Pub Date : 2023-01-01DOI: 10.1515/opphil-2022-0250
Colette Olive
Abstract In the aforementioned quote, Vivienne Westwood sketches a role for fashion that elevates it from the prosaic to the status of art, as something important, life-enhancing, and worthy of pursuit. Here, a philosophical treatment of Westwood’s vision of fashion that does justice to the artistic and life-enhancing value that fashion can realise is offered, using an emergent theory in contemporary analytic aesthetics. The virtue theory of art delineates the intrinsic worth of art in terms of the opportunities it provides for us to exercise and cultivate virtues such as courage, self-expression, imagination, wit, or authenticity. Our engagement with art can subsequently be genuinely life-enhancing in lieu of the constitutive role the virtues play in living well. The present study takes Westwood’s claims as a jumping-off point, considering how they speak not just to her own designs but to our relationship with our clothes more broadly. Fashion is defended as a practice that performs this function in analogous ways to other genres of art and thus has clear artistic value as well as enables us to live well. Given this potential, just as Westwood claimed, there are reasons to perform the practice well because it has importance for the ways in which it can realise artistic value and aid us in living well.
{"title":"Value, Virtue, and Vivienne Westwood: On the Philosophical Importance of Fashion","authors":"Colette Olive","doi":"10.1515/opphil-2022-0250","DOIUrl":"https://doi.org/10.1515/opphil-2022-0250","url":null,"abstract":"Abstract In the aforementioned quote, Vivienne Westwood sketches a role for fashion that elevates it from the prosaic to the status of art, as something important, life-enhancing, and worthy of pursuit. Here, a philosophical treatment of Westwood’s vision of fashion that does justice to the artistic and life-enhancing value that fashion can realise is offered, using an emergent theory in contemporary analytic aesthetics. The virtue theory of art delineates the intrinsic worth of art in terms of the opportunities it provides for us to exercise and cultivate virtues such as courage, self-expression, imagination, wit, or authenticity. Our engagement with art can subsequently be genuinely life-enhancing in lieu of the constitutive role the virtues play in living well. The present study takes Westwood’s claims as a jumping-off point, considering how they speak not just to her own designs but to our relationship with our clothes more broadly. Fashion is defended as a practice that performs this function in analogous ways to other genres of art and thus has clear artistic value as well as enables us to live well. Given this potential, just as Westwood claimed, there are reasons to perform the practice well because it has importance for the ways in which it can realise artistic value and aid us in living well.","PeriodicalId":36288,"journal":{"name":"Open Philosophy","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43529967","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.1515/opphil-2022-0237
R. McCormack
Abstract In the 1980s, Luce Irigaray accused Western philosophy of “forgetting” about the role that the materiality of air and the act of breathing played in pre-Socratic metaphysics. This essay explores how Jacques Derrida maintained a complicated but insightful relationship to the air throughout his career through the mediating influence of pneuma, a word with long and complicated connections to the air. I highlight two relevant sites of engagement. The first was found in Of Grammatology (1968), where he connected the breathy logocentrism of “natural writing” to a concept of pneumatology (a “science of spirit” with some interesting connections to Leibniz) that served as grammatology’s Janus face. The second stemmed from Of Spirit (1991), in which Derrida emphasized the combustible, fiery face of pneuma to lambast Heidegger’s use of translation to mediate away the historical presence of the word pneuma for ideological purposes. This body of work, en toto, presents a subtle and oblique critique of Irigaray’s position. For Derrida, the air cannot function as the medium for an alternative metaphysics of presence because, historically, its space has already been infused with a pneumatic specter that cannot be ignored.
