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The re-birth of dance through the soul of tragedy: On Nietzsche's 'The Birth of Tragedy' becoming body in the text and dance of Isadora Duncan.

机译:通过悲剧的灵魂重生舞蹈:尼采的《悲剧的诞生》成为伊莎多拉·邓肯的文字和舞蹈的主体。

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摘要

In her autobiography, Isadora Duncan recalled an assertion made by Karl Federn: "Only by Nietzsche, he said, will you come to the full revelation of dancing expression as you seek it" (Duncan 1995, 104). Duncan also told her students to read Nietzsche's The Birth of Tragedy, as if it was their "Bible" (Duncan 1928, 108). These statements justify an examination of Nietzsche's The Birth of Tragedy as an imperative source for understanding the depth of her dance philosophy. This dissertation asks what it means to see Duncan's philosophy of dance and its practice in the context of this nineteenth-century German philosopher. It examines Nietzsche's words and ideas about the birth of tragedy and how they become body in the writings and dance of Isadora Duncan.;This dissertation focuses on the philosophical idea of the "tragic idea" according to Nietzsche's and Duncan's interpretations and applications of philosophy bodied forth in dance. This tragic idea comes from an emerging idea in intellectual history initiated by followers of Kant. The idea of drawing from Greek tragedy a philosophy that could be used in philosophical thought to debate the meaning and function of art and even life was particular to German thinkers, philosophers and literati. While it drew from Greek tragic plays a philosophy, German thought on tragedy differed from the ancients in that it was applied as a philosophy for life. The ideas on Greek tragedy that Nietzsche situates his own within were developed within and against the Romantic aesthetic.;The characteristics of Romantics provide context for understanding the use of tragedy as a source for thought and art. Although Nietzsche came to oppose aspects of Romanticism, his first book was in part a dialogue with German Romantic thought and aesthetics. Nietzsche's idea of tragic philosophy in his The Birth of Tragedy is examined in precedence to Duncan's use of his book. This dissertation provides an historical contextualization of the idea of a tragic philosophy to show that Duncan's choice to base her dance philosophy on Nietzsche's tragic philosophy follows this historical philosophical thread. As Nietzsche both dedicated The Birth of Tragedy to Wagner and based the book on Wagner's interpretation of Greek tragedy (Williamson 2004, 238), and Duncan wrote on and danced to Wagner, Wagner is relevant within the specific context of understanding Duncan's dance as a philosophical practice of The Birth of Tragedy. This dissertation, then, looks into Duncan's writings as a way to read Nietzsche's The Birth of Tragedy, and through these texts to interpret some aspects alive within the Romantic mood.;In addition, this dissertation incorporates as part of both the literature and the analysis of Duncan's moving image, an embodied voice of personal experience from its writer, who has practiced this dance intimately. I weave my personal experience into the dissertation, using my experience in dancing within this dance form to reflect on the ideas presented here. The tragic idea as I see it within this movement drives the dancer's ideas about dance as an expressive art form. A tragic philosophy/wisdom motivates the imagination, the range of emotional expression and the physical body as it shapes and moves itself in, through and around space. A tragic sensibility represents a quality of investigation about the range of human experience that happens in and from out of the body. It comes from deep within the body's inner space and emotional and physical aliveness. It is an idea that the dancer is conscious of and actively engaged in as a process of dancing (for oneself) and making dance (as performance).
机译:伊莎多拉·邓肯(Isadora Duncan)在自传中回想起卡尔·费德恩(Karl Federn)的一句话:“只有尼采,他才能在寻求舞蹈表达时充分展现它”(邓肯,1995年,第104页)。邓肯还告诉她的学生们读尼采的《悲剧的诞生》,就好像这是他们的“圣经”一样(Duncan 1928,108)。这些陈述证明了对尼采的《悲剧的诞生》的检验是理解她舞蹈哲学深度的当务之急。本论文提出了在这个19世纪德国哲学家的背景下看邓肯的舞蹈哲学及其实践的意义。它考察了尼采关于悲剧的产生的词语和观念,以及它们如何在伊莎多拉·邓肯的著作和舞蹈中得以体现。跳舞。这种悲剧性的想法来自康德信徒发起的思想史上一个新兴的想法。从希腊悲剧中汲取一种可以用于哲学思想中以辩论艺术乃至生活的意义和功能的哲学的想法,对于德国思想家,哲学家和文人来说是很特殊的。尽管它源于希腊的悲剧戏剧哲学,但德国人对悲剧的看法与古人有所不同,因为它被用作人生哲学。尼采把自己的希腊悲剧观念发扬于浪漫主义美学之内和之外。浪漫主义者的特征为理解悲剧作为思想和艺术来源提供了背景。尽管尼采开始反对浪漫主义,但他的第一本书部分是与德国浪漫主义思想和美学的对话。尼采在《悲剧的诞生》中的悲剧哲学思想是在邓肯使用他的书之前进行研究的。本文为悲剧哲学的思想提供了历史背景,以说明邓肯将舞蹈哲学作为尼采悲剧哲学基础的选择遵循了这一历史哲学脉络。当尼采将《悲剧的诞生》献给瓦格纳,并将这本书基于瓦格纳对希腊悲剧的诠释(Williamson 2004,238),而邓肯写信并与瓦格纳共舞时,瓦格纳在理解邓肯的舞蹈作为哲学的特定背景下是相关的。悲剧的诞生的实践。然后,本文以邓肯的著作为研究对象,以阅读尼采的《悲剧的诞生》,并通过这些文本来解释浪漫主义情绪中鲜活的某些方面。此外,本文将其作为文献和分析的一部分邓肯的动人影像,来自其作家的亲身经历的体现,他亲密地练习了这支舞蹈。我将自己的个人经验编织到论文中,利用我在这种舞蹈形式中的舞蹈经验来反思这里提出的想法。我在这场运动中所看到的悲剧性想法驱使舞者将舞蹈视为一种表达艺术形式。悲剧性的哲学/智慧激发了想象力,情感表达的范围以及身体在空间中,在空间中以及在空间中的形成和移动的过程。悲惨的敏感性代表着对发生在人体内外的人类经历范围的调查质量。它来自身体内部空间的深处,以及情感和生理活力。舞者意识到并积极地参与跳舞(为自己)和进行舞蹈(作为表演)的过程。

著录项

  • 作者

    Berger-Di Donato, Andrea.;

  • 作者单位

    Temple University.;

  • 授予单位 Temple University.;
  • 学科 History European.;Philosophy.;History United States.;Dance.
  • 学位 Ph.D.
  • 年度 2009
  • 页码 242 p.
  • 总页数 242
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 欧洲史;美洲史;舞蹈;哲学理论;
  • 关键词

  • 入库时间 2022-08-17 11:38:09

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