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Journal articles on the topic 'Shawnee art'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2024

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1

Lepper, Bradley T., James R. Duncan, Carol Diaz-Granados, and John Soderberg. "Ohio Rock Art and Serpent Mound: Shared Iconography, Shared Stories." Midcontinental Journal of Archaeology 48, no. 2 (July 1, 2023): 147–71. http://dx.doi.org/10.5406/23274271.48.2.03.

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Abstract James Swauger's study of Ohio's rock art, Petroglyphs of Ohio, has been the definitive guide to the subject since its publication in 1984. Swauger concluded that the Indigenous American Indian petroglyphs were created during the late precontact period and proposed that the makers of the designs were “proto-Shawnee,” but he deliberately eschewed any attempt to attribute meanings to the designs. Building on Swauger's work, we consider Ohio rock art through the lens of our previous research on Serpent Mound and the rock art of midcontinental North America, particularly the unique suite of pictographs at Picture Cave, as interpreted through the lens of Dhegiha Siouan oral traditions. We argue that several Ohio petroglyph sites include configurations of motifs that represent episodes from an ancient and widespread Indigenous creation story featuring the Great Serpent, Lord of the Beneath World, and First Woman, the mother of all living things.

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2

Vertinsky, Patricia. "“This Dancing Business is More Hazardous Than Any ‘He-Man’ Sport”: Ted Shawn and His Men Dancers." Sociology of Sport Journal 35, no. 2 (June 1, 2018): 168–77. http://dx.doi.org/10.1123/ssj.2017-0009.

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Selecting Springfield College, founding home of the International YMCA as a training ground for male dancers was an inspired choice by American modern dancer Ted Shawn given the founding credo of the College to ‘build builders of men.’ I would like to see men dancing in gymnasiums and stadiums, he claimed, so that the dance could reach again the position it held among the Greeks as the most perfect athletic accomplishment and the finest means of physical training and development. They were earnest and interesting efforts to foster an aura of ‘authentic rugged American masculinity’ for the era, given that Shawn himself was a closeted homosexual and the troupe’s lead dancer was his long term muse and lover Barton Mumaw. Scholars have shown how Shawn’s ideas about gender and sexuality became increasingly complex once he acknowledged his own homosexuality and engaged with ideas about sexual difference. His appropriation of various facets of the physical culture movement, however, and his reliance on the work and ideas of female modern dance pioneers and the physical education profession have been less noted. In this sense, Shawn was lucky, for he fell in love with dance when the art was mature enough to need a man.

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3

Weinert, Adam H. "The Reaccession of Ted Shawn: A Study in Virtual Permanence." PAJ: A Journal of Performance and Art 38, no. 2 (May 2016): 69–79. http://dx.doi.org/10.1162/pajj_a_00319.

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In the spring of 2013, I was invited to represent the modernist choreographer Ted Shawn at the Museum of Modern Art as part of the exhibition 20 Dancers of the XXth Century, curated by Boris Charmatz. The exhibit proposed the both radical and rudimentary notion that the main museal space for dance is the human body. In many ways, this is in keeping with how dance has historically been preserved—passing down from generation to generation as an oral and kinesthetic tradition without the benefit of a comprehensive or standardized notation system. With this tradition in mind, I endeavored to become a living archive of Shawn's work. In determining how to approach this task, particularly in the absence of any living company members or company apparatus, I had to ask both practical and theoretical questions about the archive and dance re-performance.

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4

Artists, Multiple, and With Carina Magazzeni. "Imagined Urban Gardens, Rodman Hall Art Centre." ti< 9, no. 1 (March 26, 2020): 5–14. http://dx.doi.org/10.26522/ti.v9i1.2448.

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5

Blau, Shawn. "Getting Things Done: The Art of Stress-Free Productivity." New England Journal of Entrepreneurship 4, no. 2 (March 1, 2001): 81–82. http://dx.doi.org/10.1108/neje-04-02-2001-b008.

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6

Brask, Per. "Kierkegaard and the Art in Ross McMillan’s Fever." Canadian Theatre Review 92 (September 1997): 23–26. http://dx.doi.org/10.3138/ctr.92.005.

