Le premier cycle de diffusion internationale du tango, dans les années immédiatement antérieures à la Grande Guerre, a eu Paris pour épicentre et les milieux aristocratiques et mondains de la capitale française comme lieu privilégié et premier d’inscription sociale. Un fort engouement pour la « nouvelle danse»s’ensuivit, ce qu’on appelle à l’époque « tangomanie»s’installa et, avec elle, sont nées des polémiques opposant partisans et adversaires d’une danse venue d’ailleurs et aux accents sexuels troubles. C’est ainsi en tout cas qu’elle est (...) perçue, au croisement de deux axes de réception principaux : érotisme et exotisme. Or ils sont étroitement liés. On en examinera les figures et leurs interactions dans la construction d’une image publique du tango promise à une réappropriation au-delà du seul contexte parisien et à une longue postérité qui se prolonge, à certains égards, jusqu’à aujourd’hui. (shrink)

The feminist sex wars have been characterized by debates between radical feminists and sex radical feminists about women's experiences of empowerment versus oppression in the sex industry. Based on a qualitative study of the experiences of exotic dancers, this article introduces a new theoretical paradigm to the feminist sex wars that values the contributions of both sex radicals and radical feminists. It articulates a twofold temporal dimension of sex workers' experiences: how women's feelings of pleasure and empowerment gradually decline over (...) time and how good and bad experiences rapidly transform into their opposites over the course of a single evening, making the strip bar a volatile and unsettling space for performers. (shrink)

Anyone who picks up a collection of fragments of comic poetry is likely to be struck by the large number of references to eating fish. There are shopping-lists for fish, menus for fish and recipes for fish-dishes, with the ingredients and method of preparation graphically described. Aristophanes and others dwell in several places on the charms of eel wrapped in beet-leaves. Other writers describe preparations for a great fish-soup, or the dancing movements of fish as they are fried. Undoubtedly Athenaeus (...) is responsible for this preponderance among the fragments of Comedy of passages concerned primarily with food, especially fish, but some of the fragments are rather long in themselves and indicate, at the very least, that cooks were important characters in many plays, and that dinner-parties must have figured significantly in many plots. Outside Comedy, references to fish-consumption are somewhat fewer in number, but perhaps even more surprising when they do occur. It seems strange that Demosthenes, in discussing Philocrates' betrayal of his city, should think it at all relevant to state that he spent his ill-gotten gains on fish, or that Aeschines, attacking Timarchus on a capital charge, should dwell on his fondness for fish. Moreover, references to fish occur also in philosophy and the Hippocratic corpus. In fact, the frequency with which ancient authors seem to have written about fish reveals almost a preoccupation. The consumption offish clearly held a significance for the Athenians which needs to be uncovered and explained. (shrink)

This study investigated potential risk factors (coping, perfectionism and self-regulation) for substantial injuries in contemporary dance students using a prospective cohort design, as high-quality studies focusing on mental risk factors for dance injuries are lacking. Student characteristics (age, sex, BMI, educational program and history of injury) and psychological constructs (coping, perfectionism and self-regulation) were assessed using the Performing artist and Athlete Health Monitor (PAHM), a web-based system. Substantial injuries were measured with the Oslo Sports Trauma Research Center (OSTRC) (...) Questionnaire on Health Problems and recorded on a monthly basis as part of the PAHM system. Univariate and multivariate logistic regression analyses were conducted to test the associations between potential risk factors (i.e. student characteristics and psychological constructs) and substantial injuries. 99 students were included in the analyses. During the academic year 2016-2017, 48 students (48.5%) reported at least one substantial injury. Of all factors included, coping skills (OR: 0.91; 95% CI: 0.84–0.98), age (OR: 0.67; 95% CI: 0.46–0.98) and BMI (OR: 1.38; 95% CI: 1.05–1.80) were identified as significant risk factors in the multivariate analysis. The model explained 24% of the variance in the substantial injury group. Further prospective research into mental risk factors for dance injuries with larger samples sizes is needed to develop preventive strategies. Yet, dance schools could consider including coping skills training as part of injury prevention programs and, perhaps, providing special attention to younger dancers and those with a higher BMI through transitional programs to assist them in managing the stress they experience throughout their (academic) career. (shrink)

