000			03832nam a22002777a 4500
003			OSt
005			20190731094657.0
008			190731b xxu||||| |||| 00| 0 eng d
015			_2bnb _aGBB1B6695
020			_a9781852731496 (pbk.)
020			_a1852731494 (pbk.)
035			_a(PromptCat)pct1368616
040			_aUKMGB _beng _cUKMGB| _dDEBBG _dEXW _dNOC _dYUS _dFDA _dRRP _dNOC _dAMPA
050		4	_aGV1588.3 _b.M36 2011
082	0	4	_223 _a792.801 _bMCF
100	1		_aMcFee, Graham _d1951- _eauthor
245	1	4	_aThe philosophical aesthetics of dance : _bidentity, performance and understanding / _cGraham McFee.
260			_aAlton, Hampshire [England] : _bDance Books, _c©2011.
300			_axviii, 342 p. ; _c24 cm.
504			_aIncludes bibliographical references (p. [321]-332) and index.
505			_tPreface -- _tCh 1. Dance, art and philosophy: A personal introduction -- _tPART ONE: Dances as Performables : _tCh 2. Making sense of multiples -- _tCh 3. Authenticity in performance, work-identity and practice -- _tCh 4. Preservation, recording and dance performance -- _tPART TWO: Making Artworks : _tCh 5. Thinking about the choreographer -- _tCh 6. Improvisation, dance and notation again! -- _tPART THREE: The Dancer's Share : _tCh 7. Are dancers are artists?: Dancers, performances and physicality -- _tCh 8. Mastering movement: Kinaesthesis, proprioception and subjectivity -- _tPART FOUR: A Narrative of Dance History : _tCh 9. Reconstructing dances?: Some conceptual questions -- _tCh 10. Dance-understanding and dance history -- _tCh. 11. Conclusion: Making sense of dance -- _tAppendix: Technical matter for type-token ontology.
520			_a"This work is a comprehensive account of central issues in the philosophical aesthetics of dance, intended for the interested general reader as well as for the postgraduate student. Its fundamental consideration is of dance works that are artworks. Typically these are performables: they can be re-performed on another occasion or in another place. So discussion begins from whether or not two performances are of the same dancework: that is, from issues of 'work-identity'. Here, notationality (rather than an extant notated score) is stressed, and the idea of an adequate notated score for a dancework is introduced to reflect the normativity of scores. The text explores (a) the making of dance--in particular, locating the conceptual role of authors of dances; (b) the distinctive role of the dancer; and (c) the understanding and appreciation of dances. Both dance-making and dance-understanding are addressed since the 'identity' issue can arise in the staging of a particular dance; whether the perspective is that of the choreographer or that of the dancer; where the concern is with the appreciation of a particular dancework; or, again, when a dancework from the past is being reconstructed. In this text, the reader moves on from the author's previous Understanding Dance (1992). Like that work, this one draws on a range of examples of danceworks from ballet to modern dance, especially as they are represented in dance-criticism. The work contrasts the performance traditions of various dance trainings through which dancers learn to understand dance with traditions of performance for danceworks as acknowledged by audiences. A detailed discussion of the nature of our interest in dance and some historical reflections on the use of examples are also included. This book is a major intervention into the philosophical aesthetics of dance by a philosopher who has devoted much of his professional career to the consideration of dance. It presents a discussion of many of the key topics from the field, rooted in a general framework for philosophical aesthetics."--Page 4 of cover.
650		0	_aDance Philosophy.
650		0	_aAesthetics
942			_2ddc _cBK
999			_c3948 _d3948