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What appeals to me in a monodrama is the way it can suggest the interiority of a character, a life of the mind. At stake in Wallace Shawn’s play The Fever is precisely this interiority, this being born into the life of the mind which is the “privilege” of members of the middle classes (and above) of Western culture. He has chosen the dramatic form which best approaches interiority in order to make it problematic.

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7

Artists, Multiple. "Crisscross." ti< 9, no. 1 (March 26, 2020): 15–28. http://dx.doi.org/10.26522/ti.v9i1.2449.

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8

Dempsey, Shawna, and Lorri Millan. "Mary Medusa." Canadian Theatre Review 76 (September 1993): 42–57. http://dx.doi.org/10.3138/ctr.76.009.

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Caution: copyright 1993 by Shawna Dempsey and Lorri Millan. This work is fully protected under the copyright laws of Canada and all other countries of the Copyright Union and all performances are subject to royalty. Change to the script is expressly forbidden without the written consent of Shawna Dempsey and Lorri Millan. Rights to produce, film, or record, in whole or in any part, in any medium, in any language, by any group, amateur or professional, are retained by Shawna Dempsey and Lorri Millan. Interested persons are requested to apply for permission and terms to Shawna Dempsey and Lorri Millan, 485 Wardlaw Avenue, Winnipeg, Manitoba, R3L 0L9.

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9

Spears, Charlotte. "Consumer Protection: Online Sale of Prescription Drugs to Minors Not Unconscionable." Journal of Law, Medicine & Ethics 30, no. 2 (2002): 315–17. http://dx.doi.org/10.1017/s1073110500008561.

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In Stovall v. Confimed.com, the Kansas Supreme Court held that an out-of-state medical doctor who sold a prescription drug to a Kansas minor over the Internet did not commit an unconscionable act under the Kansas Consumer Protection Act (KCPA). The Shawnee Country District Court had enjoined the doctor from prescribing or dispensing prescription medicine within the state of Kansas, and the doctor appealed the injunction to the Kansas Supreme Court. The Supreme Court affirmed the district court's decision to grant injunctive relief, but found no unconscionable conduct under the KCPA.The appellee, Washington physician Dr. Howard J. Levine, sold the sexual enhancement drug Viagra over the Internet through his online pharmacy. Neither the physician nor the online pharmacy was licensed to practice in Kansas. The purchasers were two Kansas residents, one of whom was a minor. Both purchased the drugs in a sting operation conducted by the Kansas Attorney General and received the drugs after completing an online application.

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10

Parayre, Catherine, and Artistes Multiples. "Shawn Serfas en février et les enfants au travail." ti< 5, no. 1 (March 12, 2016): 25–46. http://dx.doi.org/10.26522/ti.v5i1.1341.

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11

Bennett, Susan. "Radical (Self-) Direction and the Body: Shawna Dempsey and Lorri Millan’s Performance Art." Canadian Theatre Review 76 (September 1993): 37–41. http://dx.doi.org/10.3138/ctr.76.008.

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In the traditional hierarchy of theatrical production, the director functions as a medium through which the textual body comes to exist on and by the physical body of the performer. As “the afterimage of processes set in motion” during rehearsal, performance includes the invisible presence of the director (Letzler Cole 2).1 It is also the apparatus which affords real, live – that is, visibly present – bodies (the audience) the privilege to gaze at the embodied text, to read, decode, and judge its possible meanings. Wherever we might locate ourselves (our bodies) in this creative process, we are almost certainly unable to control all its bodies or all its meanings (actual and potential). But, as Susan Bordo reminds us, the body is “a medium of culture” (13) and cultures insist, in protection of their own vested interests, that, as such, the body – with its very particular powers to mean – be monitored and controlled. As Michel Foucault has persuasively argued, control is produced by a discipline which “increases the forces of the body (in economic terms of utility) and diminishes these same forces (in political terms of obedience)” (History of Sexuality 138). Since the act of performance is also an act of desire (for, among other things, a willing and collective body identified as audience), cultures have, throughout history, been vigilant as to how such desire can be staged and how its performing bodies might be contained within a matrix of economic utility and political obedience. The traditional hierarchy of theatrical production is one such manoeuvre and the director has, in the twentieth century at least, been afforded the authority of surveillance. What Foucault calls the “panoptic modality of power” operates in the discipline/production of theatre as the director’s prerogative (Discipline and Punish 221).

