By Carrie Noland
In Agency and Embodiment, Carrie Noland examines the ways that tradition is either embodied and challenged in the course of the corporeal functionality of gestures. Arguing opposed to the constructivist metaphor of physically inscription dominant considering that Foucault, Noland keeps that kinesthetic adventure, produced through acts of embodied gesturing, areas strain at the conditioning a physique gets, encouraging diversifications in cultural perform that can't rather be defined.
Drawing on paintings in disciplines as various as dance and move conception, phenomenology, cognitive technology, and literary feedback, Noland argues that kinesthesia―feeling the physique move―encourages test, amendment, and, every now and then, rejection of the regimen. Noland privileges corporeal functionality and the sensory event it offers in an effort to have the ability past constructivist theory’s lack of ability to provide a powerful account of corporation. She observes that regardless of the effect of social conditioning, people proceed to invent awesome new methods of changing the inscribed behaviors they're referred to as directly to practice. via lucid shut readings of Marcel Mauss, Maurice Merleau-Ponty, invoice Viola, André Leroi-Gourhan, Henri Michaux, Judith Butler, Frantz Fanon, Jacques Derrida, and modern electronic artist Camille Utterback, Noland illustrates her provocative thesis, addressing problems with trouble to students in severe concept, functionality reports, anthropology, and visible studies.
Read Online or Download Agency and Embodiment: Performing Gestures Producing Culture PDF
Similar dance books
Street Scenes: Late Medieval Acting and Performance
Road Scenes offers a thought of past due medieval performing and function via a clean and original examining of the Tretise of Miraclis Pleyinge. The functionality conception standpoint hired right here, besides the exam of actor/character dialectics, paves the way in which to understanding either non secular theatre and the complexity of overdue medieval theatricalities.
Choreographing Difference: The Body and Identity in Contemporary Dance
The choreographies of invoice T. Jones, Cleveland Ballet Dancing Wheels, Zab Maboungou, David Dorfman, Marie Chouinard, Jawole Willa Jo Zollar, and others, have helped determine dance as a vital discourse of the 90s. those dancers, Ann Cooper Albright argues, are asking the viewers to determine the physique as a resource of cultural id -- a actual presence that strikes with and during its gendered, racial, and social meanings.
The Remix Manual: The Art and Science of Dance Music Remixing with Logic
Are you able to flip a soulful ballad right into a hit dance song, or make any Billboard hit your personal? With this all-in-one consultant to remixing, you could! even if you are a expert DJ or manufacturer, or are only starting to combine tracks, this step by step consultant will deliver you thru the complete strategy of making your individual professional-quality remixes.
In consistently multiple, the thinker, visible artist, and dancer Erin Manning explores the concept that of the "more than human" within the context of circulate, conception, and event. operating from Whitehead's method philosophy and Simondon's thought of individuation, she extends the innovations of move and relation built in her previous paintings towards the inspiration of "choreographic pondering.
- Is It All About Hips?: Around the World with Bollywood Dance
- Disco Dance
- Beyond Dance: Laban's Legacy of Movement Analysis
- QUEER DANCE
- Ballet's Magic Kingdom: Selected Writings on Dance in Russia, 1911-1925
Additional info for Agency and Embodiment: Performing Gestures Producing Culture
Example text
In other words, Mauss initially framed his disciplinary turn toward the moving body with an autobiographical anecdote, suggesting in this way that a twopronged approach, at once first person and third person, would be the only one appropriate to the odd self-reflexivity involved in capturing the objective creation of an intimate self. According to his own account, Mauss was inspired to consider the subject of bodily techniques as early as 1898, when he become friendly with a scholar charged with writing an encyclopedia entry on La Nage (swimming).
Mauss did not fall upon Yogic philosophy serendipitously; far from it. ”27 But the study of religion as pursued by Sanskrit T H E “ S T R U C T U R I N G ” B O DY 37 scholars very likely did. 28 Lévi, Mauss’s teacher, was himself formed by two of the most prominent Indologists of the nineteenth century: Emile Burnouf, a specialist in Buddhism, and Abel Bergaigne, who analyzed Vedic chants and rituals from a philological and anthropological perspective. ”29 Bergaigne was the first scholar Mauss came in contact with who married philology, the study of the textual forms of cultural transmission, with ethnology, a study of the corporeal practices through which that culture is embodied on individual animate forms.
In other words, Mauss initially framed his disciplinary turn toward the moving body with an autobiographical anecdote, suggesting in this way that a twopronged approach, at once first person and third person, would be the only one appropriate to the odd self-reflexivity involved in capturing the objective creation of an intimate self. According to his own account, Mauss was inspired to consider the subject of bodily techniques as early as 1898, when he become friendly with a scholar charged with writing an encyclopedia entry on La Nage (swimming).