Emotion in Motion: The Nāṭyashāstra, Darwin, and Affect Theory

PMLA ◽  
2015 ◽  
Vol 130 (5) ◽  
pp. 1381-1404
Author(s):  
Vinay Dharwadker
Keyword(s):  
Performing Arts ◽  
Affect Theory ◽  
Theory And Practice ◽  
Third Century ◽  
Dance Music ◽  
Human Beings ◽  
Sanskrit Text ◽  
Stream Of Consciousness ◽  
The Third ◽  
And Performance

A work of classical Indian theory and practice, Bharata's Nāṭyashāstra offers a comprehensive account of emotion and of the production, communication, and reception of representations of it in dance, music, poetry, and theater. This essay examines remarkable points of convergence and divergence between the third-century Sanskrit text and three influential modern Euro-American accounts: Charles Darwin's mapping of involuntary expressions of emotion in human beings and animals, William James's aggregation of emotions in the stream of consciousness, and Sylvan Tomkins's atlas of primary affects that links neurobiology and cybernetics. My comparative analysis highlights the Nāṭyashāstra's contributions to our understanding of the connections of emotion to cognition, consciousness, and causality; of the combinatorial constitution of emotions; and of treatments of emotion in contemporary affect theory and performance theory. The essay concludes with an exploration of Bharata's and Aristotle's models of mimesis and of their mutual differences regarding the representation of emotion in the verbal and performing arts.

From the Streets to the Stage: Disability and the Performing Arts

PMLA ◽  
2005 ◽  
Vol 120 (2) ◽  
pp. 620-625 ◽  
Author(s):  
Carrie Sandahl
Keyword(s):  
Lived Experience ◽  
Performing Arts ◽  
Liberal Arts ◽  
Theory And Practice ◽  
Live Performance ◽  
Artistic Practice ◽  
Theater Studies ◽  
Suitable Site ◽  
And Performance ◽  
The University

Despite its newness, disability-theater studies is an incredibly rich area of inquiry that is exploding in artistic practice and scholarship. The university is a particularly suitable site for a meeting of disability and the theater; after all, we theater scholars think of our classrooms and productions as laboratories not only for showcasing knowledge but for producing, rehearsing, and revising it. As the theater scholar Jill Dolan points out, live performance, especially in the liberal arts setting, has the unique power to test, on bodies willing to try them, academic theories that are otherwise purely theoretical. The feedback loop that oscillates between theory and practice in theater studies is necessarily changed by the inclusion of disability perspectives in the classroom, research programs, and performance offerings. Interestingly, an underlying theme of disability perspectives is that the lived experience of disability is always already performative; indeed, many of us with disabilities understand our disabilities as performance, not exclusively in an aesthetic or theoretical sense, but as an actual mode of living in the world. Consider what the playwright and wheelchair user John Belluso told me in a recent interview: “Any time I get on a public bus, I feel like it's a moment of theater. I'm lifted, the stage is moving up, and I enter, and people are along the lines, and they're turning and looking, and I make my entrance. It's theater, and I have to perform. And I feel like we as disabled people are constantly onstage and we're constantly performing.” The perspective of disability as performance undergirds and permeates disability art and scholarship. Thus, my own development as a disability-theater scholar and artist frames my perception of how disability challenges both the practical and the theoretical aspects of theater studies and points to the role universities play in fostering further development of the field.

HUMAN AUTONOMY AND ITS LIMITS IN THE THOUGHT OF ORIGEN OF ALEXANDRIA

2016 ◽  
Vol 66 (2) ◽  
pp. 673-690
Author(s):  
Kathleen Gibbons
Keyword(s):  
Good Reason ◽  
Alternative Possibilities ◽  
Third Century ◽  
Human Beings ◽  
The Third ◽  
Human Choice ◽  
Origen Of Alexandria ◽  
Human Autonomy ◽  
The Will ◽  
The Church

