This important book examines the aesthetics of dance. Philosophically rigorous, appropriately introductory, and genuinely focused, Understanding Dance provides comprehensive coverage of all the main areas surrounding dance. Features include an examination of both U.K. and U.S. ballet companies and a look at the work of critics on both sides of the Atlantic.

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A Dictionary of Grammatical Terms in Linguistics

Robert Lawrence Trask

Mcfee, Graham

Ashgate Publishing Limited

Taylor & Francis Ltd

Gower Publishing Ltd

Publisher Unknown.

Taylor and Francis

Psychology Press

Taylor & Francis (Unlimited), New York, 2003

United Kingdom and Ireland, United Kingdom

Place of publication not identified, 1992

New York, New York State, 1992

[S.l.], United Kingdom

1st ed, London, 2003

New Edition, 1992

Hoboken, 2012

London, 1992

PS, 1992

2004

70760

avaxhome.ws

lg269918

producers:
Acrobat Distiller 4.0 for Windows

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Memory of the World Librarian: Quintus

Includes bibliographical references (p. 328-338) and index.

Book Cover......Page 1
Title......Page 4
Contents......Page 5
Introduction......Page 10
The project......Page 11
Style, structure and audience......Page 12
Autonomy for dance studies?......Page 14
Rigour......Page 15
Philosophy......Page 17
Acknowledgements......Page 20
Basic Concepts for Aesthetics......Page 24
Definition and 'definiteness'......Page 25
The objectivity of appreciation......Page 30
The artistic and the (merely) aesthetic......Page 47
Conclusion......Page 53
Dance as Action......Page 58
The importance of the issue......Page 59
Dance as a 'special kind of movement'......Page 60
Understanding action......Page 61
People, not machines......Page 64
Two ways of talking......Page 66
The importance of context......Page 67
Insights from the two-language view......Page 68
A technical point: defeasibility......Page 70
Conclusion......Page 74
Dance as Art......Page 76
Conventions and understanding......Page 78
An institutional account of art......Page 80
A fundamental objection to institutional theories of art......Page 83
A reply to this objection......Page 84
A diagnosis of the origin of the objection......Page 88
Digression: the 'community' view of concepts......Page 91
Outcomes of the institutional analysis......Page 93
Conclusion......Page 95
Dance as a Performing Art......Page 97
Type/token......Page 99
The creation of the type-work......Page 103
The thesis of notationality......Page 106
Interpretation and performance......Page 108
Performers' interpretations......Page 112
Further considerations......Page 113
Re-evaluation......Page 115
Variety among performances......Page 117
Conclusion......Page 119
Dance as an Object of Understanding......Page 121
Meaning, understanding and explanation......Page 122
Meaning and institutional concepts......Page 125
Two difficulties for the dance/language analogy......Page 126
Objections from structural linguistics: an example......Page 129
An area of disanalogy?......Page 131
Interpretation and performance (again)......Page 132
Conclusion......Page 134
Understanding and Dance Criticism......Page 138
Two unsatisfactory accounts of criticism: 'rules' and scrutiny......Page 140
A modest proposal for the extension of the critic's cognitive stock......Page 144
Two provisos for an account of criticism as noticing......Page 147
The restrictive proviso reconsidered......Page 149
Arbitrariness and 'reading in'......Page 151
Some criticisms of the view of criticism as noticing......Page 154
Understanding, Experience and Criticism......Page 157
Dance as an object of understanding......Page 158
The 'meaning' of dances identified with informed criticism......Page 161
Interpretation and emotional education (I)......Page 163
Interpretation and emotional education (II)......Page 166
The knowledge-base of criticism......Page 168
Conclusion......Page 169
The Point of Dance......Page 173
Purposive versus artistic justification......Page 174
Emotional education and conceptual change......Page 177
The objects of emotions......Page 180
Art and life issues......Page 182
Art works and art forms......Page 188
Two theses for an account of art......Page 191
Life issues and 'the familiar'......Page 194
Conclusion......Page 200
Style and Technique......Page 206
Two characteristics of style......Page 207
The place of technique (I)......Page 210
Four notes of caution......Page 213
Outcomes of the style/technique connection......Page 214
Condition three: psychological reality......Page 217
The place of technique (II)......Page 220
Conclusion......Page 221
Imagination and Understanding......Page 223
Imagination and perception......Page 224
Some objections considered......Page 227
Three other ideas of the imaginary......Page 229
Conclusion......Page 234
Intention and Understanding......Page 235
The public character of intention......Page 241
Choreographer's intention and Black Angels......Page 246
Expression in Dance......Page 251
Expression and artistic concepts......Page 254
Expression and understanding......Page 257
Expressive of what?......Page 263
Conclusion......Page 267
Aesthetic Education: Some Myths......Page 272
The very idea of a kinaesthetic sense......Page 273
The importance of performance......Page 282
The 'creative process'......Page 285
The very idea of an aesthetic education......Page 291
Dance and Society......Page 293
Dance as 'natural'......Page 301
An 'art-shaped hole' in the theory......Page 303
A sense of history......Page 306
Relativism and understanding......Page 310
Conclusion......Page 318
Conclusion......Page 319
Methods and a key assumption of the text......Page 320
Two fundamental principles of aesthetics......Page 322
Dance in education......Page 323
Notes......Page 324
Bibliography......Page 337
Index......Page 348