This chapter outlines a new theoretical method, which I call “dancing-with,” emerging from the process of writing my dissertation and the book manuscript that followed it. Defined formally, a given theorist X can be said to “dance-with” with a second theorist Y insofar as X “choreographs” an interpretation of Y which is both true to Y and Y’s historical communities, and also meaningful and actionable (i.e. facilitating social justice) for X and X’s historical communities. In this pursuit, the method (...) of dancing-with involves both (1) a creative “torsion” of Y’s thought (particularly in the direction of unconscious, embodied and political factors at work in Y’ texts), and (2) a resultant, sympathetic torsion of X’s thought toward Y. In other words, X and Y “meet in the middle,” like two dancers walking onto the dance floor, to explore the promise of a flourishing artistic partnership. In this partnership, each must attend to the way that political meanings are inscribed on the other’s raced/sexed/etc. body, both to react maximally justly, and to maximize the aesthetic movement options that can be brought into play. As the method of dancing-with is thus modeled on an ideal comportment for improvisational social dance (such as the contemporary Latin dance called “salsa”), I envision the end-goal of dancing-with as what I call “poetic social justice.” By this, I mean the “poetic justice” of two theorists’ mutually empowering each other for maximal social good. Though this process is admittedly more difficult between some theorists, in part as a function of their respective embodiments and sociohistorical positions, at least a move or two together is always possible. (shrink)

This is the first volume devoted to the topic of dance and quality of life. Thirty-one chapters illuminate dance in relation to singular and overlapping themes of nature, philosophy, spirituality, religion, life span, learning, love, family, teaching, creativity, ability, socio-cultural identity, politics and change, sex and gender, wellbeing, and more. With contributions from a multi-generational group of artists, community workers, educators, philosophers, researchers, students and health professionals, this volume presents a thoughtful, expansive-yet-focused, and nuanced discussion of dance’s (...) contribution to human life. The volume will interest dance specialists, quality of life researchers, and anyone interested in exploring dance’s contribution to quality of living and being. (shrink)

Tango, of all popular dances, would seem to be the most extreme embodiment of traditional notions of gender difference. It not only draws on hierarchical differences between the sexes, but also generates a ‘politics of passion’ which transforms Argentineans into the exotic ‘Other’ for consumption by Europeans and North Americans in search of the passion they are missing at home. In this article, I offer a modest provocation in the direction of scholarship that places politics before experience by questioning whether (...) passion can be explained solely through the discourses of feminism or postcolonialism. Instead I will show why we, as critical feminist scholars, need to pay more attention to the experience of passion, whether we are analysing a passion for tango or any other bodily activity that is intensely pleasurable, addictively desired, but also unsettling, disruptive, and – last but not least – politically incorrect. (shrink)

The Afro-Latin dance known as ‘salsa’ is a fusion of multiple dances from West Africa, Muslim Spain, enslaved communities in the Caribbean, and the United States. In part due to its global origins, salsa was pivotal in the development of the Figuration philosophy of dance, and for ‘dancing with,’ the theoretical method for social justice derived therefrom. In the present article, I apply the completed theory Figuration exclusively to salsa for the first time, after situating the latter in (...) the dance studies literature. My first section explores Juliet McMains’ recent history, Spinning Mambo into Salsa, with an emphasis on the dynamics of class, race and sex therein. My second section explores a resonant Afro-Latin dance history, Marta E. Savigliano’s Tango and the Political Economy of Passion, where she deploys salsa’s sister-dance (tango) as a ‘counter-choreography’ to the choreography of postmodern neocolonialism. And my third section applies Figuration’s four central aspects of dance (or ‘Moves’) to salsa qua member of its ‘societal’ family of dance. In conclusion, through partnering with salsa, Figuration emerges as a member of its own ‘discursive’ family of dance, while salsa emerges as a gestural discourse capable of helping reconstruct a more socially-just world from the postmodern ruins of today. (shrink)

This article aims to explore and make theoretical sense of a stream of tourism that blurs the boundaries between sex, romance and intimacy, and diffuses the line between affectionate and economic relations. The empirical scope is the expanding international tourism of tango dancing—meaning the increasing number of people from all over the world travelling to Buenos Aires to dance tango and engage with the local tango culture. In contrast to women's sex tourism on the beaches of Jamaica and Ghana, (...) the relationships evolving in the Argentinean dance halls only occasionally lead to sexual affairs and temporary romances, but they are still part of a sensual geography made up of a transnational skin-to-skin intimacy. In addition, the relations between local dancers and tourists rarely result in economic transactions of sex for money; however, they engage with a growing market of intimate dance services and are part of the economic injustices and exotified projections of our post-colonial time. Hence, this article seeks to shed critical light over a broader area of transnational romance. The case of tango evokes new sets of critical queries regarding the trade of bodily intimacy and affection; the consequences of economic inequality in the area of heterosexual romance; and the production of class morals and racialised gender regimes. Through an exploration of these intimate practices, discourses and sets of emotions produced in this particular context, a complex landscape of market forces and close-embrace dancing unfolds. (shrink)

This article charts the feminist perspectives that have come out of the author’s thinking on the dance performance text Human Sex and how this has informed her own feminism. In doing so, the author argues that a feminist agenda is shifting and dynamic but also reliant upon prior readings and interpretations that provide the point of reference for a departure to other readings and perspectives. Using autobiographical material, the author highlights the importance of considering the personal histories of subject-hood (...) that influence a feminist consciousness and how these are the condition of possibility for making other readings. To demonstrate the shifting character of identity over time, she engages in different readings of Human Sex through the work of feminist theorists Sara Ahmed, Judith Butler and Peggy Phelan. (shrink)