{"title":"Unclearing the Air: The Pneumatological Dalliances of Jacques Derrida","authors":"R. McCormack","doi":"10.1515/opphil-2022-0237","DOIUrl":"https://doi.org/10.1515/opphil-2022-0237","url":null,"abstract":"Abstract In the 1980s, Luce Irigaray accused Western philosophy of “forgetting” about the role that the materiality of air and the act of breathing played in pre-Socratic metaphysics. This essay explores how Jacques Derrida maintained a complicated but insightful relationship to the air throughout his career through the mediating influence of pneuma, a word with long and complicated connections to the air. I highlight two relevant sites of engagement. The first was found in Of Grammatology (1968), where he connected the breathy logocentrism of “natural writing” to a concept of pneumatology (a “science of spirit” with some interesting connections to Leibniz) that served as grammatology’s Janus face. The second stemmed from Of Spirit (1991), in which Derrida emphasized the combustible, fiery face of pneuma to lambast Heidegger’s use of translation to mediate away the historical presence of the word pneuma for ideological purposes. This body of work, en toto, presents a subtle and oblique critique of Irigaray’s position. For Derrida, the air cannot function as the medium for an alternative metaphysics of presence because, historically, its space has already been infused with a pneumatic specter that cannot be ignored.","PeriodicalId":36288,"journal":{"name":"Open Philosophy","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43683790","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.1515/opphil-2022-0269
Otto Muller
Abstract Socially engaged art presents social situations to be understood, experienced, and evaluated as works of art while they simultaneously retain everyday non-art functionality. This article begins with an account of the definitional and evaluative concerns that socially engaged art engenders, outlining the debates around the relative importance of ethical and aesthetic values that result from this unsettled relationship between art and non-art. Based on this account, I argue that all socially engaged art requires successful performative bids that declare the work to be art and that it is possible to identify the felicity conditions in which these bids are likely to be successful, as well as the perlocutionary effects that occur when a situation is categorized as art. I apply this analytic framework in a discussion and comparison of pieces by Santiago Sierra and Mierle Laderman Ukeles, demonstrating how this framework facilitates assessments that account for the works as art, while interrogating and evaluating the ethics of their categorization as art.
{"title":"Ordinary Situations and Artworld Declarations","authors":"Otto Muller","doi":"10.1515/opphil-2022-0269","DOIUrl":"https://doi.org/10.1515/opphil-2022-0269","url":null,"abstract":"Abstract Socially engaged art presents social situations to be understood, experienced, and evaluated as works of art while they simultaneously retain everyday non-art functionality. This article begins with an account of the definitional and evaluative concerns that socially engaged art engenders, outlining the debates around the relative importance of ethical and aesthetic values that result from this unsettled relationship between art and non-art. Based on this account, I argue that all socially engaged art requires successful performative bids that declare the work to be art and that it is possible to identify the felicity conditions in which these bids are likely to be successful, as well as the perlocutionary effects that occur when a situation is categorized as art. I apply this analytic framework in a discussion and comparison of pieces by Santiago Sierra and Mierle Laderman Ukeles, demonstrating how this framework facilitates assessments that account for the works as art, while interrogating and evaluating the ethics of their categorization as art.","PeriodicalId":36288,"journal":{"name":"Open Philosophy","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135844566","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.1515/opphil-2022-0260
Michel-Guy Gouverneur
Abstract Though ordinary aesthetics is self-evident as a principle, fruitful as a method, it remains partly undefined. It seems the major difficulty is to mark out its territory, so much so as, after Wittgenstein, it endorses the most part of what used to pertain to ethics. Our hypothesis is that starting from art forms may prove helpful in defining ordinary aesthetics; and the article suggests that short-story writing is a paradigmatic pathway to ordinary aesthetics as it is to the ethical unsaid.
