06510nam 2200781 450 99624798550331620230525074204.01-282-00293-797866120029391-4426-7715-510.3138/9781442677159(CKB)2420000000004189(SSID)ssj0000302820(PQKBManifestationID)11249142(PQKBTitleCode)TC0000302820(PQKBWorkID)10274858(PQKB)10261235(CaBNvSL)slc00209577(DE-B1597)464644(OCoLC)944177871(DE-B1597)9781442677159(Au-PeEL)EBL4671717(CaPaEBR)ebr11257417(OCoLC)958572068(dli)HEB05946(MiU)MIU01000000000000012925598(OCoLC)244767456(MdBmJHUP)musev2_104971(VaAlCD)20.500.12592/sjrqf9(schport)gibson_crkn/2009-12-01/7/420994(MiAaPQ)EBC4671717(EXLCZ)99242000000000418920160921h19951995 uy 0engurcn|||||||||txtccrA measured pace toward a philosophical understanding of the arts of dance /Francis SparshottToronto, [Ontario] ;Buffalo, [New York] ;London, [England] :University of Toronto Press,1995.©1995xviii, 580 p. ;24 cmToronto Studies in PhilosophySequel to: Off the ground.0-8020-0510-1 0-8020-6946-0 Includes bibliographical references and index.""Contents""; ""Preface""; ""1 Introduction""; ""PART ONE: Kinds of Dance""; ""2 The Problem of Classification""; ""2.1 How Showbiz Did It""; ""2.2 How Libraries Do It""; ""2.3 Dances as Individuals""; ""2.4 Dimensions of Meaning""; ""2.5 Quality and Context""; ""3 Classification by Context""; ""3.1 Self-defined and Other-defined""; ""3.2 Forms of Life""; ""3.3 Amateur and Professional""; ""3.4 Regular and Irregular""; ""3.5 Audiences""; ""3.6 Dancers""; ""3.7 The Context of Art""; ""3.8 Motivations and Meanings""; ""4 Mimesis""; ""4.1 Quality: Intrinsic Classifications""""4.2 Formal and Mimetic""""5 Expression""; ""5.1 Individual Expression""; ""5.2 Social Expression""; ""5.3 Being in the World""; ""6 Formal Principles of Movement""; ""6.1 Basic Movement Types""; ""6.2 Recapitulation""; ""7 Anatomy""; ""7.1 Feet and Hands""; ""7.2 Whole and Part""; ""8 Units and Systems""; ""8.1 Units of Movement""; ""8.2 Movement Systems""; ""9 Rhythm""; ""9.1 The Conceptual Question""; ""9.2 The Basics""; ""9.3 The Sources of Rhythm""; ""9.4 Repetition, Pattern, and Flow""; ""9.5 More Conceptual Questions""; ""9.6 The Uniqueness of Rhythms in Art""; ""10 One and Many""""10.1 One among Many""""10.2 Groups""; ""10.3 Chorus and Solo""; ""10.4 Couples""; ""10.5 Conclusion""; ""11 Modes of Dance Organization""; ""11.1 Narrative""; ""11.2 Music""; ""11.3 Dance Form""; ""11.4 Conclusion""; ""PART TWO: Dance and Related Fields""; ""12 Dance and Music""; ""12.1 Symbiosis""; ""12.2 The Art of Dance and the Art of Music""; ""12.3 The Relation of a Dance to Its Music""; ""12.4 Music Structure and Dance Structure""; ""13 Dance and Language""; ""13.1 Verbal Mediation""; ""13.2 Gesture""; ""13.3 Dancing and Talking""; ""13.4 What Is Language?""""13.5 The Semiological Extension""""14 Dance and Theatre""; ""14.1 Performing Arts""; ""14.2 Dance and Drama""; ""14.3 Dance and Scene""; ""PART THREE: Aspects of Dance""; ""15 Dance Values""; ""15.1 Singularities""; ""15.2 Generalities""; ""15.3 Dance Criticism""; ""15.4 Conclusion""; ""16 Dancer and Spectator""; ""17 Learning to Dance""; ""17.1 Learning Dances""; ""17.2 Learning Dancing""; ""17.3 Learning to Dance for the Public""; ""17.4 From the Particular to the General""; ""17.5 The Solitary Dancer""; ""17.6 Conclusion""; ""18 Dance and Choreography""; ""18.1 The Basic Hierarchy""""18.2 Composition and Execution""""18.3 Choreography and the Dimensions of Dance""; ""18.4 What Choreographers Need to Know""; ""18.5 The Necessity of Choreography""; ""18.6 Margins of Choreography""; ""19 The Identity of a Dance""; ""19.1 Dance and Dancer""; ""19.2 Performance Type and Performance Token""; ""19.3 Performance and Performing""; ""19.4 The Identity of a Dance""; ""20 Recording