Abstract

My essay incorporates Irigaray's notion of the sensible transcendental, a dynamic attempt to reconstitute the body/mind dualism which founds Western thought, into a reading of the practice of European concert dance. I contend that Irigaray's efforts toward articulating a language of the body as active agent have much to offer (feminist) analyses of dance practice, and develop this claim through a reading which reflects philosophically on the changing nature of my own dance activity.

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Additional Information

ISSN
1527-2001
Print ISSN
0887-5367
Pages
pp. 90-124
Launched on MUSE
2000-02-01
Open Access
No
Archive Status
Archived 2009
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