Arts, Language and Literature
Book Cover 1
Title 4
Contents 5
Introduction 10
The project 11
Style, structure and audience 12
Autonomy for dance studies? 14
Rigour 15
Philosophy 17
Acknowledgements 20
Basic Concepts for Aesthetics 24
Definition and 'definiteness' 25
The objectivity of appreciation 30
The artistic and the (merely) aesthetic 47
Conclusion 53
Dance as Action 58
The importance of the issue 59
Dance as a 'special kind of movement' 60
Understanding action 61
People, not machines 64
Two ways of talking 66
The importance of context 67
Insights from the two-language view 68
A technical point: defeasibility 70
Conclusion 74
Dance as Art 76
Conventions and understanding 78
An institutional account of art 80
A fundamental objection to institutional theories of art 83
A reply to this objection 84
A diagnosis of the origin of the objection 88
Digression: the 'community' view of concepts 91
Outcomes of the institutional analysis 93
Conclusion 95
Dance as a Performing Art 97
Type/token 99
The creation of the type-work 103
The thesis of notationality 106
Interpretation and performance 108
Performers' interpretations 112
Further considerations 113
Re-evaluation 115
Variety among performances 117
Conclusion 119
Dance as an Object of Understanding 121
Meaning, understanding and explanation 122
Meaning and institutional concepts 125
Two difficulties for the dance/language analogy 126
Objections from structural linguistics: an example 129
An area of disanalogy? 131
Interpretation and performance (again) 132
Conclusion 134
Understanding and Dance Criticism 138
Two unsatisfactory accounts of criticism: 'rules' and scrutiny 140
A modest proposal for the extension of the critic's cognitive stock 144
Two provisos for an account of criticism as noticing 147
The restrictive proviso reconsidered 149
Arbitrariness and 'reading in' 151
Some criticisms of the view of criticism as noticing 154
Understanding, Experience and Criticism 157
Dance as an object of understanding 158
The 'meaning' of dances identified with informed criticism 161
Interpretation and emotional education (I) 163
Interpretation and emotional education (II) 166
The knowledge-base of criticism 168
Conclusion 169
The Point of Dance 173
Purposive versus artistic justification 174
Emotional education and conceptual change 177
The objects of emotions 180
Art and life issues 182
Art works and art forms 188
Two theses for an account of art 191
Life issues and 'the familiar' 194
Conclusion 200
Style and Technique 206
Two characteristics of style 207
The place of technique (I) 210
Four notes of caution 213
Outcomes of the style/technique connection 214
Condition three: psychological reality 217
The place of technique (II) 220
Conclusion 221
Imagination and Understanding 223
Imagination and perception 224
Some objections considered 227
Three other ideas of the imaginary 229
Conclusion 234
Intention and Understanding 235
The public character of intention 241
Choreographer's intention and Black Angels 246
Expression in Dance 251
Expression and artistic concepts 254
Expression and understanding 257
Expressive of what? 263
Conclusion 267
Aesthetic Education: Some Myths 272
The very idea of a kinaesthetic sense 273
The importance of performance 282
The 'creative process' 285
The very idea of an aesthetic education 291
Dance and Society 293
Dance as 'natural' 301
An 'art-shaped hole' in the theory 303
A sense of history 306
Relativism and understanding 310
Conclusion 318
Conclusion 319
Methods and a key assumption of the text 320
Two fundamental principles of aesthetics 322
Dance in education 323
Notes 324
Bibliography 337
Index 348

Understanding Danceis a comprehensive introduction to the aestethetics of dance, and will be an essential text for all those interested in dance as an object of study. Focusing on the work of a number of major choreographers, companies and critics Graham McFee explores the nature of our understanding of Dance by considering the practiceof understanding dance-works themselves. He concludes with a validation of the place of dance in society and in education. Troughout he provides detailed insights into the nature and appreciation of art as well as a general grouding in philosophy.
Understanding Dance is a comprehensive introduction to the aestethetics of dance, and will be an essential text for all those interested in dance as an object of study.
Focusing on the work of a number of major choreographers, companies and critics Graham McFee explores the nature of our understanding of Dance by considering the practice of understanding dance-works themselves. He concludes with a validation of the place of dance in society and in education. Troughout he provides detailed insights into the nature and appreciation of art as well as a general grouding in philosophy.

Basic Concepts For Aesthetics -- Dance As Action -- Dance As Art -- Dance As A Performing Act -- Dance As An Object Of Understanding -- Understanding And Dance Criticism -- Understanding, Experience And Criticism -- The Point Of Dance -- Style And Technique -- Imagination And Understanding -- Intention And Understanding -- Expression In Dance -- Aesthetic Education: Some Myths -- Dance And Society. Graham Mcfee. Includes Bibliographical References (p. 328-344) And Index.

2010-05-31