By K. LaMothe
In the 1st half this unique publication, Kimerer L. LaMothe bargains the one exhaustive research of the dance pictures that seem in each one of Friedrich Nietzsche's significant works, revealing the pivotal position this imagery performs in Nietzsche's venture of revaluing Christian values. within the moment 1/2 the booklet, LaMothe bargains the one intensive account of the way the 2 such a lot celebrated innovators in American smooth dance, Isadora Duncan and Martha Graham, created dances in addition to dance philosophies and practices that severely interact and increase Nietzsche's philosophical venture. Taken jointly, the 2 halves of this booklet make a continuing case for why students, philosophers, and dancers should still think about dance as a medium of spiritual adventure and expression.
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Additional info for Nietzsche's Dancers: Isadora Duncan, Martha Graham, and the Revaluation of Christian Values
Example text
The Conclusion, “Another Ideal,” articulates an ideal of dance—a philosophy of dance in relation to religion—that I discern through my study of Nietzsche’s dance images, and Duncan and Graham’s appropriation of them. In this philosophy, dance appears as an ideal: for a practice that enables people to relearn their relationship to bodily being; for a knowledge of self as a bodily becoming; and for a moral perspective on religion that holds religious symbols and beliefs accountable to the love of self such practice and knowledge express.
It is because music has “conquered” the symbolic techniques represented in other arts, including dance and poetry, that this “age” can even conceive of music as meaningful. A primary task then that Nietzsche adopts in this book is to expose the physiological conditions that such a belief in music represents. He identifies a distinctively modern decadence characterized culturally and among individuals by forces of desensualization and oversensitization. As Nietzsche insists, an intellect can “entertain this idea” about music only when it is under the influence of a certain kind of sensory education—one in which a person learns to disregard his senses.
Through an arbitrary omission of these individual differences” (K1, 880; OTL 179). This process begins, Nietzsche asserts, with a nerve response—a quickening of limbs. Almost immediately, a person’s body transforms [nachgeformt] this nerve impulse into a “percept,” a perception of some thing. ” It is only at a second level of metaphor making that a person “copies” the perception of some thing onto an oral sound or word designed to represent that (perception of a) thing (K1, 879; OTL 178). In this two level process, then, our bodies are not only responsible for receiving nerve impulses, they are the transition from impulse to percept, from percept to sign, from first metaphor to second metaphor.