The Anatomy of Dance Discourse offers a fresh, original perspective on ancient perceptions of dance. Focusing on the second century CE, it provides an overview of the dance discourse of this period, juxtaposing philosophical and literary conceptualizations of dance and exploring how they interacted with different areas of cultural expression.
The Anatomy of Dance Discourse offers a fresh, original perspective on ancient perceptions of dance. Focusing on the second century CE, it provides an overview of the dance discourse of this period, juxtaposing philosophical and literary conceptualizations of dance and exploring how they interacted with different areas of cultural expression.
Karin Schlapbach holds a PhD in Classics from the University of Zurich. She joined the Institut du monde antique et byzantin at the University of Fribourg in 2017 after teaching classics for nine years in the Department of Classics and Religious Studies at the University of Ottawa. She has also occupied research positions at various institutions in the USA, the UK, and Germany. Her research focuses on the literature of the imperial period and late antiquity and she has published widely on dance and pantomime, philosophical prose, and the modern reception of late antiquity.
Inhaltsangabe
* Frontmatter * List of Figures * 0: Introduction * 1. Elements of ancient dance discourse * 2. Literary contexts of ancient dance discourse * 3. Art and text, ekphrasis and dance * 4. Mimesis, display, and the cultural force of dance * Part I. Frameworks for a Discourse on Dance * 1: The Grammar of Dance: Plutarch's Table Talk 9.15 in Context * 1. Dance and language: the legacy of choreia * 2. The place of dance in Plutarch's Table Talk * 3. Phrase, pose, and pointing: pictorial and non-pictorial reference * 4. Deixis and its relationship with language theory * 5. Deixis as display, or how dance surpasses language * 2: The Mimesis of Dance between Eloquence and Visual Art * 1. The (ostensible) paradigm of the orator * 2. Icons of mimesis in Lucian's On dancing * 3. Body language and its interpretation * 4. Dance and the discourse on images * 5. Interactions with 'performative' sculpture * 3: Dance as Method and Experience: Emotional and Epistemic Aspects of Dance * 1. Dance discourse and the protreptic tradition in Lucian and Libanius * 2. The art of spectatorship and the dance of the heavenly bodies in Plato * 3. Poetic models and philosophical developments * 4. Dance and intelligent design * 5. Dance, experience, and cognition in the mysteries * 6. The dance in Acts of John * Part II. Ekphraseis of Dances * 4: (Perceived) Authenticity and the Physical Presence of the Performer * 1. Xenophon's Symposium and New Music * 2. pandemos mousike after Xenophon: Aristoxenus and Athenaeus * 3. Myth and its authentication through dance in imperial epigram * 4. The dancer's mimetic excess * 5: Dance and Interpretation in Longus and Apuleius * 1. Interpreting nature through storytelling * 2. Shaping culture through dance * 3. The meaning of art * 4. The ass at the theatre * 5. Lucius' absorption * 6. Performance as an act of daring * 6: Elusive Dancers and the Limits of Art in Nonnus' Dionysiaka * 1. Dance as an aesthetic paradigm in Nonnus' Dionysiaka * 2. The dancer's temerity in Dionysiaka 19 * 3. From change to interpretation * 7: Epilogue: Dance as Experience * Endmatter * Bibliography * Index
* Frontmatter * List of Figures * 0: Introduction * 1. Elements of ancient dance discourse * 2. Literary contexts of ancient dance discourse * 3. Art and text, ekphrasis and dance * 4. Mimesis, display, and the cultural force of dance * Part I. Frameworks for a Discourse on Dance * 1: The Grammar of Dance: Plutarch's Table Talk 9.15 in Context * 1. Dance and language: the legacy of choreia * 2. The place of dance in Plutarch's Table Talk * 3. Phrase, pose, and pointing: pictorial and non-pictorial reference * 4. Deixis and its relationship with language theory * 5. Deixis as display, or how dance surpasses language * 2: The Mimesis of Dance between Eloquence and Visual Art * 1. The (ostensible) paradigm of the orator * 2. Icons of mimesis in Lucian's On dancing * 3. Body language and its interpretation * 4. Dance and the discourse on images * 5. Interactions with 'performative' sculpture * 3: Dance as Method and Experience: Emotional and Epistemic Aspects of Dance * 1. Dance discourse and the protreptic tradition in Lucian and Libanius * 2. The art of spectatorship and the dance of the heavenly bodies in Plato * 3. Poetic models and philosophical developments * 4. Dance and intelligent design * 5. Dance, experience, and cognition in the mysteries * 6. The dance in Acts of John * Part II. Ekphraseis of Dances * 4: (Perceived) Authenticity and the Physical Presence of the Performer * 1. Xenophon's Symposium and New Music * 2. pandemos mousike after Xenophon: Aristoxenus and Athenaeus * 3. Myth and its authentication through dance in imperial epigram * 4. The dancer's mimetic excess * 5: Dance and Interpretation in Longus and Apuleius * 1. Interpreting nature through storytelling * 2. Shaping culture through dance * 3. The meaning of art * 4. The ass at the theatre * 5. Lucius' absorption * 6. Performance as an act of daring * 6: Elusive Dancers and the Limits of Art in Nonnus' Dionysiaka * 1. Dance as an aesthetic paradigm in Nonnus' Dionysiaka * 2. The dancer's temerity in Dionysiaka 19 * 3. From change to interpretation * 7: Epilogue: Dance as Experience * Endmatter * Bibliography * Index
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