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12

Hall, Lynda. "Bodies in Sight: Shawna Dempsey (Re)Configures Desire." Canadian Theatre Review 92 (September 1997): 10–16. http://dx.doi.org/10.3138/ctr.92.002.

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Solo performance artist Shawna Dempsey (together with her collaborator, Lorri Millan) uses performance in an innovative way - one that exposes, bare(s) witness, and intervenes in the social “performance” of gender roles and also stages lesbian presence. Revealing how misogynist, heterosexist culture is re-produced, and therefore how it can be altered, she states, “in the self-created world of the performance space, our personas have the freedom to make their own self-definitions” (Bennett 9). Dempsey has collaborated with Lorri Millan on the creation of feminist, costume-based performance art since 1989. Her worldwide performances and Dempsey and Millan’s film and video productions critique cultural scripts for “femininity” and the appropriately performed, properly gendered body. Exemplifying Judith Butler’s claim that gender is “real only to the extent that it is performed” (278), Dempsey invites awareness of the performative aspects that produce gender in an ongoing process of cultural construction, including dress, stance, gestures, looks, and voice. Significantly, whether on the stage or in the street, her body and looks are very feminine, her body has the shape that culture tells women to strive for, and her age is within the range where women are provoked to show their bodies.

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13

King, W. D. "DIONYSUS IN SANTA BARBARA: WALLACE SHAWN'S EURIPIDEAN FEVER." Theater 23, no. 1 (December 1, 1992): 83–87. http://dx.doi.org/10.1215/01610775-23-1-83.

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14

Dempsey, Shawna, and Lorri Millan. "Object/Subject of Desire." Canadian Theatre Review 92 (September 1997): 17–18. http://dx.doi.org/10.3138/ctr.92.003.

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Shawna Dempsey and Lorri Millan have been creating performance-based work in a variety of media since 1989. They articulate their feminist and lesbian concerns largely through the use of metaphoric costumes, animated by text and minimal gesture. Humour is a prominent feature of their work, consciously used to destabilize the viewer and create multiple/simultaneous meanings. Dempsey and Millan make their home in Winnipeg.

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15

Edmunds, R. David. "“Evil Men Who Add to Our Difficulties”: Shawnees, Quakers, and William Wells, 1807–1808." American Indian Culture and Research Journal 14, no. 4 (January 1, 1990): 1–14. http://dx.doi.org/10.17953/aicr.14.4.88522u215u4555g6.

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16

Snow, K. Mitchell. "Orientalized Aztecs: Observations on the Americanization of Theatrical Dance." Dance Research Journal 51, no. 2 (August 2019): 35–50. http://dx.doi.org/10.1017/s0149767719000172.

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The opening decades of the twentieth century saw a passing fashion for “Aztec” dancing in the vaudeville theaters of the United States. Russian classical dancers Kosloff and Fokine tapped the orientalist currents of the Ballets Russes, adopting the Aztec as superficial signs of the American. Conversely, works by Shawn and film director Cecil B. DeMille, which served as points of reference for the Russians, represented a continuation of equally orientalist attitudes toward Mexico's past, forged during the realization of the United States’ policy of Manifest Destiny. The emergence of a cadre of trained dancers from Mexico, trained by students of Kosloff and Shawn, would bring a distinctively different perspective on the presentation of their heritage to the dance stage, one that was no longer based in the imagination of an expansionist America.

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17

Sherman, Jane. "The American Indian imagery of Ted Shawn." Dance Chronicle 12, no. 3 (January 1989): 366–82. http://dx.doi.org/10.1080/01472528908569016.

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18

Schwan, Alexander. "Ethos Formula: Liturgy and Rhetorics in the Work of Ted Shawn." Performance Philosophy 3, no. 1 (June 25, 2017): 23. http://dx.doi.org/10.21476/pp.2017.31168.

