopt a post-modern reading of dance as text (Adshead-Lansdale, 1999;Desmond, 1997;Goellner & Murphy, 1995;Wainwright & Turner, 2004b). In theoretical terms, the authors assert that ballet is a social practice whose embodiment's process is related to distinctions in the ballet habitus that unfolds in three dimensions: an individual one, an institutional one and a choreographic one.…”

Section: Methodological Issues In the Study Of Embodied Knowledgementioning

confidence: 99%

How Can We Define Mastery? Reflections on Learning, Embodiment and Professional Identity

Figueiredo

Ipiranga

2015

BAR, Braz. Adm. Rev.

View full text Add to dashboard Cite

In this article we reflect upon the knowledge production process through the body in the social-material arrangement of craft. Resorting to the embodiment paradigm, we aim to theoretically understand how someone reaches the mastery that characterizes the domain of craft skill. In analogy with craft practices, we analyze how knowledge that relies under practical performances such as skill are built and kept through the bodily relation with the making of things in the immediate contact with the world. At the end, we conclude that such reflections about mastery may be useful to investigations on professional identity.

show abstract

Section: Methodological Issues In the Study Of Embodied Knowledgementioning

confidence: 99%

How Can We Define Mastery? Reflections on Learning, Embodiment and Professional Identity

Figueiredo

Ipiranga

2015

BAR, Braz. Adm. Rev.

View full text Add to dashboard Cite

show abstract

“…It also marks the beginning of a wholesale translation of methods of culturalist analysis and poststructuralist criticism, as well as of a set of particular concerns and topics mirroring the agendas of feminism, gender and queer theory, postcolonial theory and the politics of racial, ethnic and other kinds of identitarian difference, which shaped Dance Studies in the 1990s (see Goellner and Shea 1994, Koritz 1996, Dils and Cooper 2001. Finally, dance theory was no longer short of meaningproduction, but of thought, or the problems and questions which would provoke philosophical thinking that would be particular to dance.…”

Section: German Idealist Tradition Of Ausdruckstanz As Demonstrated mentioning

confidence: 99%

From Odd Encounters to a Prospective Confluence: Dance-Philosophy

Cvejić

2015

View full text Add to dashboard Cite

This text inquires into the relationship between Western philosophy and Western theatre dance from their odd encounters in modernity to the current affiliations between contemporary choreographic poetics, critical theory and contemporary philosophical thought. The point of departure for the inquiry is a discussion of the three problems that have structured the historically vexed relationship between dance and philosophy: dance’s belated acquisition of the status of an art discipline, the special ontological status of the work of dance, and the limits of dance’s meaning-production set by the theme of bodily movement’s “ephemerality” and “disappearance.” After critically examining the approaches of Alain Badiou and Jacques Rancière in whose philosophies dance is relegated to a metaphor or, even worse, to an ahistorical conduit for a general ontology, the author makes a case for another movement of thought that arises in dance practice and is at the same time philosophical, rooted in Spinoza’s (and Deleuze’s) principle of expression. Demonstrating how choreographers, like Xavier Le Roy and Jonathan Burrows, create by “posing problems,” Cvejić presents a theory of “expressive concepts,” whereby choreography contributes to a philosophical rethinking of the relationship between the body, movement and time. This points to the new prospects of a kind of “dance-philosophy,” in which the epistemic hierarchy is reversed: the stake is no longer in what philosophy could do for dance, but how an experimental, radically pragmatic orientation in dance offers a practical framework for theorizing perception, concept-formation and other philosophical issues.

show abstract

Bodies of the Text: Dance as Theory, Literature as Dance

Cited by 2 publications

References 0 publications

How Can We Define Mastery? Reflections on Learning, Embodiment and Professional Identity

How Can We Define Mastery? Reflections on Learning, Embodiment and Professional Identity

From Odd Encounters to a Prospective Confluence: Dance-Philosophy

Contact Info

Product

Resources

About