Dancing Ourselves to Death: The Subject of Emma Goldman's Nietzschean Anarchism

Rossdale, Chris

doi:10.1080/14747731.2014.971542

Cited by 17 publications

(6 citation statements)

References 9 publications

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“…Through emotive, non-verbal communication dance can be a powerful political tool, at times even more so than official political rhetoric or intellectual debates (Reed, 1998: 510–511). There are also abundant examples, both historical and contemporary, of how dance can play a diverse role in political resistance (see Prickett, 2013; Rossdale, 2015). In IR, Felix Rösch (2018) has used dance workshops as an innovative way to teach IR theory differently.…”

Section: Dancing Everyday Ir: Militarising Choreographies Of Warmentioning

confidence: 99%

Feeling Everyday IR: Embodied, affective, militarising movement as choreography of war

Åhäll¹

2018

Cooperation and Conflict

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This article explores affective, embodied encounters between military and civilian bodies in the everyday as choreography of war. It argues that by paying attention to the intersecting political sphere of bodies, affect and movement – through the metaphor of ‘dance’ – we are not only able to understand how security operates as a logic reproducing the militarisation of the everyday, but also able to identify a representational gap, an aesthetic politics, potentially useful for resistance to such practices normalising war in the everyday. It draws on two British examples of where military moves disrupt civilian spaces in the everyday: an arts project commemorating the Battle of the Somme, and a football game taking place during Remembrance week. Through embodied choreographies of war in the everyday, dance is used as a metaphor to understand militarisation as an example of feeling Everyday IR. Thus, dance is useful to ‘see’ the politics of Everyday IR, but also to understand, to feel and possibly to resist the politics of normalisation of war in the everyday. This is one example of how feeling Everyday IR offers alternative openings into political puzzles of security logics informing war as practice.

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Section: Dancing Everyday Ir: Militarising Choreographies Of Warmentioning

confidence: 99%

Feeling Everyday IR: Embodied, affective, militarising movement as choreography of war

Åhäll¹

2018

Cooperation and Conflict

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“…While not necessarily located in these terms, many critical political traditions have advocated a subversive posture with regard to ontological security and insecurity. This can emerge in the name of ethics (Anzaldua ; Butler ), survival (Malkki :153–196), radical creativity (Bertalan ; Rossdale ), and more. Queer Theory in particular provides resources for reimagining the subject in this fashion, precisely because those working in this field have looked to denaturalize the supposedly stable identities and binaries which constitute contemporary sexual and gender identities.…”

Section: Resisting Ontological Securitymentioning

confidence: 99%

Enclosing Critique: The Limits of Ontological Security

Rossdale

2015

Int Polit Sociol

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119

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“…From the perspective of neuroscience, the subconsciousness of the human brain can be attributed to the sum of all psychological components and instincts. It contains various components, including instinct, desire, emotion and ideas (Rossdale, 2015). As an inherent instinctive factor of consciousness, under certain conditions, the subconsciousness of the human brain can be divided into two parts: the aware domain and the unaware domain, wherein the components of aware domain play a decisive role in people's behavior and thought performance (Leo, 2007;Wakpa, 2016).…”

Section: Introductionmentioning

confidence: 99%

Inspiration Mechanism of Dance Creation Based on Brain Subconsciousness Theory

Gao¹

2020

RACP

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The inspiration from "subconscious mind", i.e. the subconsciousness of the brain, is critical to dance creation. This paper makes a thorough review of the theory of brain subconsciousness, details the elements of dance creation, and then determines the role and mechanism of subconsciousness in inspiring dance creation. The results show that, the inspiration in dance creation is a unity of functions, concepts and aesthetics achieved through long-term pondering, rather than appear out of nowhere; the generation and development of inspiration can be divided into three processes: preparation, excitation process, and capture and processing; the dance creation is an integration of logical thinking and nonlogical thinking: analyzing the bionic elements through logical thinking, converting them into inspiration fragment through nonlogical thinking, and integrating the fragments through logical thinking again. The research findings shed theoretical new lights on the study of brain neuroscience in dance creation.

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Dancing Ourselves to Death: The Subject of Emma Goldman's Nietzschean Anarchism

Cited by 17 publications

References 9 publications

Feeling Everyday IR: Embodied, affective, militarising movement as choreography of war

Feeling Everyday IR: Embodied, affective, militarising movement as choreography of war

Enclosing Critique: The Limits of Ontological Security

Inspiration Mechanism of Dance Creation Based on Brain Subconsciousness Theory

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