32 research outputs found
Integrating complexity theory and social work practice:a commentary on Fish and Hardy (2015)
No full textPost 1990s Dance Theatre and (the idea of) the Neutral
No full textPhDThe thesis focuses on the concept of neutrality in the works of contemporary
European (post 1990s) choreographers. While broad ideas around neutrality are
considered, the thesis primarily engages with Roland Barthes’ definition of
neutrality as a structural term: 'every inflection that, dodging or baffling the
paradigmatic, oppositional structure of meaning, aims at the suspension of the
conflictual basis of discourse'. I argue that the minimalist work of Judson
Church, New York City, is anticipating the interest in the neutral that will more
strongly formulate itself in dance theatre after the 1990s. In the first chapter on
Jérôme Bel, the concept of neutrality is introduced as a general idea, together with
its inherent problem. The 'problem' is not that this or that element that Bel
chooses cannot be perceived as neutral, but that neutral or stage zero can never be
neutral enough. The second chapter, dedicated to the work of Thomas Lehmen,
explores the idea of 'neutralization' in relation to the notion of the self in
Lehmen's performance, where 'It is not I or you who lives: 'one' (une vie) lives in
us' (P. Hallward). In the third chapter I argue that in Raimund Hoghe’s
performances, love is conceived essentially as a balance between narcissism and
pure object-love – as a neutral state. The fourth chapter, on Croatia’s BADco.,
gravitates around the ways in which group processes function, arguing that the
idea of the neutral is located in the ‘invisible hand’ of emergence. The thesis shifts
academic performance analysis towards a more concept-based approach,
unpicking and/or constructing timeless, abstract and broad concepts and ideas that
the work of these choreographers resonates with
An account of a valuable phenomenon found primarily in art, after Collingwood
No full textThis dissertation enquires into the nature and value of a phenomenon which is
typically found in art. Chapter 1 attempts to get clear on what phenomenon is
being discussed by considering various thinkers' attempts to talk about it, and by
considering artworks which exemplify (or are) it. I call the phenomenon 'art' and
roughly characterise it as the expression of emotion. Chapter 2 considers the role
of artists' intentions to the meaning of the artworks they create, and more
broadly the role of utterers' intentions to the meanings of their utterances. This is
done because certain positions regarding the role of intentions to utterances'
meanings breaks the communicative link between the utterer of an utterance and
the apprehender of the utterance, which link is important to the thesis advanced.
Chapter 3 argues for a particular analysis of what I call art in Chapter 1, and
briefly argues that it is very valuable