From outlawing bowling in colonial America to regulating violent video games and synthetic drugs today, Mark Stein's Vice Capades examines thenation's relationship with the actions, attitudes, and antics that have defined morality. This humorous and quirky history revealsthat our views of vice are formed not merely by morals but by power. While laws against nude dancing have become less restrictive, laws restricting sexual harassment have been enacted. While marijuana is no longer illegal everywhere, restrictive laws have been enacted against cigarettes. (...) Stein examines this nation's inconsistent moral compass and how the powers-that-be in each era determine what is or is not deemed a vice. From the Puritans who founded Massachusetts with unyielding, biblically based lawsto those modern purveyors of morality who currently campaign against video game violence, Vice Capadeslooks at the American history we all know from a fresh and exciting perspective and shows how vice has shaped our nation, sometimes without us even knowing it. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.3 (2002) 369-406 [Access article in PDF] The Body And Its Representations In Aristophanes' Thesmophoriazousai:Where Does The Costume End? Eva Stehle Aristophanes' Thesmophoriazousaiis a rich and funny play, but it gives the impression of lacking a sustained point. Theater directors can happily stage it, subverting Aristophanes by casting women and recasting the text to speak to modern disputes over gender, sex, and politics, as Mary-Kay (...) Gamel has done so wonderfully (see her article in this volume). But the student of comedy who wishes to study the play in the context of its original production in 411, probably at the City Dionysia, has a harder time. Because it has no overt political theme it was for long passed over as a paignion, an escape from relevance in the tense atmosphere of that spring. As a "woman play" it seems less satisfactory than Lysistrata or Ekklesiazousai because it has no female lead character and Euripides' nameless kinsman (whom I call "Inlaw") upstages the women and their concerns. 1 With the current interest in performance and the metatheatrical aspects of comedy, Thesmophoriazousai has finally come into its own as a sly dialogue on theater and ritual, comedy versus tragedy, and gender. 2 But the older view remains in effect that the play has no politics. At the same time, it is assimilated to Aristophanes' other plays in its thematics, while its striking anomalies go unremarked. As a result, it still does not quite come into focus. [End Page 369]As a play about ritual and theater, Thesmophoriazousai is said to absorb women's ritual and restage it within its own festival setting at the City Dionysia. Yet this is the only one of Aristophanes' surviving plays in which the principal male characters exit the stage before the end of the play. Here they flee, in female dress to boot, leaving the chorus to play out the final scene with the Scythian slave. 3 Euripides and Inlaw do not share in the fun of sending the slave running in one wrong direction then another. And the play ends as it began, on Nesteia, the day of fasting for the women performing the Thesmophoria. 4 No revelry brings on the transition to feast and renewal that the audience probably expected. No procession points the way to a new instauration created by the comedy. 5 Given the importance of processions in Athenian life as an expression of community revival, this is a speaking absence. 6As a play about tragedy and comedy, Thesmophoriazousai is said to show the triumph of comedy over tragedy as the more encompassing and flexible art form. The plots of tragedy fail to rescue Inlaw, while a comic plot succeeds: Euripides brings on a dancing girl, Elaphion, who seduces the Scythian slave away for sex while Euripides frees Inlaw. But Euripides' final trick is no comic plot. In the Aristophanic comic plot the [End Page 370] hero wins a desirable young woman, often one whose name promises new fertility, peace, or power; he does not give one away to the blocking figure. 7 Euripides also capitulates to the women, promising never to speak ill of them again. Only by relinquishing both triumph and sex (and thereby also festivity) does he salvage his poor kinsman's life. Euripides' plot fit for a "barbarian nature" (1129) is rather a farcical version of his own rescue-play plot: like Helen and Andromeda it involves deceiving the blocking figure, which allows the principals to escape while leaving others (chorus or a god) to thwart the chase. But its success is based on abandoning pure representation and giving the "real" (within the world of the play) woman away to the internal audience in order to rescue a pseudo-woman.As for gender representation in the play, most analysis holds that men prevail. Different commentators take Aristophanes to be revealing that women on stage are all really men, or questioning what a woman really is since she is the very figure of mimesis, or showing that women deserve... (shrink)

This article addresses the extent and ways in which gender inequality in the newspaper coverage of arts and culture has changed in France, Germany, the Netherlands, and the United States, 1955-2005. Through a quantitative content analysis, we mapped all articles that appeared in two elite newspapers in each country in four sample years 1955, 1975, 1995, and 2005. First, despite increasing women’s employment in arts and culture and a quantitative feminization of journalism, elite newspaper coverage of women in arts and (...) culture has hardly changed, making up about 20-25 percent consistently over the last 50 years. Second, our results show surprisingly few cross-national differences in the amount of the newspaper coverage devoted to women in arts and culture. Third, although women are underrepresented in the coverage of all artistic genres, there is some evidence of horizontal sex segregation—particularly in architecture and modern dance and fashion —as well as vertical sex segregation—in that attention to women has increased in “highbrow” genres that have declined in status. Finally, as the status of an actor type increases from laymen to artistic directors, the proportion of women decreases in newspaper attention to arts and culture. (shrink)