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Beginning with Giorgio Agamben�s alignment of ethics and potentiality, this essay questions the ethical dimension of gesture in the field of dance as an eminently potentiality-bound art form. This draws on Daniel Sibony�s concept of law and dance, according to which the body simultaneously repels and longs for the law as a nexus of heteronomous structures. I frame this through a revision of Aby Warburg�s rhetorical concept, pathos formula, into the corollary term, ethos formula, as the encoded movement patterns of ethical attitudes or comportments which are motivated by decision-making rather than emotional content. Do gestures and their citation in dance bear an ethical dimension similar to the encoded transmission of emotions through movement?This new concept of ethos formula finds an excellent example in the work of the American choreographer Ted Shawn (1891�1972). His strikingly hybrid use of ethos formula from the 19th century Catholic theorist Fran�ois Delsarte and his parallel practice of quoting liturgical gestures from Protestant church services, pursues the ambiguity and uncanniness of modernity itself. For Shawn�like many other protagonists of modernist dance�argues on the one hand for freeing the body from the boundaries of classical ballet in the name of individual expression, and on the other hand for an instrumentalized body that still clings to principles of taxonomy and normativity.

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19

Guttmacher, Laurence B., and Angela K. Hodge. "Psychiatric Interviewing: The Art of Understanding—by Shawn C. Shea, M.D.; Philadelphia, Saunders, 1988, 569 pages, $25." Psychiatric Services 40, no. 9 (September 1989): 968—a—969. http://dx.doi.org/10.1176/ps.40.9.968-a.

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20

Schiller, Gretchen, Ron Honsa, Murray Louis, Doris Humphrey, Marilyn Cristofori, and Nancy Mason Hauser. "The Men Who Danced: The Story of Ted Shawn's Male Dancers 1933-1940." Dance Research Journal 23, no. 1 (1991): 44. http://dx.doi.org/10.2307/1478704.

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21

van der Ploeg, G. J. "Psychiatric Interviewing: The Art of Understanding. By Shawn C. Shea Sidcup: Harcourt Brace Jovanovich. 1988. 583 pp. £16.75." British Journal of Psychiatry 154, no. 05 (May 1989): 749. http://dx.doi.org/10.1017/s0007125000176081.

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22

Galloway, Jean C. R. "Psychiatric Interviewing: The Art of Understanding. By Shawn Christopher Shea. Philadelphia: W. B. Saunders. 1988. 583 pp. £16.75." British Journal of Psychiatry 154, no. 3 (March 1989): 430. http://dx.doi.org/10.1192/s0007125000174641.

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23

van der Ploeg, G. J. "Psychiatric Interviewing: The Art of Understanding. By Shawn C. Shea Sidcup: Harcourt Brace Jovanovich. 1988. 583 pp. £16.75." British Journal of Psychiatry 154, no. 5 (May 1989): 749. http://dx.doi.org/10.1192/s0007125000176081.

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24

Marranca, Bonnie. "The Solace of Chocolate Squares: Wallace Shawn in Mourning." PAJ: A Journal of Performance and Art 22, no. 3 (September 2000): 38. http://dx.doi.org/10.2307/3247839.

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25

Wiens, A. "Psychiatric interviewing: The art of understanding By Shawn C. Shea, M.D. Philadelphia: W. B. Saunders Co., 1988. 576pp. $25.00." Clinical Psychology Review 10, no. 1 (1990): 151–52. http://dx.doi.org/10.1016/0272-7358(90)90111-m.

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26

Booth, David. "Children as Drama-Makers." Canadian Theatre Review 133 (March 2008): 3–10. http://dx.doi.org/10.3138/ctr.133.001.

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“Why don’t you make up a play about your dreams?” their teacher said. “Yes! Yes!” the kids cried. Everybody except Eddy. The kids fixed the curtain for the theatre. “I am the DREAM MASTER!“ said Federico. “Get a costume … the play is beginning!” “DREAM MASTER! Ha, Ha!” laughed Eddy. Eddy laughed at Michaela and Shawn and Trisha. “You look stupid in those costumes.” Federico called, “Anyone who wants to dream, go inside the curtain!” “Come on, Eddy,” said Shamika. —Eddy’s Dream by Miriam Cohen

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27

Palfy, Barbara, and Susan Brady. "After the Dance: Documents of Ruth St. Denis and Ted Shawn." Dance Research Journal 30, no. 1 (1998): 64. http://dx.doi.org/10.2307/1477895.

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28

Anderson, Bailey. "Overcoming and Denial: Disability and Modern Dance in the United States." Dance Research Journal 52, no. 3 (December 2020): 58–75. http://dx.doi.org/10.1017/s0149767720000364.

