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Download A Measured Pace: Toward a Philosophical Understanding of the by F.E. Sparshott PDF

By F.E. Sparshott

Although the theoretical significance of dance has constantly been famous, dance has been rather overlooked within the philosophy of paintings. during this sequel to Off the floor, during which Professor Sparshott occupied with the concept that of dance regularly, A Measured speed considers the famous class of dance as artwork, its values, and courting to the opposite arts.

Sparshott starts off with a proof of the philosophical value of the foremost classifications of dance and their foundation. He examines dance as a mimetic and expressive medium, and studies the key dimensions of dance shape. He then explores the connection of dance to 3 comparable fields: tune, language, and theatre. Sparshott additionally discusses the key philosophical difficulties of dance as an paintings: the categorical values of dance; the relation among the best way the viewers perceives dance and the dancer's self-perception; the ways that dancing and dances are realized; the department of creative production among choreographers and performers; and the ways that dances are pointed out and continue their identification via time. A concluding bankruptcy on how dances are recorded considers how the media may possibly switch the character of dance. A Measured velocity is a wide-ranging and colossal contribution to a philosophical realizing of dance.

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Extra resources for A Measured Pace: Toward a Philosophical Understanding of the Arts of Dance

Sample text

And we have seen that this is a compound of various distinctions that need not go together. But not all who dance professionally, and whose dances belong to their profession, are professional dancers in that sense. 12 below). The dances of such a person will be worked up as dance numbers and will recognizably belong to the professional stage and nowhere else (cf. 61). I have spoken as if the distinction between amateur and professional were always between what belongs to a full-time career choice and what is practised as recreation or hobby.

And we have seen that this is a compound of various distinctions that need not go together. But not all who dance professionally, and whose dances belong to their profession, are professional dancers in that sense. 12 below). The dances of such a person will be worked up as dance numbers and will recognizably belong to the professional stage and nowhere else (cf. 61). I have spoken as if the distinction between amateur and professional were always between what belongs to a full-time career choice and what is practised as recreation or hobby.

2 And we should bear in mind that the 'reference-group' for a group of dancers need not be uniquely determined, since they might be a subculture functioning within the ambit of some set of scientists or pundits whose authority was more or less contested or ignored. It is indeed possible to make distinctions in such terms, but to avoid ethnocentricity (if indeed we wish to avoid it; for to avoid ethnocentricity may be to pretend to be someone other than one is, or no one at all) we would have to admit the possibility of something more complicated.

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