Dance""; ""20.1 Score and Transcription""; ""20.2 Notation""; ""20.3 Film and Video""; ""20.4 Conclusion""; ""21 Conclusion""; ""22 Afterword: The Three Graces""; ""Notes""; ""References""; ""Index""Although the theoretical importance of dance has always been recognized, dance has been relatively neglected in the philosophy of art. In this sequel to Off the Ground, in which Professor Sparshott focused on the concept of dance in general, A Measured Pace considers the recognized classification of dance as art, its values, and relationship to the other arts. Sparshott begins with an explanation of the philosophical importance of the major classifications of dance and their basis. He examines dance as a mimetic and expressive medium, and reviews the major dimensions of dance form. He then explores the relationship of dance to three related fields: music, language, and theatre. Sparshott also discusses the major philosophical problems of dance as an art: the specific values of dance; the relation between the way the audience perceives dance and the dancer's self-perception; the ways in which dancing and dances are learned; the division of artistic creation between choreographers and performers; and the ways in which dances are identified and retain their identity through time. A concluding chapter on how dances are recorded considers how the media may change the nature of dance. A Measured Pace is a wide-ranging and substantial contribution to a philosophical understanding of dance.Toronto studies in philosophy.DancePhilosophyLivres numeriques.e-books.Electronic books. DancePhilosophy.792.8/01Sparshott Francis Edward1926-2015,122312MiAaPQMiAaPQMiAaPQBOOK996247985503316A measured pace2399548UNISA02839nam 22006133 450 991086086680332120230424053447.01-4529-6880-21-4529-6881-0(MiAaPQ)EBC30172501(Au-PeEL)EBL30172501(OCoLC)1371466986(MdBmJHUP)musev2_103326(OCoLC)1375297625(EXLCZ)992638813960004120230407d2023 uy 0engurcnu||||||||txtrdacontentcrdamediacrrdacarrierThe Comic Self Toward Dispossession1st ed.New York :University of Minnesota Press,2023.©2023.1 online resource (153 pages)Thinking Theory SeriesPrint version: Campbell, Timothy C. The Comic Self New York : University of Minnesota Press,c2023 9781517914929 Cover Page -- Series Page -- Title Page -- Copyright Page -- Contents -- Preface: The Art of Self-Dispossession -- Introduction: The Fallacy of Self-Possession -- Chapter 1. The Sunset of the Self -- Chapter 2. Renunciation and Refusal = Rupture and Rapture -- Chapter 3. Elide Tragedy -- Chapter 4. The Comic Self Is Not Comic -- Chapter 5. "I Think" -- Chapter 6. David Hume: The Master Critic of Identity -- Chapter 7. Temporality contra Cogito Ergo Sum -- Chapter 8. From a Terminal Walk to a Tightrope Walker -- Chapter 9. Don Quijote's Comic Selves -- Chapter 10. The Unequal -- Chapter 11. Tragic Repetition -- Acknowledgments -- Notes -- Index."Challenging the contemporary notion of "self-care" and the Western mania for "self-possession," The Comic Self proposes an alternate and less toxic model for human aspiration: a comic self. Campbell and Farred range across philosophy, literature, and contemporary comedy to uncover spaces where the dispossession of self and, with it, the dismantling of the regime of self-care are possible"--Provided by publisher.Thinking Theory SeriesSelf-perceptionfast(OCoLC)fst01111797Self-evaluationfast(OCoLC)fst01111715Comedyfast(OCoLC)fst00869083ComedySelf-evaluationSelf-perceptionElectronic books. Self-perception.Self-evaluation.Comedy.Comedy.Self-evaluation.Self-perception.158.1Campbell Timothy C1030830Farred Grant1628846MiAaPQMiAaPQMiAaPQBOOK9910860866803321The Comic Self4166107UNINA