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Dancers and choreographers have always been navigating disability within an ableist representational form. This article questions the ableist histories of modern dance in the United States and seeks to redefine how disability is conceived of within the field of dance. The article explores five themes found within archival research, including overcoming narratives, symbiotic and inseparability of dance and disability, denial of disability, changing choreographic practices, and disability aesthetics. Examples of these themes are found in primary source documents about and by Martha Graham, Ted Shawn, and Doris Humphrey and contextualized throughout the article with dance and disability studies theorization.

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29

Exhibition, Group. "Colour Constructs / Constructions en couleurs." ti< 7, no. 1 (March 31, 2018): 13–19. http://dx.doi.org/10.26522/ti.v7i1.1733.

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Colour Constructs / Constructions en couleursRodman Hall (30 Nov. 2017-4 March 2018)In fall 2017, Rodman Hall invites visitors to experience the exhibition Material Girls, which brings together Canadian and international female artists from across artistic disciplines and cultural backgrounds. Giving particular attention to the colourfulness and jubilance of this exhibition, in Colour Constructs, students in Visual Arts, Studies in Arts and Culture, and French Studies explore the materiality of colours in their own diverse ways. Student works are complemented by graffiti art by Niagara-based artist Mat Vizbulis, a classroom guest during the semester.A l’automne 2017, Rodman Hall invite ses visiteurs à l’exposition Material Girls, qui rassemble des femmes artistes canadiennes et internationales de diverses disciplines et cultures. Prêtant une attention particulière aux couleurs jubilantes de cette exposition, des étudiants d’Arts visuels, d’Etudes en arts et culture et d’Etudes en français explorent dans Constructions en couleurs la matérialité des couleurs. Leurs travaux sont accompagnés d’art graffiti de l’artiste Mat Vizbulis, basé dans la région du Niagara et un intervenant en cours pendant le semestre.Curators / Commissaires d’exposition: Catherine Parayre and Shawn Serfas

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30

Alexandrowicz, Conrad. "The Wines of Tuscany." Canadian Theatre Review 97 (December 1998): 66–76. http://dx.doi.org/10.3138/ctr.97.013.

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The Wines of Tuscany was first produced by the Playwrights’ Theatre Centre, in co-production with Wild Excursions Performance, as part of the 1996 New Play Festival at Performance Works on Granville Island in Vancouver. The text, direction and choreography were by Conrad Alexandrowicz. The cast was Shawn Macdonald and Shaun Phillips. Costume and set design were by Catherine Hahn, lighting design by Del Surjik, sound design by Conrad Alexandrowicz and Ron Samworth. The stage manager was Mary Kavanagh. Special thanks to Sylvia Alexandrowicz for financial support that made the production possible and to Donna Spencer, who produced the piece twice subsequently at the Firehall Arts Centre.

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31

Knowles, Ric, and Harry Lane. "Solo Performance." Canadian Theatre Review 92 (September 1997): 3–4. http://dx.doi.org/10.3138/ctr.92.fm.

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This issue began from a sense not only that the number of theatre productions with only one performer has grown rapidly in the 1980s and 90s, but also that some of our most provocative theatre experiences have resulted from the encounter between the audience and the solo actor: Pol Pelletier’s Joie, Guillermo Verdecchia’s Fronteras Americanas, Shawna Dempsey and Lorri Millan’s dress pieces, and Daniel MacIvor’s House, to name only a few. While we have not assembled the statistics, we have little doubt that they would show a huge increase in solo-performer theatre productions in the last ten years, not only in Canada but in other countries in the world. It is surely significant that two anthologies of solo scripts, together with innumerable individually published monologues and solo plays, have appeared in Canada in the last three years (Solo, ed. Jason Sherman for Coach House Press in 1994; and Singular Voices, published by Playwrights Canada Press, also in 1994).

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32

Wirth, Jason M. "A Mud Doctor Checking Out the Earth Underneath: Ruminations on Malick’s Days of Heaven and Loht’s Phenomenology of Film." Film-Philosophy 28, no. 1 (February 2024): 98–112. http://dx.doi.org/10.3366/film.2024.0257.