{"title":"Short-Story Writing as the Art of Ordinary Aesthetics","authors":"Michel-Guy Gouverneur","doi":"10.1515/opphil-2022-0260","DOIUrl":"https://doi.org/10.1515/opphil-2022-0260","url":null,"abstract":"Abstract Though ordinary aesthetics is self-evident as a principle, fruitful as a method, it remains partly undefined. It seems the major difficulty is to mark out its territory, so much so as, after Wittgenstein, it endorses the most part of what used to pertain to ethics. Our hypothesis is that starting from art forms may prove helpful in defining ordinary aesthetics; and the article suggests that short-story writing is a paradigmatic pathway to ordinary aesthetics as it is to the ethical unsaid.","PeriodicalId":36288,"journal":{"name":"Open Philosophy","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135269976","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.1515/opphil-2022-0256
R. Andreescu
Abstract Drawing on recent theories and debates concerning the everydayness of non-artistic and even private aesthetic experiences, this article aims at differentiating new ways of dealing with revulsion at the intersection of negative and everyday aesthetics, as another manner of extending or transcending the scope of traditional art-oriented aesthetics. The paradigms that I will trace in the history of negative aesthetics are not mere occurrences of disgust or repulsiveness in art and in everyday life, but ways of addressing the repulsive in relation to the culturally variable scope of art and aesthetics. Besides the classical paradigm that associates repugnant subjects with their pleasure-inducing imitations in art, and the transgressions of modern and contemporary art that increasingly shocked their audience, revulsion can also be regarded as a form of displeasure linked to the quotidian, yet aesthetically relevant forms of life. By virtue of this ordinary nature, which is not unfamiliar to other (non-Western) cultures, revulsion could be placed at the core of everyday aesthetics, since it confirms both the transition from contemplation to action in recent aesthetics, that is, the practical preoccupation with the aesthetic quality of living, and the broader redefinition of aesthetics in terms of sensory reactions.
{"title":"Experiencing Revulsion: Aesthetic Discomfort and Ordinary Life","authors":"R. Andreescu","doi":"10.1515/opphil-2022-0256","DOIUrl":"https://doi.org/10.1515/opphil-2022-0256","url":null,"abstract":"Abstract Drawing on recent theories and debates concerning the everydayness of non-artistic and even private aesthetic experiences, this article aims at differentiating new ways of dealing with revulsion at the intersection of negative and everyday aesthetics, as another manner of extending or transcending the scope of traditional art-oriented aesthetics. The paradigms that I will trace in the history of negative aesthetics are not mere occurrences of disgust or repulsiveness in art and in everyday life, but ways of addressing the repulsive in relation to the culturally variable scope of art and aesthetics. Besides the classical paradigm that associates repugnant subjects with their pleasure-inducing imitations in art, and the transgressions of modern and contemporary art that increasingly shocked their audience, revulsion can also be regarded as a form of displeasure linked to the quotidian, yet aesthetically relevant forms of life. By virtue of this ordinary nature, which is not unfamiliar to other (non-Western) cultures, revulsion could be placed at the core of everyday aesthetics, since it confirms both the transition from contemplation to action in recent aesthetics, that is, the practical preoccupation with the aesthetic quality of living, and the broader redefinition of aesthetics in terms of sensory reactions.","PeriodicalId":36288,"journal":{"name":"Open Philosophy","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41398266","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.1515/opphil-2022-0247
N. Conceição
Abstract Bringing together a genealogy of authors, concepts, and aesthetic case studies, this article aims to contribute to the discussion on ordinary aesthetics by focusing on the tensions that are intrinsic to walking as a fundamental embodied action in everyday urban life. These tensions concern the movement of walking itself and its relation to one’s surroundings, but it also concerns a certain complementarity between home (familiarity) and wandering. Experiencing space and thresholds that disrupt one’s relationship with home and the everyday can be understood as part of a modern “anti-home” tendency that lies at the core of several artistic and aesthetic practices. On the other hand, the study of walking and its relationship with the ordinary has also been enhanced and complexified by the mediation of images and technologies of reproduction. Approaching the paradoxes and ambiguities of everydayness from the perspective of walking allows us to better understand the ordinary as an in-between concept composed of evidence and mystery, familiarity and strangeness. Walking itself, as an ordinary element of life, is an unstable stabilisation, an unconsciousness that may become awareness, an immersive action that knows interruptions, a way of repeating paths that can also lead to detours and discoveries.
