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Sport aesthetics is an important but often marginalized field in the philosophy of sport. Kinetic Beauty offers a comprehensive, principled, pluralist introduction to the philosophical aesthetics of sport. The book tackles a wide variety of issues in the philosophical aesthetics of sport, proposing a five-level analysis that coordinates extant scholarship on the same conceptual map, reveals gaps in the literature, and motivates a fresh perspective on stubborn debates and novel topics in the field (for example, the aesthetic experience of athletes, aesthetic biases in sport, the paradox of sport fiction, and whether dance can be sport). This is an excellent resource for professors and students in the philosophy of sport, sport aesthetics, general aesthetics, and the philosophy of art. It is also a fascinating read for those working in kinesiology, sport studies, philosophy, art, and aesthetics.
In On Beauty Susan Johnson explores the role of beauty in our lives, and in her life in particular: 'Sometimes I think my whole life has been one long search for beauty. I am Australian and as such I should be embarrassed to write a line like that, in a land where one must speak of beauty in whispers.' She writes of where her search has taken her, how 'beauty enters the body like desire', and how beauty is nothing less than 'life's call to order, life's bid to save it from itself'.
Belle époque Paris adored dance. Whether at the music hall or in more refined theaters, audiences flocked to see the spectacles offered to them by the likes of Isadora Duncan, Diaghilev’s flashy company, and an embarrassment of Salomés. After languishing in the shadow of opera for much of the nineteenth century, ballet found itself part of this lively kinetic constellation. In Kinetic Cultures, Rachana Vajjhala argues that far from being mere delectation, ballet was implicated in the larger republican project of national rehabilitation through a rehabilitation of its citizens. By tracing the various gestural complexes of the period—bodybuilding routines, appropriate physical comportment for women, choreographic vocabularies, and more–-Vajjhala presents a new way of understanding histories of dance and music, one that she locates in gesture and movement.
Sporting Cultures, 1650-1850 is a collection of essays that charts important developments in the study of sport in the eighteenth century.
Mixed martial arts (MMA)—unarmed fighting games permitting techniques derived from a variety of martial arts and combat sports— has exploded from the fringes of sport into a worldwide phenomenon, a sport as controversial as it is compelling. This is the first book to pay MMA the serious philosophical attention it deserves. With contributions from leading international scholars of the philosophy of sport and martial arts, the book explores topics such as whether MMA qualifies as a martial art, the differences between MMA and the traditional martial arts, the aesthetic dimensions of MMA, the limits of consent and choice in MMA and whether MMA can promote moral virtues. It also explores cutting-edge practical and ethical topics, including the role of gender in MMA, and the question of whether trans athletes should be allowed to compete in the women’s divisions. The contributors to this anthology take down, ground and pound, and submit many essential questions about this fascinating recent development in the culture of sport and spectacle. This is important reading for anybody with an interest in combat sports, martial arts, or the philosophy, sociology, culture or history of sport.
In his comprehensive study of love in James Joyce's writings, Christopher DeVault suggests that a love ethic persists throughout Joyce's works. DeVault uses Martin Buber's distinction between the true love for others and the narcissistic desire for oneself to frame his discussion, showing that Joyce frequently ties his characters' personal and political pursuits to their ability to affirm both their loved ones and their fellow Dubliners. In his short stories and novels, DeVault argues, Joyce shows how personal love makes possible a broader social compassion that creates a more progressive body politic. While his early protagonists' narcissism limits them to detached engagements with Dublin that impede effective political action, Joyce demonstrates the viability of his love ethic through both the Blooms’ empathy in Ulysses and the polylogic dreamtext of Finnegan's Wake. In its revelation of Joyce's amorous alternative to the social and political paralysis he famously attributed to twentieth-century Dublin, Joyce's Love Stories allows for a better appreciation of the ethical and political significance underpinning the author's assessments of Ireland.