As the church historian Henri Crouzel observed, questions about the nature of human autonomy were central to the thought of the third-century theologian Origen of Alexandria. On this question, his influence on later generations, though complicated, would be difficult to overstate. Yet, what exactly Origen thought autonomy required has been a subject of debate. On one widespread reading, he has been taken to argue that autonomy requires that human beings have the capacity to act otherwise than they do in fact act; that is, that alternative possibilities of action are causally available to them. As Susanne Bobzien has argued, however, there is good reason to think that the view that such alternative possibilities are required for the ascription of autonomy did not explicitly emerge until Alexander of Aphrodisias, a rough contemporary of Origen's of whose thought he was likely unaware. In revisiting Origen on the notion of ‘free will’, Michael Frede, against the ‘alternative possibilities’ reading, argued that his theory of the will was largely attributable to Stoicism, and in particular to Epictetus’ theory of will as προαίρεσις. George Boys-Stones, for his part, has claimed that, while Origen's theory of the descent of the pre-existent minds is aimed at providing an account of how human beings are entirely responsible for their characters, in the embodied state we find no evidence that he understood human choice subsequent to the fall to depend upon the existence of alternative possibilities in order to be autonomous.

scholarly journals MENCARI KALIMATUN SAWA DALAM PLURALISME AGAMA (KAJIAN DALAM PERSPEKTIF ISLAM)

2020 ◽  
Vol 3 (2) ◽  
Author(s):  
Nuraeni Nuraeni
Keyword(s):  
Religious Pluralism ◽  
First Century ◽  
Early Church ◽  
Third Century ◽  
Religious Values ◽  
Human Beings ◽  
Roman Religion ◽  
The Third ◽  
The Government ◽  
Fundamental Values

Religious pluralism in Indonesia is a necessity that cannot be avoided because it adheres to diversity. As we know that in Indonesia there are six religions recognized by the government namely (Islam, Christianity, Hinduism, Hinduism, Buddhism, Catholicism and Kong hu chu) and every Indonesian citizen must embrace one of these religions, besides that human beings themselves are part of pluralism itself, so we live in pluralism.Normatively, doctrinaire of religion always teaches kindness, love and harmony. But sociological reality shows the opposite, religion is actually used as a source of ongoing conflict, both internal and external conflicts, such as clashes between the Early Church Christians with Jews, Christians with adherents of Roman religion (imperial religion) in the first century to the third century. Not much different from that in Indonesia, so we need to find a meeting point or Sawa sentence, looking for a conducive and prospective approach to the realization of sacred religious values (fundamental values) to be applicable solutions in looking at this plural future. 

Supervision in Performance Settings (Dance, Music, Acting)

2019 ◽  
Author(s):  
Gene M. Moyle
Keyword(s):  
Service Delivery ◽  
Performing Arts ◽  
Organizational Context ◽  
Dance Music ◽  
Performance Psychology ◽  
Training Models ◽  
Roles And Responsibilities ◽  
The Social ◽  
And Performance ◽  
Sport And Exercise

Literature regarding supervision and related supervisory and training models applied within the field of sport, exercise, and performance psychology (SEPP) has grown exponentially as the field continues to define and redefine itself. A range of supervision models from mainstream psychology has been explored and applied within SEPP settings, with research indicating that regardless of the preferred model of supervision, a key component of effective supervision is the supervisor’s knowledge and skills related to the area of service delivery. Whilst the supervision of psychologists-in-training within performing arts settings presents similar challenges faced by those working in sport and exercise settings, the social, cultural, and artistic considerations embedded within these performance contexts necessitates a nuanced approach. The provision of supervision for psychologists within performing arts (e.g., dance, music, acting) requires scaffolded learning opportunities that assist the practitioner to gain an in-depth understanding of the context, including how to best tailor, translate, and communicate psychological concepts and skills to their clients that will address their unique challenges and meet their distinctive needs. Furthermore, clarity regarding the roles and responsibilities of the supervisee within the organizational context of an artistic setting is vital to ensuring that effective and ethical service delivery can be provided.

Three Minute Theatre

2015 ◽  
Vol 6 (1) ◽  
pp. 77-92 ◽  
Author(s):  
Peter Copeman
Keyword(s):  
Performing Arts ◽  
Academic Discourse ◽  
Theory And Practice ◽  
Randomised Control Trial ◽  
Success Rates ◽  
Dramatic Monologue ◽  
Content Type ◽  
Intrinsic Nature ◽  
And Performance ◽  
Research Narrative

