Dance and the Corporeal Uncanny

Philosophy in Motion
 
 
Routledge (Verlag)
  • 1. Auflage
  • |
  • erscheint ca. am 22. Juli 2020
 
  • Buch
  • |
  • Hardcover
  • |
  • 272 Seiten
978-0-367-50842-5 (ISBN)
 
'Dance and the Corporeal Uncanny' takes the philosophy of the body into the field of dance, through the lens of subjectivity and via its critique.
It draws on dance and performance as its dedicated field of practice to articulate a philosophy of agency and movement. It is organized around two conceptual paradigms, one phenomenological (via Merleau-Ponty), the other, an interpretation of Nietzschean philosophy, mediated through the work of Deleuze.
The book draws on dance studies, cultural critique, ethnography and postcolonial theory, seeking an interdisciplinary audience in philosophy, dance and cultural studies.
  • Englisch
  • London
  • |
  • Großbritannien
Taylor & Francis Ltd
  • 18
  • |
  • 18 s/w Photographien bzw. Rasterbilder, 18 s/w Abbildungen
  • |
  • 18 b/w images and 18 halftones
  • Höhe: 234 mm
  • |
  • Breite: 159 mm
978-0-367-50842-5 (9780367508425)
weitere Ausgaben werden ermittelt
Philipa Rothfield is an academic, dancer and dance reviewer. She is an honorary staff member in Philosophy and Politics at La Trobe University, Australia, and honorary Professor in Dance and Philosophy of the Body, University of Southern Denmark. She is Creative Advisor at Dancehouse, Melbourne. She is co-author of Practising with Deleuze, Design, Dance, Art, Writing, Philosophy (Edinburgh University Press, 2017).
Contents

Frontispiece
Acknowledgments
List of Images
Introduction: Hanging Out in the Body

PART ONE
Chapter 1: Merleau-Ponty and the Lived Body
Chapter 2: Movement Subjectivity and the Phenomenology of Dance
Chapter 3: Kinaesthetic Sensibility and the Politics of Difference
Chapter 4: Keeping it Korean, The Pluralization of Space and Time in Korean Dance

PART TWO
Chapter 5: Nietzsche and the Ontology of Force
Chapter 6: Subjectivity Three Ways, in Nietzsche and Deleuze
Chapter 7: Staging Sovereignty

Conclusion: Between the Dancer and the Dance

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