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This is a philosophical rumination on Shawn Loht’s important extension of “film as philosophy” into a Heideggerian phenomenological account of the philosophical response that cinema can engender. After considering the importance of these kinds of approaches, I turn to Loht’s phenomenological engagement with Terrence Malick’s early masterpiece, Days of Heaven (1978). After sympathetically reviewing his “interpretation”, I expand upon its delineation of “earth and world” to include the “fallenness” of the world as well as the possibility of a metanōetic awakening to the vocation of “mud doctor”, that is, to heal the rift between earth and world, a rift made more exigent by world war, economic exploitation, and the ecological catastrophe of the Anthropocene.

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33

Arceo, Alicia Peón. "Haley, Shawn D., and Curt Fukuda: The Day of the Dead." Anthropos 102, no. 1 (2007): 259–60. http://dx.doi.org/10.5771/0257-9774-2007-1-259.

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34

O. Pagan, Nicholas. "From C.Y. Lee to Shawn Wong: The Transnational Family and its Implicit Rules." Southeast Asian Review of English 58, no. 2 (December 15, 2021): 30–45. http://dx.doi.org/10.22452/sare.vol58no2.3.

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Employing the distinction between explicit and implicit rules as formulated by psychoanalytic theorist and philosopher Slavoj Žižek, this article examines the way in which challenges toward an initial rule-based fantasy take place within transnational families. In particular, the article employs an implicit, unwritten rules framework to assess the effect of transpacific migration on the institution of family within the Chinese American diaspora as represented in post-World War II fiction by Asian Pacific authors C.Y. Lee and Shawn Wong. Suggesting five implicit rules underpinning Chinese American families, the article examines Lee’s The Flower Drum Songto highlight early challenges to these rules before finding in Wong’s Homebasean unflinching adherence to an implicit rule concerning reverence for ancestors. Wong has the advantage of writing in the wake of the 1965 Immigration and Nationality Act and of being in a position to trace more and more challenges to the initial fantasy following later waves of transpacific migration. His novel American Kneesis then shown to epitomize the implicit rules being stretched almost to breaking point as, for instance, the criteria for spouse selection becomes no longer Chinese or partially Chineseor even Asian or partially Asian but Americanization.

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35

Ganson, Barbara A. "Colonial Kinship: Guaraní, Spaniards, and Africans in Paraguay by Shawn Michael Austin." Catholic Historical Review 108, no. 3 (March 2022): 620–21. http://dx.doi.org/10.1353/cat.2022.0079.

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36

Vargas-Cetina, Gabriela. "India and the Translocal Modern Dance Scene, 1890s–1950s." Review of International American Studies 13, no. 2 (December 31, 2020): 39–59. http://dx.doi.org/10.31261/rias.9805.

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At the end of the nineteenth century and during the first half of the twentieth, lead dancers from different countries became famous and toured internationally. These dancers—and the companies they created—transformed various dance forms into performances fit for the larger world of art music, ballet, and opera circuits. They adapted ballet to the variety-show formats and its audiences. Drawing on shared philosophical ideas—such as those manifest in the works of the Transcendentalists or in the writings of Nietzsche and Wagner—and from movement techniques, such as ballet codes, the Delsarte method, and, later on, Eurythmics (in fashion at the time), these lead dancers created new dance formats, choreographies, and styles, from which many of today’s classical, folk, and ballet schools emerged. In this essay, I look at how Rabindranath Tagore, Isadora Duncan, Anna Pavlova, Ruth St. Denis and Ted Shawn, Uday Shankar, Leila Roy Sokhey and Rumini Devi Arundale contributed to this translocal dance scene. Indian dance and spirituality, as well as famous Indian dancers, were an integral part of what at the time was known as the international modern dance scene. This transnational scene eventually coalesced into several separate schools, including what today is known as classical and modern Indian dance styles.

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37

Vargas-Cetina, Gabriela. "India and the Translocal Modern Dance Scene, 1890s–1950s." Review of International American Studies 13, no. 2 (December 31, 2020): 39–59. http://dx.doi.org/10.31261/rias.9805.