Purpose – The aim of this paper is to help higher degree by research (HDR) students understand the intrinsic nature of a Three Minute Thesis (3MT) presentation as a pitch and how this differs from normal academic discourse, and to present a suite of principles and practices with which they can develop the quality and impact of their presentations. Design/methodology/approach – The paper is based on a three-year University of Canberra (UC) research project involving three phases: distillation and analysis, with reference to theories and practice of dramatic narrative and performance, of key components of successful past 3MT presentations; establishment from this analysis of a suite of principles and practices to help students develop the quality and impact of their 3MT pitches; and trial, evaluation and refinement of these principles and practices via workshops with around 40 UC competitors. Findings – Presentations are framed firstly as an exercise in pitching and consequently as a type of dramatic monologue performance. Preparing such a presentation requires scripting a research narrative as a story with emotional as well as intellectual impact, developing a vocal and physical performance presence to connect with an audience and planning the use of the presentation space and constraints for best effect. Evaluations by workshop participants, reinforced by their success in the UC tournaments relative to non-participants, suggest that advantages of this approach to research pitching by these students apply not only for 3MT contests but also for clarifying and crystallising their research ideas, and for enhancing the quality of their presentation skills more generally. Research limitations/implications – The research methodology is a qualitative participant-observer action research study over three years. Although in part a kind of intervention study because it makes some comparison of 3MT success rates of study participants with non-participants, it is not a randomised control trial, as this would be inequitable by arbitrarily excluding subjects who might wish to take part. The primary value of the research is its adaptation to the research communications sphere of well-established modes of dramatic and business communication, and the value placed on these by participants. Practical implications – The principles and practices presented here make explicit for 3MT contestants knowledge that they are likely to possess already implicitly, and provide practical, achievable methods for developing and honing their presentations so as to maximise their impact on their audiences. Social implications – The paper makes a case for the legitimacy of emotionally connected storytelling within the array of acceptable academic discourse. Originality/value – The paper draws on theory and practice from the literary and performing arts to synthesise emotionally connected storytelling with traditional academic thinking and writing conventions of detached, dispassionate, reasoned argument based on quantifiable evidence.

How can the Pragmatic Philosophy of John Dewey Make a Contribution to the Theory and Practice of Intercultural Communication?

2016 ◽  
Vol 13 (3) ◽  
pp. 242-262
Author(s):  
Stephen Holmes
Keyword(s):  
Intercultural Communication ◽  
John Dewey ◽  
Communication Theory ◽  
Practical Experience ◽  
Theory And Practice ◽  
The Third ◽  
The Arts ◽  
And Performance ◽  
Set Up ◽  
Practical Question

This paper focuses on the practical question of how the ideas of John Dewey can contribute to improved intercultural communication theory and practice, especially to training. The question is answered in four parts. The first part refers to the presumed superiority of sensitivity to difference as opposed to similarity in intercultural communication. The second part suggests that Dewey’s duality of potentiality and interaction can be carried over to the duality of competence and performance. The third part highlights the use of the generic concepts of pattern and habit to better understand culture as a practical experience. The final part advocates a closer look at the idea and experience of rhythm as an epistemological alternative to subject vs object. The author relies on his experience as a trainer and a teacher of Intercultural Communication and proceeds down an interdisciplinary path, especially attempting to set up a dialogue with biology, systems and the arts.

Manicheism

2018 ◽  
Author(s):  
Christopher Kirwan
Keyword(s):  
Roman Empire ◽  
Sixteenth Century ◽  
Middle Ages ◽  
Third Century ◽  
Natural State ◽  
Human Beings ◽  
The West ◽  
Augustine Of Hippo ◽  
The Third ◽  
The Problem Of Evil

Manicheism is a defunct religion, born in Mesopotamia in the third century ad and last attested in the sixteenth century in China. Its founder, Mani (c.216–76), had some familiarity with Judaism, Christianity, Zoroastrianism and Buddhism, and aimed to supplant them all. He taught a form of dualism, influenced by earlier Gnostics: God is opposed by forces of darkness; they, not God, created human beings, who nevertheless contain particles of light which can be released by abstemious living. Two points of contrast with Catholic Christianity are particularly striking. First, in Manicheism, sinfulness is the natural state of human beings (because of their creators), and does not stem from Adam’s Fall. Second, the Manichean God did not create and does not control the forces of darkness (although he will eventually triumph); hence the problem of evil does not arise in as stark a form as it does for the all-powerful Christian God. Although Mani’s own missionary journeys took him eastwards, it was in the Roman Empire to the west that the main impact of his teaching was first felt; Augustine of Hippo was an adherent for nine years. The religion was eventually suppressed in the Roman Empire, and driven east by the Arab conquest of Mesopotamia. In the West, various Christian heresies were loosely called Manichean throughout the Middle Ages.