{"title":"Walking Through Everyday Life: Tensions and Disruptions within the Ordinary","authors":"N. Conceição","doi":"10.1515/opphil-2022-0247","DOIUrl":"https://doi.org/10.1515/opphil-2022-0247","url":null,"abstract":"Abstract Bringing together a genealogy of authors, concepts, and aesthetic case studies, this article aims to contribute to the discussion on ordinary aesthetics by focusing on the tensions that are intrinsic to walking as a fundamental embodied action in everyday urban life. These tensions concern the movement of walking itself and its relation to one’s surroundings, but it also concerns a certain complementarity between home (familiarity) and wandering. Experiencing space and thresholds that disrupt one’s relationship with home and the everyday can be understood as part of a modern “anti-home” tendency that lies at the core of several artistic and aesthetic practices. On the other hand, the study of walking and its relationship with the ordinary has also been enhanced and complexified by the mediation of images and technologies of reproduction. Approaching the paradoxes and ambiguities of everydayness from the perspective of walking allows us to better understand the ordinary as an in-between concept composed of evidence and mystery, familiarity and strangeness. Walking itself, as an ordinary element of life, is an unstable stabilisation, an unconsciousness that may become awareness, an immersive action that knows interruptions, a way of repeating paths that can also lead to detours and discoveries.","PeriodicalId":36288,"journal":{"name":"Open Philosophy","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47204047","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1515/opphil-2022-0227
Carlos A. Segovia
{"title":"Conceptual Personae in Ontology","authors":"Carlos A. Segovia","doi":"10.1515/opphil-2022-0227","DOIUrl":"https://doi.org/10.1515/opphil-2022-0227","url":null,"abstract":"","PeriodicalId":36288,"journal":{"name":"Open Philosophy","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41441230","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1515/opphil-2022-0203
M. Lewin
Abstract In the Transcendental Dialectic, Kant searched for a universal concept of reason different from the understanding and offered the short formula “the faculty of principles” (KrV A299/B356). I will argue that this is only one and not the most pertinent and general mark of the concept of reason. There are more compelling short expressions in Kant’s Reflexionen, the third Critique and/or in the reception of Kant’s works: “the faculty of ideas” (Refl 5553 18:228 and KU 5:269) or reason in the narrower sense. The latter narrows down the logical sphere of the concept of rational faculties, and the former contains reason’s most basic mark: ideas. The first part of this article will focus on preliminary remarks on Kant’s philosophical methodology and conceptual analysis. The second part will analyze the division of the logical sphere of the concept of reason by nine necessary and coherent marks. These marks are centered around the concept of ideas, which allows for an ideas-first understanding of reason and preference for the formulas the faculty of ideas and reason in the narrower sense. The article will end with an “imperfect definition” of reason based on those nine marks.
{"title":"The Faculty of Ideas. Kant’s Concept of Reason in the Narrower Sense","authors":"M. Lewin","doi":"10.1515/opphil-2022-0203","DOIUrl":"https://doi.org/10.1515/opphil-2022-0203","url":null,"abstract":"Abstract In the Transcendental Dialectic, Kant searched for a universal concept of reason different from the understanding and offered the short formula “the faculty of principles” (KrV A299/B356). I will argue that this is only one and not the most pertinent and general mark of the concept of reason. There are more compelling short expressions in Kant’s Reflexionen, the third Critique and/or in the reception of Kant’s works: “the faculty of ideas” (Refl 5553 18:228 and KU 5:269) or reason in the narrower sense. The latter narrows down the logical sphere of the concept of rational faculties, and the former contains reason’s most basic mark: ideas. The first part of this article will focus on preliminary remarks on Kant’s philosophical methodology and conceptual analysis. The second part will analyze the division of the logical sphere of the concept of reason by nine necessary and coherent marks. These marks are centered around the concept of ideas, which allows for an ideas-first understanding of reason and preference for the formulas the faculty of ideas and reason in the narrower sense. The article will end with an “imperfect definition” of reason based on those nine marks.","PeriodicalId":36288,"journal":{"name":"Open Philosophy","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43657759","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1515/opphil-2022-0214
G. Harman
Abstract This article begins with a treatment of Friedrich Nietzsche’s early essay “On Truth and Lie in the Extra-Moral Sense.” The essay is often read, in the deconstructive tradition, as a showcase example of the impossibility of making a literal philosophical claim: is Nietzsche’s claim that all truth is merely metaphorical itself a true statement, or merely a metaphorical one? The present article claims that this supposed paradox relies on the groundless assumption that all philosophy must ultimately be grounded in some unshakeable literal truth. From here, we turn to Edmund Gettier’s famous critique of the widespread notion of knowledge as “justified true belief.” Expanding on Gettier’s point, it is argued that there can only be “justified untrue belief” or “unjustified true belief,” never a belief that is both justified and true at once.