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At the end of the nineteenth century and during the first half of the twentieth, lead dancers from different countries became famous and toured internationally. These dancers—and the companies they created—transformed various dance forms into performances fit for the larger world of art music, ballet, and opera circuits. They adapted ballet to the variety-show formats and its audiences. Drawing on shared philosophical ideas—such as those manifest in the works of the Transcendentalists or in the writings of Nietzsche and Wagner—and from movement techniques, such as ballet codes, the Delsarte method, and, later on, Eurythmics (in fashion at the time), these lead dancers created new dance formats, choreographies, and styles, from which many of today’s classical, folk, and ballet schools emerged. In this essay, I look at how Rabindranath Tagore, Isadora Duncan, Anna Pavlova, Ruth St. Denis and Ted Shawn, Uday Shankar, Leila Roy Sokhey and Rumini Devi Arundale contributed to this translocal dance scene. Indian dance and spirituality, as well as famous Indian dancers, were an integral part of what at the time was known as the international modern dance scene. This transnational scene eventually coalesced into several separate schools, including what today is known as classical and modern Indian dance styles.

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38

Kelley, Shawn. "Hear Then No More Parables: The Case against ‘Parable’." Journal for the Study of the Historical Jesus 11, no. 2 (2013): 153–69. http://dx.doi.org/10.1163/17455197-01102003.

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Scandalous racial ideas are woven into the very fabric of some of the most cherished concepts of modern biblical scholarship. In his book Racializing Jesus, Shawn Kelley argues that race plays an essential role in the construction of a dizzying amount of cherished scholarly categories. Central to his argument is the claim that the category of parable is decidedly problematic because it emerges from, and is rendered coherent by, some of the most toxic elements of modern racialized ideology. Parable scholarship has long drawn its fundamental interpretive ideas from specific, modern views concerning the nature and power of symbolic and metaphoric language. Unfortunately these categories have a long and rather unseemly history, and they derive their power from this history. Behind the moving language of art, freedom and higher consciousness lurk the less appealing world of nationalism, race and ethnic purity. Escaping the later almost certainly means, at least for a time, learning to live without the former. This means that New Testament scholars and historical Jesus scholars would do well to put aside the category of parable. Parable scholarship envisions the powerful words forcing the hearer to make a stark choice, but perhaps the choice belongs instead to the biblical scholars: embrace these aesthetic categories along with their deeply troubling ideological baggage, or give up on the scholarly category of parable in its entirety.

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Collins, Lisa Gail. "Photographic Returns: Racial Justice and the Time of Photography by Shawn Michelle Smith." African American Review 55, no. 2-3 (June 2022): 248–50. http://dx.doi.org/10.1353/afa.2022.0032.

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Selman, Interviewed by Matt. "Never Stop Growing! An Interview with Improvisational Artist, Teacher and Performer Shawn Kinley." Teaching Artist Journal 18, no. 1-2 (April 2, 2020): 37–44. http://dx.doi.org/10.1080/15411796.2020.1783148.

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Biles, Jeremy. "Shadowman: Dead and Gone. Graphic fiction. By Andy Diggle. Art by Shawn Martinbrough, Doug Braithwaite, Renato Guedes, José Villarrubia. New York: Valiant Entertainment, 2018. $14.99." Religious Studies Review 45, no. 1 (March 2019): 59. http://dx.doi.org/10.1111/rsr.13815.

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Stachura, Julia. "Double Index. The Self-Shadow in American Photography of the Second Half of the 20th Century." Artium Quaestiones, no. 33 (December 30, 2022): 279–99. http://dx.doi.org/10.14746/aq.2022.33.11.

