The philosophical aesthetics of dance :identity, performance and understanding
- 作者: McFee, Graham.
- 出版: Alton, Hampshire [England] : Dance Books ©2011.
- 稽核項: xviii, 342 pages ;24 cm.
- 標題: Dance , Aesthetics. , Philosophy. , Dance Philosophy.
- ISBN: 1852731494 , 9781852731496
- 附註: Includes bibliographical references (pages 321-332) and index. Ch 1. Dance, art and philosophy: A personal introduction -- Part One: Dances as Performables -- Ch 2. Making sense of multiples -- Ch 3. Authenticity in performance, work-identity and practice -- Ch 4. Preservation, recording and dance performance -- Part Two: Making Artworks -- Ch 5. Thinking about the choreographer -- Ch 6. Improvisation, dance and notation again! -- Part Three: The Dancer's Share -- Ch 7. Are dancers are artists?: Dancers, performances and physicality -- Ch 8. Mastering movement: Kinaesthesis, proprioception and subjectivity -- Part four: A Narrative of Dance History -- Ch 9. Reconstructing dances?: Some conceptual questions -- Ch 10. Dance-understanding and dance history -- Ch. 11. Conclusion: Making sense of dance -- Appendix : Technical matter for type-token ontology.
- 摘要: "This work is a comprehensive account of central issues in the philosophical aesthetics of dance, intended for the interested general reader as well as for the postgraduate student. Its fundamental consideration is of dance works that are artworks. Typically these are performables: they can be re-performed on another occasion or in another place. So discussion begins from whether or not two performances are of the same dancework: that is, from issues of 'work-identity'. Here, notationality (rather than an extant notated score) is stressed, and the idea of an adequate notated score for a dancework is introduced to reflect the normativity of scores. The text explores (a) the making of dance--in particular, locating the conceptual role of authors of dances; (b) the distinctive role of the dancer; and (c) the understanding and appreciation of dances. , Both dance-making and dance-understanding are addressed since the 'identity' issue can arise in the staging of a particular dance; whether the perspective is that of the choreographer or that of the dancer; where the concern is with the appreciation of a particular dancework; or, again, when a dancework from the past is being reconstructed. In this text, the reader moves on from the author's previous Understanding Dance (1992). Like that work, this one draws on a range of examples of danceworks from ballet to modern dance, especially as they are represented in dance-criticism. The work contrasts the performance traditions of various dance trainings through which dancers learn to understand dance with traditions of performance for danceworks as acknowledged by audiences. A detailed discussion of the nature of our interest in dance and some historical reflections on the use of examples are also included. , This book is a major intervention into the philosophical aesthetics of dance by a philosopher who has devoted much of his professional career to the consideration of dance. It presents a discussion of many of the key topics from the field, rooted in a general framework for philosophical aesthetics."--Page 4 of cover.
- 系統號: 005107443
- 資料類型: 圖書
- 讀者標籤: 需登入
- 引用網址: 複製連結
This work is a comprehensive account of central issues in the philosophical aesthetics of dance, intended for the interested general reader as well as for the postgraduate student. Its fundamental consideration is of danceworks that are artworks. Typically these are performables: they can be re-performed on another occasion or in another place. So discussion begins from whether or not two performances are of the same dancework: that is, from issues of 'work-identity'. Here, notationality (rather than an extant notated score) is stressed, and the idea of an adequate notated score for a dancework is introduced to reflect the normativity of scores. The text explores (a) the making of dance - in particular, locating the conceptual role of authors of dances; (b) the distinctive role of the dancer; and (c) the understanding and appreciation of dances. Both dance-making and dance-understanding are addressed since the 'identity' issue can arise in the staging of a particular dance; whether the perspective is that of the choreographer or that of the dancer; where the concern is with the appreciation of a particular dancework; or, again, when a dancework from the past is being reconstructed. In this text, the reader moves on from the author's previous 'Understanding Dance' (1992). Like that work, this one draws on a range of examples of danceworks from ballet to modern dance, especially as they are represented in dance-criticism. The work contrasts the performance traditions of various dance trainings through which dancers learn to understand dance with traditions of performance for danceworks as acknowledged by audiences. A detailed discussion of the nature of our interest in dance and some historical reflections on the use of examples are also included. This book is a major intervention into the philosophical aesthetics of dance by a philosopher who has devoted much of his professional career to the consideration of dance. It presents a discussion of many of the key topics from the field, rooted in a general framework for philosophical aesthetics. Graham McFee is Professor of Philosophy at the University of Brighton, UK, and at California State University Fullerton. He writes and lectures both nationally and internationally on a wide variety of topics within philosophy, especially the aesthetics of dance and the philosophy of Wittgenstein. His books include 'Understanding Danc'e (1992), 'The Concept of Dance Education' (1994/2004), 'Free Will' (2000), 'Sport, Rules and Values' (2004), 'Ethics, Knowledge and Truth in Sport Research' (2010), and 'Artistic Judgement' (2011). He was formerly the Vice President of the British Society for Aesthetics.
來源: Google Book
來源: Google Book
評分
