東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Feeling History: Emotion, Performanc...

Nereson, Ariel.

Linked to FindBook

Google Book

Amazon

博客來

Feeling History: Emotion, Performance, and Meaning-Making in Bill T. Jones/Arnie Zane Dance Company.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Feeling History: Emotion, Performance, and Meaning-Making in Bill T. Jones/Arnie Zane Dance Company./
Author:	Nereson, Ariel.
Description:	230 p.
Notes:	Source: Dissertation Abstracts International, Volume: 76-02(E), Section: A.
Contained By:	Dissertation Abstracts International76-02A(E).
Subject:	Dance. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3582729
ISBN:	9781321210552

Feeling History: Emotion, Performance, and Meaning-Making in Bill T. Jones/Arnie Zane Dance Company.
Nereson, Ariel.

Feeling History: Emotion, Performance, and Meaning-Making in Bill T. Jones/Arnie Zane Dance Company. - 230 p.

Source: Dissertation Abstracts International, Volume: 76-02(E), Section: A.

Thesis (Ph.D.)--University of Pittsburgh, 2014.

This dissertation examines Bill T. Jones/Arnie Zane Dance Company's Last Supper at Uncle Tom's Cabin and the Lincoln trilogy (works that deal with explicitly with American historical narratives) in the context of the cognitive science behind such sense-making tools as narrative, metaphor, and causation. Within this cognition-based theoretical framework, making the past meaningful in the present necessarily involves emotional response; making and understanding historical narratives are not simply "objective" endeavors. I argue that BTJ/AZ's engagement with historical narratives, events, and figures within their choreographies happens through the relationship of emotional response and embodiment, and provides a corporeal route into history that critiques previous formulations of archive, identity, narrative, time, and space that compose historical inquiry. My interest in "feeling history" is in yoking feeling and moving as complementary processes rooted in the materiality of the body that reveal how individuals both create narratives as sense-making tools and find meaning within inherited and reimagined histories. BTJ/AZ's work manifests transhistorical human conditions of meaning-making that are nonetheless situated in particular spatio-temporalities. Specifically, their emphasis on embodied emotional response as choreographic methodology reflects the biological reality of concepts like mirror neurons, conceptual blending, and empathic concern that interact with cultural sense-making tools that are historically situated (for example, Lincoln's metaphor of "a house divided"). BTJ/AZ propose a corporeal relationship to history, one of interanimation through embodied cognition. We are moved, literally and figuratively, by the past and, in the archival repertory of BTJ/AZ, we move the past, choreographing historical events and figures into our present so that we might re-route our current paths.

ISBN: 9781321210552Subjects--Topical Terms:

610547
Dance.

Feeling History: Emotion, Performance, and Meaning-Making in Bill T. Jones/Arnie Zane Dance Company.
LDR:02823nmm a2200277 4500 001 2064400
005 20151117073140.5
008 170521s2014 ||||||||||||||||| ||eng d
020 $a 9781321210552
035 $a (MiAaPQ)AAI3582729
035 $a AAI3582729
040 $a MiAaPQ $c MiAaPQ
100 1 $a Nereson, Ariel. $3 3178981
245 1 0 $a Feeling History: Emotion, Performance, and Meaning-Making in Bill T. Jones/Arnie Zane Dance Company.
300 $a 230 p.
500 $a Source: Dissertation Abstracts International, Volume: 76-02(E), Section: A.
500 $a Adviser: Bruce McConachie.
502 $a Thesis (Ph.D.)--University of Pittsburgh, 2014.
520 $a This dissertation examines Bill T. Jones/Arnie Zane Dance Company's Last Supper at Uncle Tom's Cabin and the Lincoln trilogy (works that deal with explicitly with American historical narratives) in the context of the cognitive science behind such sense-making tools as narrative, metaphor, and causation. Within this cognition-based theoretical framework, making the past meaningful in the present necessarily involves emotional response; making and understanding historical narratives are not simply "objective" endeavors. I argue that BTJ/AZ's engagement with historical narratives, events, and figures within their choreographies happens through the relationship of emotional response and embodiment, and provides a corporeal route into history that critiques previous formulations of archive, identity, narrative, time, and space that compose historical inquiry. My interest in "feeling history" is in yoking feeling and moving as complementary processes rooted in the materiality of the body that reveal how individuals both create narratives as sense-making tools and find meaning within inherited and reimagined histories. BTJ/AZ's work manifests transhistorical human conditions of meaning-making that are nonetheless situated in particular spatio-temporalities. Specifically, their emphasis on embodied emotional response as choreographic methodology reflects the biological reality of concepts like mirror neurons, conceptual blending, and empathic concern that interact with cultural sense-making tools that are historically situated (for example, Lincoln's metaphor of "a house divided"). BTJ/AZ propose a corporeal relationship to history, one of interanimation through embodied cognition. We are moved, literally and figuratively, by the past and, in the archival repertory of BTJ/AZ, we move the past, choreographing historical events and figures into our present so that we might re-route our current paths.
590 $a School code: 0178.
650 4 $a Dance. $3 610547
650 4 $a Performing arts. $3 523119
690 $a 0378
690 $a 0641
710 2 $a University of Pittsburgh. $b Theatre Arts. $3 2094425
773 0 $t Dissertation Abstracts International $g 76-02A(E).
790 $a 0178
791 $a Ph.D.
792 $a 2014
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3582729