论唐代乐舞诗与梁朝乐舞诗的差异

唐前乐舞诗最多的是梁朝,为唐代乐舞诗提供了有益的经验和借鉴。但与唐朝尤其是中唐乐舞诗相较,梁朝乐舞诗在描写对象、功能和写作目的三个方面与唐代均有较大的差异：即从梁朝乐舞诗的单纯描摹舞姿舞容的咏舞女变为唐朝的注重乐舞效果的赞舞艺,从梁朝的审美娱乐功能发展为唐朝的陶情、悟道、政治教化等多重功能,从描摹外物到抒情言志。实际上表现了两者一为娱乐一为礼乐的不同。     

‘Spirits,dancing in the flesh’: choreography and organisation

ABSTRACT

The body in organisations has received considerable scholarly attention, whilst the moving body and the ‘flesh’ has largely been overlooked. ‘Flesh’ for Merleau-Ponty connects the body and the world and supposes not an immobile, but moving body. We explore flesh as a movement-related, kinaesthetic phenomenon through a movement/dance-based method and interviews with professionals from a hospitality/service organisation. We apply the notion of ‘choreography’ from dance studies, composed of the elements of ‘writing’ (graphós) and ‘movement’ (chorós). Our findings show that fleshly movement interaction creates invisible structures, or choreographies, that are inscribed into bodies and tacitly confine organisational interaction (‘writing’). Bodies learn to relate to each other through perceptual interpenetration and kinaesthetic empathy and co-create the choreography (‘moving’). Fleshly movement interaction is a submission to choreographies fulfilling the organisational need to reproduce bodies capable of carrying out certain movement imperatives, which however provides momentary openings through the use of kinaesthetic empathy.     

Choreographing Resistances: Spatial–Kinaesthetic Intelligence and Bodily Knowledge as Political Tools in Activist Work

Abstract

Bodies have been used as a political tool in activism, but many scholars have ignored activists’ highly sophisticated and intelligent ways of using their moving bodies. This paper focuses on analysing three choreographies of resistance: the group crawling performance for striking nurses in Helsinki in 2007, the protest by Greenpeace at a nuclear construction site in 2007 and a protest in the 1989 Chinese student movement. The purpose is to shed light on how resisting choreographies can generate interactions and relations between agents keeping these interactions dynamic by the motivations and affections of these agents. I will apply Edmund Husserl’s and Edith Stein’s phenomenological method of analysing movement and their notion of kinaesthesia. One of the keywords here is ‘the kinaesthetic field’ that offers a new perspective to account for resisting choreography and its dynamics in socially, politically and emotionally complex environments. Drawing on Howard Gardner’s notion of kinaesthetic intelligence, I suggest that the core element of kinaesthetic intelligence is not only control of one’s bodily motion but also capabilities for working with kinaesthetic fields. The paper argues that the activists can operate gestures, the vulnerability of the body and timing by drawing various agents into their choreography. When activists are able to express their political ideas as concrete gestures, postures or kinaesthetic relations, it also supports their capabilities of articulating their moral intuitions. Even when witnesses disagree with protesters’ positions, protests frequently force them to reconsider their own.     

Entr’acte: Mobile Choreography and Sydney Rail Commuters

Abstract

The significance of the journey as a component of travel has been overlooked. The mobility turn has remedied this. There is now intense interest in mobility practices, in life on the move, and the cultures generated in vehicular environments. Though commuting is one of the most mundane, popular and ubiquitous forms of mobility, it is only beginning to receive the attention that is its due. In this paper, a mobile ethnography of commuting in Sydney is undertaken. It focuses particularly on the corporeality of commuting, on the territorialising and de-territorialising that occurs within crowded spaces of trains and on platforms during peak hours. It argues that passengers engage in complex ‘choreographies’ to avoid contact with one another.     

排舞串烧曲目编排研究

排舞是高度兼容各种风格的一项全球化的、新型时尚的大众健身运动项目,排舞串烧曲目编排从多方面向世界展示其魅力,能有效地促进排舞的发展。从2013-2015全国排舞串烧曲目比赛分析看出,曲目风格把握的非常到位,成套动作健身、艺术美感较强,但动作造型的编排还需加强。