Music-Dance

Veroli, Patrizia; Vinay, Gianfranco

doi:10.4324/9781315271996

Cited by 69 publications

References 10 publications

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Climax as Orgasm: On Debussy’s ‘L’isle Joyeuse’

Buch

2019

Music and Letters

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drives are important for artistic creativity, and that access to the artist's intimacy is the proper way to understand how and why. This genetic approach implies from the start a parting of company with Klein, whose hermeneutics of the musical work disregards biographical materials altogether; indeed, he never mentions sketches nor other traces of the creative process, and the mere biographical contextualization of his analysis to the effect that 'Debussy composed L'isle joyeuse in the summer of 1904 while on an extramarital holiday on the island of Jersey with Emma Bardac' 8 is actually misleading. Now, the assumption that sex does matter for art has never gone without resistance. This often goes in the name of idealistic or moralistic conceptions of artistic creativity. François Lesure, the great biographer of the composer, thought it vain 'to try to explain Debussy's oeuvre by his sentimental life (expériences amoureuses).' 9 This article will seek to demonstrate quite the opposite, and to connect these insights with broader biographical issues. Debussy's marriage with Emma Bardac in 1908, a 45-yearold woman he first met as the mother of a pupil, Raoul Bardac, has often been described as resulting from social ambition rather than from love and desire. Of course, social ambition can sometimes also fuel desire, but this is the contrary of discarding desire altogether. Mary Garden, a friend and a favourite performer of Debussy's music (she was the first Mélisande), wrote laconically in her notebooks: 'His first wife was young and poor. His second was old and rich.' 10 A distorted vision of his private life, including hostile allusions to Emma's Jewish origin, emerged in 1904 shortly after the beginning of their initially adulterous relationship at a time when Claude was married to Lilly Texier and Emma to Sigismond Bardac. 11 Public opinion at the beginning of the last century was opposed such a relationship, partly as a matter of age. In this 'golden age of male adultery', four out of five mistresses were younger than deceived wives, who were in turn mostly younger than her adulterous husbands; and fewer than one out of three women involved in adulterous relationships were forty years old or more. Anne-Marie Sohn points out that 'psychologically, though not legally, adultery stopped being a crime between 1880 and 1900.' 12 From a legal point of view, even though divorce was reinstated in France in 1884, it was not until December 1904 that the law allowed

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Climax as Orgasm: On Debussy’s ‘L’isle Joyeuse’

Buch

2019

Music and Letters

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Empathy from a “4E cognition” perspective: the problem of lynching

Nieto

Velandia

2018

Adaptive Behavior

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Discussions about intersubjectivity can be traced back to philosophical discussions of the 19th century. In recent years, disciplines such as neuroscience, social cognition, and phenomenology have discussed ''empathy'' in terms of the ability for human connection. More recently, researchers are discussing the definition of empathy, especially the relationship between empathy and the motivation to seek another's well-being. In this discussion, psychological theories conceived empathy as a factor of prosocial behavior. Other researchers such as Bloom consider empathy as an unfit moral guide, while yet others attempt to remove the caring condition from the equation of empathy. In this article, we aim to contribute to the discussion on empathy discussions by analyzing lynching, a form of collective violence sometimes seen in the South American context. We suggest that lynching, as well as other phenomena of collective violence, presents specific challenges for the conceptualization of empathy, and that those challenges could be tackled from the perspective of ''4E cognition.''

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Choreophonien

Ostwald

2024

TanzScripte

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Die Stimme stellt eine konstitutive, aber vernachlässigte Kategorie im Denken über Tanz dar. Anhand von Fallstudien aus dem modernen und zeitgenössischen euroamerikanischen Bühnentanz untersucht Julia Ostwald diverse Stimm-Körper-Konstellationen, die kanonisierten Setzungen von Tanz als stummer Kunstform entgegenlaufen. Mithilfe der Denkfigur der Choreophonien analysiert sie spezifische Verschränkungen von ästhetischen Verfahren, sinnlichen Wahrnehmungen und ihren mikropolitischen Dimensionen. Somit erschließt sie ein tanzwissenschaftliches Forschungsfeld, das nicht nur Impulse für Theorie und Praxis der performativen Künste, sondern auch für die Gender und Queer Studies gibt.

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Music-Dance

Cited by 69 publications

References 10 publications

Climax as Orgasm: On Debussy’s ‘L’isle Joyeuse’

Climax as Orgasm: On Debussy’s ‘L’isle Joyeuse’

Empathy from a “4E cognition” perspective: the problem of lynching

Choreophonien

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