Treatise by Aman Vanderhagen “Nouvelle méthode de flute” as a reflection of the performing arts of France in the second half of the 18th century

2018 ◽  
pp. 80-88
Author(s):  
I. Yermak
Keyword(s):  
Performing Arts ◽  
Cultural Context ◽  
18Th Century ◽  
Theory And Practice ◽  
Wind Instruments ◽  
Musical Work ◽  
Historical Source ◽  
Source Study ◽  
And Performance ◽  
Source Of Information

For adequate reading of ancient musical texts, it is necessary to study the historical and cultural context and the specifics of the performing practice of that time when musical work has been written. It becomes possible when we study the treatises of past centuries, in which the main issues of musical theory and practice, technique and style are considered.No flute treatise has yet been translated into Ukrainian. Works by S. Ganassi, J.-M. Hotteterre, J. J. Quantz and J. G. Tromlitz are available in Russian. However, there are still about two hundred untranslated methodological treatises of the 18th century which contain important information about the performing arts of the era. The need for their study causes the topicality of this article.The article presents the results of the study of the treatise “Nouvelle méthode de flute” (1798) by Aman Vanderhagen, which includes number of valuable guidelines about posture, performance breathing, correct phrasing and ways of correction of the unstable notes on a one-keyed flute. The variety of strokes given in the treatise is a vivid example of the performing traditions of classicism.For the solution of the study tasks it is used historical, source-study, textual, analytical and performance methods. The conclusion is that the «Nouvelle méthode de flute» is an important source of information about peculiarities of performing on wind instruments in the second half of the 18th century and is recommended for the study of modern musicians and music historians.

scholarly journals Race and the Working-Class Past in the United States: Multiple Identities and the Future of Labor History

1993 ◽  
Vol 38 (S1) ◽  
pp. 127-143 ◽  
Author(s):  
David Roediger
Keyword(s):  
French Revolution ◽  
Labor History ◽  
The United States ◽  
Multiple Identities ◽  
Third Century ◽  
Human Beings ◽  
The West ◽  
Labour Movement ◽  
The Third ◽  
The Reformation

The most magnificent drama in the last thousand years of human history is the transportation of ten million human beings out of the dark beauty of their mother continent into the new-found Eldorado of the West. They descended into Hell; and in the third century they arose from the dead, in the finest effort to achieve democracy for the working millions which this world had ever seen. It [post-Civil War Reconstruction in the U.S.] was a tragedy that beggared the Greek; it was an upheaval of humanity like the Reformation and the French Revolution. Yet we are blind and led by the blind. We discern in it no part of our labour movement [ … ]1

Erōs and the eye in the Love-Letters of Philostratus

1993 ◽  
Vol 38 ◽  
pp. 132-148
Author(s):  
Andrew Walker
Keyword(s):  
Sexual Desire ◽  
Close Association ◽  
Third Century ◽  
Human Beings ◽  
The Third ◽  
Folk Wisdom ◽  
Love Letter ◽  
Love Letters ◽  
Erotic Desire

The close association in the literature of antiquity of seeing with sexual desire inspired the tragic poet Agathon to pun on the similarity between the Greek verb ‘to see’ (ὁρᾶν) and the verb ‘to desire’ (ἐρᾶν), as suggested by a fragment preserved by Zenobius: ἐκ τοῦ γὰρ ἐσορᾶν ἐγένετ' ἀνθρώποις ἐρᾶν. As is the case with many fragments, it is difficult to identify the degree of irony (or seriousness) with which Agathon intended this isolated line, but the passage is repeated (without attribution) in a number of other ancient sources, and it perhaps lays some claim to a measure of ‘folk wisdom’: for human beings the source of erotic desire lies in an act of seeing. In his brief and pithy love-letter ‘To Nicetes’ (Epistle 52), which Nauck observes may well draw on the pun of Agathon, the third-century sophist Philostratus would similarly appeal to the association of ὀρᾶν with ἐρᾶν to refute, in an ironic way, two time-honoured maxims about erōs: that love is a ‘disease’; and that lovers are ‘blind’: οὐ τὀ ἐρᾶν νόσος ἀλλὰ τὸ μὴ ἐρᾶν· εἰ γὰρ ἀπὸ τοῦ ὁρᾶν τὸ ἐρᾶν, τυφλοὶ οἱ μὴ ἐρῶντες.

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