This study has explored the relation between dance achievement and alexithymia in a larger Swedish population sample (Swedish Twin Registry) with a study sample of 5431 individuals. Dance achievement (CAQ) was assessed in relation to Alexithymia (Toronto Alexithymia Scale, TAS-20) including the three subscales: Difficulty Identifying Feelings (DIF), Difficulty Describing Feelings (DDF), and Externally Oriented Thinking (EOT). The results show a significant negative association between the TAS subscale (EOT) and creative achievement in dance. A high EOT score (...) corresponds to poor ability to communicate feelings to the environment. There was no consistent association between the other factors DIF and DDF and dance achievement. Dance activity and training seem to be involved in the body’s emotional interplay with others. Embodied cognition, emotional perception, and action are discussed as factors relevant to measuring the skill of a dancer. (shrink)

On 30 March 2020, the Hungarian parliament approved emergency measures in response to the Covid-19 pandemic, granting prime minister Viktor Orbán the power to rule by decree. The very next day, the government repealed the legal recognition of transgenderism, ruling that assignations of biological sex are binary and permanent. The decision to place sexual difference under house arrest during a time of lockdown was not coincidental. As I argue in this short essay, Orbán’s move was itself a kind of assignation, (...) an act of discursive placing designed to eradicate transgenderism under the name of immunisation. -/- Drawing on Derrida’s motifs of the gift and the dance, I offer a topology of birthsex, the ontological category produced by Orbán’s law of immutable, dichotomous sexual dimorphism. I observe the movements of ipseity to show how Orbán’s placement of the birthsex legislation within his pandemic programme enabled him to define transgenderism as a dangerous and foreign illness that requires an immunising response. Finally, to consider the racial and colonial context of this assault on trans, intersex, and nonbinary lives, I turn to María Lugones and her work on the coloniality of gender, finding her choreography of resistance to be in step with Derrida’s. (shrink)

This article examines the use of an STS approach to a forensic science lab course for nonscience majors at a university college in British Columbia, Canada. The transdisciplinary nature of forensic science provides opportunities to emphasize the relationships between natural sciences, associated technologies, and societal issues. A number of lab experiments are described to illustrate pedagogically important features relating to the STS emphasis of this course. Benefits and drawbacks that have been encountered in this class are discussed.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 197-214 [Access article in PDF] The Origin of Stories:Horton Hears a Who Brian Boyd Works of art die without attention, and we should expect that any critical theory that cannot explain why we attend to art ought itself to be moribund. Yet the currently dominant approach to criticism, which I will dub Cultural Critique, 1 explains art in terms of the limited and suspect (...) perspectives of the culture (society, group, era) that produced it, or as the site of contestation or locus of imbrication of the ideological discourses of its time. Why anyone would want to attend to art, defined thus, becomes a mystery, unless audiences always do indeed crave ideological nourishment or indigestion. Surely we can do better.I would like to offer the outline of an alternative: an evolutionary explanation first for art, then for narrative, then for fiction. Then, since ontogeny recapitulates phylogeny, or at least sometimes helps us retrieve it, and since we have no printouts of Pleistocene potboilers, I will color in the outline by way of Dr. Seuss's children's classic, Horton Hears a Who, contrasting a sample evolutionary analysis of a single work of fiction with the kind of response typical of Cultural Critique.In art we do or make things simply in order to engage our attention, for the sake of attention, and we are not the only species to do so. Intelligence began to evolve because the world is full of potential information that can suggest advantageous courses of behavior. Curiosity evolved on top of intelligence--especially in the species that Konrad Lorenz liked to call "specialists in non-specialization," such as rats among rodents, corvids among songbirds, and humans among primates 2 --because it extends the range of information creatures can attend to and act on. As a result rats can prefer cognitive stimulation to food and sex. 3 As the most intelligent and versatile of species, we humans particularly like directing our attention to what repays our curiosity. [End Page 197]And like other particularly intelligent species, we like to do things that provide cognitive stimulation, whether they have any immediate survival value or not. Corvids (together with psittacines, the most intelligent of birds) enjoy a kind of aerial acrobatics that Lorenz unashamedly labels art. 4 Dolphins in a Hawaiian marine park have developed, without any human prompting, what has been called "air art," a kind of rhythmic gymnastics in which they deploy air bubbles from their blowholes like gymnasts' ribbons or hoops, or, to stress the affinity to art, a kind of aquatic analogue of light sculpture. 5 Chimpanzees appear to engage both in solitary imaginative play, like Kakama with the stick he famously and repeatedly handled as if it were a toy baby, 6 and in group activity, like rhythmic dances, 7 for the sheer pleasure they produce. In art as in so much else we had thought uniquely human, like tool-using or tool-making, like counting or culture, we are finding there are precursors elsewhere in nature. 8Because we are such a highly social species, we crave the attention of others. Human infants are distressed at adults who do not respond to them; 9 infants and children across cultures punish others by withdrawing attention. 10 At any age we like to command attention in ways we choose, for the ability to compete successfully for attention is closely correlated with status, 11 which raises rates of survival and reproduction. 12 And we can recognize something artistic in such forms of competitive animal attention-getting as the dances of lekking birds, the songs of songbirds or whales, or the extravagant architecture of bowerbirds. Not only do we like to command attention, we also enjoy simply sharing it with others, because this cements our place in a social group whose support we need. 13 Again, there are precursors in other species: the elaborate song of duetting songbirds, 14 or the communal dances of chimpanzees.Curiosity directed at what we can do that gives us cognitive pleasure, whether by engaging our own attention or... (shrink)

