In this article, I respond to important questions raised by Gallagher and Jacobson (2012) in the field of cognitive science about face-to-face interactions in Heidegger's account of 'intersubjectivity' in Being and Time. They have criticized his account for a lack of attention to primary intersubjectivity, or immediate, face-to-face interactions; he favours, they argue, embodied interactions via objects. I argue that the same assumption underlies their argument as did earlier critiques of a lack of an account of the body in Heidegger (e.g. Sartre 1989; Krell 1992); namely that because the body is not explicitly discussed in Being and Time, embodiment, rather than stressing the immediacy of experience, is insufficiently acknowledged in his emphasis on 'being-inthe-world'. Through placing Gallagher and Jacobson's accounts of intersubjectivity and the body alongside Heidegger's accounts of Mitsein and Leib, this article shows Heidegger's radical position on the body as immersed in a holistic environment, and its reverberations on his account of intersubjectivity. I argue that Dasein's embodied engagement in the world is always one of immediacy and that the body of the other is perceived as 'tied into' its context, as well. In so doing, I offer an Heideggerian account of ecstatic involvement which moves away from the distinction between primary and secondary intersubjectivity toward an immediate engagement with objects and people always already 'tied into' a context; an account that, through the concept of Fürsorge, includes shifts of attention between objects and people that allow for the ethical distinctions Gallagher and Jacobson are looking for.
Friedrich Nietzsche's influence on Isadora Duncan's work, in particular his idea of the Dionysian, has been widely discussed, especially in regard to her later work. What has been left underdeveloped in critical examinations of her work, however, is his influence on her earlier choreographic work, which she defended in a famous speech held in 1903 called The Dance of the Future. While commentators often describe this speech as ‘Nietzschean’, Duncan's autobiography suggests that she only studied Nietzsche's work after this speech. I take this incongruity as a starting point to explore the connections between her speech and Nietzsche's work, in particular his Thus Spoke Zarathustra. I argue that in subject and language Duncan's speech resembles Nietzsche's in important ways. This article will draw attention to the ways in which Duncan takes her cues from Nietzsche in bringing together seemingly conflicting ideas of religion and an overturning of morality; Nietzsche's notion of eternal recurrence and the teleology present in his idea of the Übermensch; and a renegotiation of the body's relation to the mind. In doing so, this article contributes not only to scholarship on Duncan's early work but also to discussions of Nietzsche's reception in the early twentieth century. Moreover, the importance Duncan ascribes to the body in dance and expression also asks for a new understanding of Nietzsche's own way of expressing his philosophy.
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