{"title":"On Truth and Lie in the Object-Oriented Sense","authors":"G. Harman","doi":"10.1515/opphil-2022-0214","DOIUrl":"https://doi.org/10.1515/opphil-2022-0214","url":null,"abstract":"Abstract This article begins with a treatment of Friedrich Nietzsche’s early essay “On Truth and Lie in the Extra-Moral Sense.” The essay is often read, in the deconstructive tradition, as a showcase example of the impossibility of making a literal philosophical claim: is Nietzsche’s claim that all truth is merely metaphorical itself a true statement, or merely a metaphorical one? The present article claims that this supposed paradox relies on the groundless assumption that all philosophy must ultimately be grounded in some unshakeable literal truth. From here, we turn to Edmund Gettier’s famous critique of the widespread notion of knowledge as “justified true belief.” Expanding on Gettier’s point, it is argued that there can only be “justified untrue belief” or “unjustified true belief,” never a belief that is both justified and true at once.","PeriodicalId":36288,"journal":{"name":"Open Philosophy","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41801314","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1515/opphil-2022-0210
L. Hellsten
Abstract This is a meta-reflection on the methodological and epistemological challenges of doing ethnographic theology in a context outside the church or religious communities. Particularly, it argues that in a multi- or inter-disciplinary setting theologians are placed in a precarious position when it comes to use of language, theories and concepts if they want to speak simultaneously to the people they encounter in the field and to their “own” scientific community. The article asks how a researcher can do theology in a secular environment without doing violence towards ones interlocutors and still be considered to “belong” in the theological community? Based on the lived experiences of ongoing research and particularly concerning the gathering and telling the stories of Women in the Natural sciences, the author weaves together Eileen Campbell-Reed’s and Sarah Coakley’s methodological frameworks in order to present her own method of contemplative dance. The author uses rich metaphors and the sensory experience of “Home” and “Exile” in relationship to the movements in a foot to bring forth her embodied insights about dancing in the messy entanglement of ethnographic research.
{"title":"Home and Exile – Dancing in the Mess of Contradictions","authors":"L. Hellsten","doi":"10.1515/opphil-2022-0210","DOIUrl":"https://doi.org/10.1515/opphil-2022-0210","url":null,"abstract":"Abstract This is a meta-reflection on the methodological and epistemological challenges of doing ethnographic theology in a context outside the church or religious communities. Particularly, it argues that in a multi- or inter-disciplinary setting theologians are placed in a precarious position when it comes to use of language, theories and concepts if they want to speak simultaneously to the people they encounter in the field and to their “own” scientific community. The article asks how a researcher can do theology in a secular environment without doing violence towards ones interlocutors and still be considered to “belong” in the theological community? Based on the lived experiences of ongoing research and particularly concerning the gathering and telling the stories of Women in the Natural sciences, the author weaves together Eileen Campbell-Reed’s and Sarah Coakley’s methodological frameworks in order to present her own method of contemplative dance. The author uses rich metaphors and the sensory experience of “Home” and “Exile” in relationship to the movements in a foot to bring forth her embodied insights about dancing in the messy entanglement of ethnographic research.","PeriodicalId":36288,"journal":{"name":"Open Philosophy","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46531704","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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