ABSTRACT Dance and music serve in this essay to exemplify both the looping entanglement of art and life as well as the account of art and philosophy developed in Strange Tools. This essay replies to criticisms of Carrie Noland, Nancy S. Struever, and Thomas Rickert and also offers a briefer restatement of the general approach.

Musical frissons (or chills) have been at the forefront of both philosophical and psychological research on audience responses to music. The aim of this article is to argue that frissons also play an important role in the experience of dance performances. Following Jerrold Levinson’s distinction between sound-quality frissons and sound-structure frissons, the article zooms in on the concept of conflict-induced frissons, which feature prominently in a variety of art forms besides music, from film to literature, and it is of (...) crucial importance for understanding the audience reaction to some dance performances. A case study of Pina Bausch’s choreographies is given to illustrate this point. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:After the War DAVID GOMES CÁSSERES invocation: athena for PLP Grey-eyed Athena had no childhood. She stepped out of the old god’s terrible skull a grown young goddess and began her apprenticeship: running sex-driven cults among the hunters and gatherers, collecting snakes and owls, her aegis looming behind the altars, over her priestesses, prophetic crones and breathless temple prostitutes, sacrificed animals bleeding and burnt ears of grain She gained (...) a reputation: she liked clever men, not that way, no, but she did them favors, paid attention to their deeds and needs and risks and wounds and wants. Her admiration was something a clever man could count on; she would give protection, opportunities, good luck. There was a catch, of course: you had to be clever again, you had to keep impressing the grey-eyed one, and so men lasted a while but couldn’t keep it up, and fell, and well, she forgot them. She was busy. But Odysseus: He was another kind. One stratagem after another, he built up so much credit that she saved him even when he disgraced himself one time or another. (Olympus might have disapproved if they’d noticed, but she had walked far away from that rabble of archetypes, totems, fertilities, boogeymen and witch-mothers, nightwalkers, netherdwellers, sexpots and satyrs. She owned her firmament.) Odysseus was something new to her in his little flick of mortality. So when she stood alone in Penelope’s bedchamber watching the reunion, the circling dance of man and woman arion 27.2 fall 2019 step by step negotiating what they knew after so many years their carefulness like oil on water, leveling out the fresh reek of murder from the great hall below them the suitors’ teeth driven into the earthen floor Odysseus striped with their blood Penelope before her loom, many-stringed weapon of her own warfare weaving each other in that long rite of recognition: Her grey eyes saw words forming and fading unsaid As they circled in the salt red sunset Ionian air. And saw the end of her story with Odysseus; goddess and all, it took away her breath. In the end she had this much to show for her years with this clever man: He came home from the war alive, with all his teeth. 2 after the war First published as “Athena,” in Arion 21.3, Winter 2014 telemachus 1. It’s like this. I come to manhood at fourteen and my life’s just misery and shame. There’s no King in Ithaka and my mother, the Queen, is like a prisoner. All our warriors are scattered in the sea somewhere by Athena’s great storm. Our home, the palace of godlike Odysseus, is full of parasites and pirates, We live there paralyzed, taunted by those swarming men and the people who cling to them, even some of my mother’s maids, girls my age or a little older— nasty girls who know all the ways to mock and mortify a boy squirming into manhood without a father. Of course I run away, of course I go looking for wily Odysseus, the King, my father. I never find him, it’s for him to find me, later. But I did learn to tie seamen’s knots, and I have a traveler’s tale: One night I was at the house of Menelaus and Helen, drinking good wine late into the night. They sent the servants to bed, and the three of us sat in the red light of the dying fire. Menelaus, still handsome with some grey in his red hair, spoke of my father Odysseus: “Do you know what he said? He said to me, we are better than the gods; we are kings. And kings must die, as the gods cannot. He said it to me when we were striding with our swords in hand through the broken gates of Troy, and as calmly as he might say it to you.” As he spoke, Menelaus of the great war-cry was fondling the arm of his wife, Helen, for whose beauty all that blood was shed. I was sitting with the people the poets sing... (shrink)

