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008			181003s2006 stk||||fr 00| u|eng u
040			_aES-MaCDM
100	1		_aCounsell, Colin _9130271
245	0		_aThe Kinesics of Infinity _b Laban, Geometry and the Metaphysics of Dancing Space _cColin Counsell
260			_c2006 _aEdinburgh: _bEdinburgh University Press,
300			_a12 p.
520			_aRESUMEN: The historical emergence of modernist dance is well documented, but locating its kinesics in history often proves more challenging. The forms and gestures characteristic of Rudolf Laban's practice, for example, were emphatically nonmimetic, not conductive to the representation of any recognizable historical reality. They nevertheless proved resonant for performers and audiences alike, and so clearly spoke to some form of perception, a way of conceptualizing the body's actions that was accessible to a diversity of social subjects. If they cannot be seen as representation, then, they still comprised acts of ideation, and positioning them in history will entail locating their founding historical rationale, the mode of thought linking apparently subjective response to the social, the aesthetic object to its viewer. It is this species of thought, at once social and aesthetic, that Raymond Williams described with his term "structure of feeling".
773	0		_tDance Research _072889 _wmyd_16032 _gVol. 24, núm. 2, Winter 2006, p. 105 - 116
903			_a87230 _b87230
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999			_c123384 _d123384