This response to Michael Stolberg argues that the occasional piece of evidence for sexual dimorphism in Renaissance anatomy does no damage to what I had earlier called the “one‐sex model.” There are three reasons for this: a considerable amount of such evidence had long been available; stray observations do not discredit worldviews; and new supporting evidence for the one‐sex model was also available. Moreover, illustrations in the purportedly paradigm‐altering texts in fact support the old model. Since there was no radical (...) change during the sixteenth and seventeenth centuries, the reasons offered by Stolberg for why it happened then are moot. The view that biology grounded two sexes replaced the view that it reflected imperfectly an underlying metaphysical truth as part of the epistemological revolution of the Enlightenment. (shrink)

Tough Fronts takes the difficult issues in urban education head on by putting street-savvy students at the forefront of the discussion on how to best make successful changes for inner city schools. Individual chapters discuss scholarly depictions of black America, the social complexity of the teacher-student relationship, individual success stories of 'at-risk' programs, popular images of urban students, and implications for education policy. With close attention to the voices of individual students, this engaging book gives vitality and legitimacy to arguments (...) for school changes that have been lacking in previous discussions. (shrink)

Considering Ethics in Dance, Theatre and PerformanceBannonFionaPalgrave Macmillan. 2018. pp. xxi + 250. £59.99.

In The Entanglement, philosopher Alva Noë explores the inseparability of life, art, and philosophy, and argues that we have radically underestimated the significance of this long recognized but underappreciated reality, what he refers to as the "entanglement." The core of The Entanglement is the idea that human existence is inextricably aesthetic and philosophical. In the first half of the book, Noë offers a detailed examination of pictures and seeing, writing and speech, and choreography and dancing, which serve as case studies (...) and the base in which the phenomenon of entanglement is set. In later chapters, Noë deepens this analysis by exploring the nature of the aesthetic itself, and its place in our lives, examining what the entanglement can teach us about science, and, in particular, the project of applying science in the domain of the human. In these later chapters he covers a range of topics, including sex, gender, and the body, psychology and AI, the problem of style, and the nature of 'nature.' Drawing on his work in perception, consciousness, and the philosophy of art, Noë offers a new model for thinking about the nature of the human, the limits to what a natural science of the human can do on its own, and the irreplaceable importance of art and philosophy for the larger project of studying and understanding ourselves. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.3 (2003) 424-425 [Access article in PDF] Martin Beck Matustík. Jürgen Habermas: A Philosophical-Political Profile. Lanham, MD: Rowman & Littlefield Publishers, 2001. Pp. xxxvii + 341. Cloth, $85.00. Paper, $29.95.Martin Beck Matustík's Jürgen Habermas is arguably the most exciting contribution to critical theory debates and scholarship in the last decade. Not only does it provide an original and convincing portrayal of Habermas's life (...) and work to date, it shows Matustík as one of the pre-eminent twenty first-century critical theorists in his own right. And it confirms for radical social theorists that a confrontation with Habermas remains a productive encounter, for as with all of the greatest figures in the history of philosophy, we learn as much from his mistakes as from his successes.Matustík's brilliant innovation is to literally invent a new genre of philosophical biography. Studying the relationship between Habermas's life and his writings, Matustík distinguishes between authoring (the dramatic situations of one's life) and authorship (one's theoretical and political oeuvre). Taken separately, both Habermas's authoring and authorship demonstrate huge, sometimes culpable, blindnesses and aporias. Combined, they show him to be one of the most nuanced and provocative intellectuals of our age.Habermas's authorship is quite well known and academically influential, resulting recently in what some have called a critical theory industry. (Matustík previously explored this authorship in Postnational Identity: Critical Theory and Existential Philosophy in Habermas, Kierkegaard, and Havel [Guilford, 1993].) Through a fascinating account of his well-known major works combined with many lesser known (and untranslated) ones such as the Kleine Politische Schriften, Matustík convincingly describes Habermas's oeuvreas an integration of "the constitutional needs of 1945 with the revolutionary core of 1968, while searching for an audience and the procedurally supported life forms that would receive this historical integration" (91). Matustík's reconstruction of the existential dimension of Habermas's communicative turn continues to challenge more conservative third-generation critical theorists as well as those discontents who merely focus on his formalistic and legalistic turn since the publication of the monumental Theorie des Kommunikativen Handelns. Left here, Jürgen Habermas would already constitute a major contribution.But all is not left here; the bulk of the text engages the dramatic, generational profiles that comprise Habermas's heretofore underthematized authoring, including:his "existentially motivated philosophical birthday," May 8, 1945;his 1953 public break with Heidegger, publishing "Mit Heidegger gegen Heidegger denken";his participation in the anti-nuclear movement of the late 1950s;his "break" with the student movement after Benno Ohnesorg's murder by Berlin police in 1967;his involvement in the controversies around the German Autumn in 1977; andhis qualified support for the Gulf War in 1991, and then again for the 1999 NATO intervention in Kosovo/a.In the connection between authoring and authorship, Habermas's true richness as an intellectual emerges. For he has been involved in an intricate dance between what Matustík calls "learning by disaster" and "blindness by disaster" that captures the true heart of communicative ethics and critical social theory for a skeptical age. First his blindness: [Habermas] says yes only to those aspects of the student movement that fit within his horizon.... He misses the core of the worldwide student movements, the core inspired by the postcolonial turn and its constitutive liberation struggles by various oppressed gender, sex, race, and economic classes. His partial no to the student movement expresses his own blindness to this main student challenge. His no is born from his blindness by disaster—his blindness by the light of liberation in 1945. (252, italics in original) Still, from as early as 1945 Habermas's life is also marked by a constantly recurring struggle with "learning by disaster," for he is indeed cognizant of the possible invasion of communication by the "monstrously" or "traumatically" unspeakable (Auschwitz). Matustík sees Habermas's writings and profile as a form of witnessing to the disasters of the traumatic past... (shrink)

The strong links between cities and queer culture and its expression have occupied numerous scholars, including Henning Bech and Matt Houlbrook. Indeed, London has been viewed as a focal point of British queer urban culture for over 200 years and, as this article demonstrates, the advent of the Second World War did not preclude this centrality but ensured that the city became a focal point for service personnel on leave. Yet, the emphasis placed on the metropolises in analysing space and (...) queer expression has rendered invisible the use of more transient spaces outside of the city. This article seeks to examine these ‘alternative’ or opportunistic sites of expression, using oral testimony from queer men who served with the British Armed Forces during the Second World War. The memories of these servicemen and the significance they place on space/locations demonstrate the need to engage with subjective sites or ‘geographies’ of queerness both inside and outside of the city between 1939 and 1945. (shrink)

Childfree females encounter greater obstacles in obtaining voluntary sterilizations than childfree males. This paper discusses what might explain this and it proposes that female patients encounter particular credibility deficits that undermine their ability to grant informed consent. In particular, the paper explores Miranda Fricker’s recent suggestion that members of structurally disadvantaged groups encounter a particular sort of injustice that harms them in their capacity as knowers: they sustain testimonial injustice. The task of the paper is to investigate whether and in (...) what sense this holds. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Note From A Narcissist (Amores 1.11) OVID (Translated by Caleb M. X. Dance) Yoohoo! Yes! You! You do her hair. Right? Not like the one who does her legs or nails, right? You know where she goes, right? And you can let her know, like before, to rush those lovely toes— Oh! I mean her hair, to me. Oh, you’ve always been a friend! Right! Take this little (...) note to her tomor— Oh! and hand it to her. Understand? No delay! You’ve got a heart, right? You might be softer than you think and not as “plain Jane” as you think? I think you’ve felt a bit of love, no? You see it in me too, no? So— anyway, if she wants to know what I’m thinking, tell her I can’t wait to hold her close tonight. Right! Enough. My note will say the rest. Oh, it’s late! I’m blabbing. Go! No! Wait! Catch her in a good mood—when she’s free. Oh! but make her read it right away. Watch her eyes! And her face, reading. I mean as she reads. Oh, you learn a lot, even from dumb faces. Don’t be slow! When she’s read it, arion 27.1 spring/summer 2019 make her write right back. Lots. Tell her! It’s the worst when every page is filled with loads of empty space. She should pack them in—lines—so eyes linger on words in the margins. My eyes! No! Wait! Tell her not to tire fingers writing long. Let her only write: “Come!” No delay—I’ll praise these letters right away. I’ll dedicate them to... oh... you know, Lady Love herself, and I’ll note, “To Love: Ovid offers up these loyal saviors— you who just were scraps of paper.” 154 note from a narcissist... (shrink)

"Morality is a specific human attribute which, however, does not enjoy universal recognition. Its disregard in practice is matched by the disagreement concerning its justification. The repudiation of moral restraints on sexual conduct did not start with the sex revolution of the sixties, but it took the AIDS crisis to slow down the expansion of the culture of promiscuity that became fashionable with the emancipation from traditional values."--Publisher's description.

In dance, there is a practice called ‘marking’. When dancers mark, they execute a dance phrase in a simplified, schematic or abstracted form. Based on our interviews with professional dancers in the classical, modern, and contemporary traditions, it is fair to assume that most dancers mark in the normal course of rehearsal and practice. When marking, dancers use their body-in-motion to represent some aspect of the full-out phrase they are thinking about. Their stated reason for marking is that (...) it saves energy, avoids strenuous movement such as jumps, and sometimes it facilitates review of specific aspects of a phrase, such as tempo, movement sequence, or intention, all without the mental and physical complexity involved in creating a phrase full-out. It facilitates real-time reflection. (shrink)

Scientific and medical contraceptive standards are commonly believed to have begun with the advent of the oral contraceptive pill in the late 1950s. This article explains that in Britain contraceptive standards were imagined and implemented at least two decades earlier by the Family Planning Association, which sought to legitimize contraceptive methods, practice and provision through the foundation of the field of contraceptive science. This article charts the origins of the field, investigating the three methods the association devised and employed to (...) achieve its goal of effecting contraceptive regulation. This was through the development of standardized methods to assess spermicidal efficacy; the establishment of quality, strength and manufacturing standards for rubber prophylactics; and the institution of animal trials to ensure the safety of specific contraceptives. The association publicized the results of its scientific testing on proprietary contraceptives in its annual Approved List of contraceptives. This provided doctors and chemists with a definitive register of safe and effective methods to prescribe. (shrink)

Over the last decade, legal recognition of same-sex relationships in Canada has accelerated. By and large, same-sex cohabitants are now recognised in the same manner as opposite-sex cohabitants, and same-sex marriage was legalised in 2005. Without diminishing the struggle that lesbians and gay men have endured to secure this somewhat revolutionary legal recognition, this article troubles its narrative of progress. In particular, we investigate the terms on which recent legal struggles have advanced, as well as the ways in which resistance (...) to the legal recognition has been expressed and dealt with. We argue that to the extent that feminist critiques of marriage, familial ideology, and the privatisation of economic responsibility are marginalised, conservative and heteronormative discourses on marriage and family are reinforced. Our case studies include two pivotal moments in the quest for legislative recognition of same-sex relationships: the Hearings of the Canadian House of Commons Standing Committee on Justice and Human Rights on Bill C-23, The Modernization of Benefits and Obligations Act, in 2000 and the hearings on Same-Sex Marriage in 2003. We find that the debates operated within a narrow paradigm that bolstered many existing hierarchies and exacerbated conditions for those who are economically disadvantaged. (shrink)

How partners encounter each other plays a role in whether they will be able to sustain their interaction. How partners go about maintaining their interaction reveals features of their epistemological system, particularly with respect to factors like what they know, what they take to be relevant to the interpretation, and what they value. In this way, the value system (what partners want) and the epistemological system (what partners know) intersect. By focusing on the role of reasoning and understanding, I believe (...) we stand to gain a clearer picture of how expectations about interactions inform the dynamics between partners. This, in turn, affords a picture of what partners can actually achieve in and through their connection. I am particularly interested in considering what features of interaction are necessary for maximizing the affordances of the partnership. I say this not as a utilitarian interested in maximizing good simpliciter, but as a social epistemologist thinking about the contingent goods that are present in relation (e.g. care). The epistemic picture assumes that there are things that are knowable in dancing together, while the ethical picture assumes that partners are responsible for the things they ought to know. -/- . (shrink)

Resumo: A dança apresenta habilidades e ritmos sofisticados, ao mesmo tempo que incorpora um pensamento filosófico profundo, unindo expressão física e autorrealização. Entretanto, ela enfrenta desafios, como compreensão superficial, confiança expressiva reduzida e fraca integração com a filosofia. Este artigo começa apresentando os fundamentos da dança e suas técnicas de movimento. Depois, aprofunda-se na relação dialética entre dança e filosofia, examinando as dimensões artísticas e criativas da dança. Além disso, explora como as ideias filosóficas se manifestam na dança, aumentando seu (...) poder expressivo. A pesquisa destaca os benefícios significativos da integração da dança com a investigação filosófica, observando seu papel crucial no aprofundamento da compreensão do valor da dança, facilitando o crescimento pessoal e revigorando os processos criativos. Essa integração não apenas aborda os desafios atuais, enriquecendo a estrutura teórica da dança, mas também fornece percepções práticas que podem elevar tanto a prática quanto a apreciação da dança. Ao fortalecer o vínculo entre a dança e a filosofia, este estudo tem como objetivo promover uma compreensão mais abrangente da dança, incentivando uma abordagem mais ponderada e inovadora para a criação da dança e fornecendo uma base teórica robusta para futuras explorações, tanto na dança quanto nos estudos filosóficos. (shrink)

AS WITH OTHER CONSIDERATIONS FROM AN ETHICS OF VIRTUE, DISCERNing the ends of sexual activities requires a careful examination of the particularly human dimensions of sex. By asking, "What do you want from, what are your hopes, what are your ends for your sex life?" three dimensions of excellent sex emerge: a feel for incarnation, an ability for intimacy, and an eye for insight.