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The article focuses on the notion of the image of self-shadow in American photography in the second half of the twentieth century, understood as a shadow silhouette of the creator captured in a photograph. The two main problems that concern the author’s research are the lack of current, theoretical study on the problem of shadow in the history of photography from the perspective of art history (V. Stoichita, R. Casati, P. Cavanagh, H. Kanaan) and the lack of the definition of the phenomenon of self-shadow and its possible types in self-portraiture. The author’s proposition of a definition of self-shadow is based on selected photographs by four artists whose works touch upon the problem of shadow in the context of relations between the “self” and the “other” (Lee Friedlander), race and subjective invisibility (Shawn W. Walker), mask and the other-self (Andy Warhol), and the intimate recording of identity (Nan Goldin). In her analyses, the author discusses the problem of the hybrid ontology of the shadow, which is both visible and visual. In this understanding, the shadow not only refers to a physical body, present “here and now” but more importantly evokes a sense of presence, even when the artist’s body is absent in the picture. The double index refers to the image leaving its mark both in reality and on light-sensitive paper. The rudimentary, vitalistic relation linking the human body with its shadow is only a starting point for analyses of the complexity of its status and symbolism. The concepts framing Andy Warhol’s Polaroid are twinning, the mask, and the Jungian theory of the shadow archetype. To discuss the self-portrait of Shawn W. Walker, the author applies the literary-philosophical concept of invisibility based on writings from Black existentialists (W.E.B. Du Bois, F. Fanon, R. Ellison). The analyses of Lee Friedlander’s photograph have been based on the psychological distinction between the figures of the “self” and the “other”. The closing concepts that frame Nan Goldin’s self-portrait are the haptic thinking subject (M. Smolińska) and the notion of a diary. The critical apparatus of the study is supplemented by contemporary analyses of the myth of Narcissus, the mythical origins of the self-portrait, and the notion of the index (after R. Krauss, M. Michałowska, M.A. Doane).

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Chaves, Natália Cristina, and Henry Colombi. "Inteligência Artificial e Personalidade Jurídica: Perspectivas no Direito Societário Brasileiro." REVISTA INTERNACIONAL CONSINTER DE DIREITO 14, no. 14 (June 30, 2022): 113–31. http://dx.doi.org/10.19135/revista.consinter.00014.04.

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This article is focused on the impact of Artificial Intelligence (AI) on the legal sector. The premise is that positive law can adapt to new phenomena concerning the juridical agency of AI, assuming, as a hypothesis, that Brazilian LLC could grant AI a de facto legal personality. It uses legal methodology of comprehensive-propositional type, engaging in inductive-deductive reasoning. The work critically analyses data from primary and secondary direct sources. The first part is dedicated to making general points about AI. To face the new challenges, in Europe, the discussions are moving in the direction of granting legal personhood to AI. In the second part, Prof. Shawn Bayern’s theory emerges as an alternative. According to him, it is possible to use an American LLC to encapsulate autonomous systems, letting them act juridically through this legal entity. In the sequence, Bayern's proposition is analyzed from the perspective of Brazilian LLC law, reaching the conclusion that the pace of technological innovations will soon lead to similar legal structures in Brazil.

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de Roo, Ludo. "An Ambiguous World of Film: Cinematic Immersion beyond Early Heidegger." Film-Philosophy 28, no. 1 (February 2024): 11–30. http://dx.doi.org/10.3366/film.2024.0252.

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Shawn Loht's ground-breaking Phenomenology of Film: A Heideggerian Account of the Film Experience (2017) offers a detailed account of film experience as rooted in Martin Heidegger's existential structure of Dasein. Adapting Being and Time for a phenomenology of cinematic experience, Loht accurately describes how various existential structures of Dasein are “fostered” by the projected world of film: in Loht's account, being-in-the-world is extended in the film experience. Loht's project offers fertile ground for developing the phenomenological basis of film experience. Yet, Loht anchors this account of film experience primarily in Heidegger's early philosophy; this leaves his adaptation not without challenges. First, if the structure of film experience is mapped too closely onto the notion of Dasein projecting itself into the filmworld, this theory presents the risk of taking the early Heidegger's “hands-on” approach too literally. Moreover, in its concern for Dasein's extensions into the world of film, Phenomenology of Film says little about the distinctly mediated character of filmworlds; this leaves ambiguous where the film experience effectively takes place.

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Peiser, Megan. "Moore, Shawn, and Jacob Tootalian, principal investigators. Digital Cavendish: A Scholarly Collaborative. Other." Renaissance and Reformation 43, no. 1 (April 30, 2020): 161–64. http://dx.doi.org/10.33137/rr.v43i1.34084.

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May, Jessica. "Lynching Photographs by Dora Apel and Shawn Michelle Smith / Weegee andNaked Cityby Anthony W. Lee and Richard Meyer." Visual Resources 26, no. 4 (December 2010): 372–77. http://dx.doi.org/10.1080/01973762.2010.522395.

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Adovasio, J. M. "Shawnee Minisink: A Stratified Paleoindian-Archaic Site in the Upper Delaware Valley of Pennsylvania. Charles W. Mcnett,Jr. , editor. Academic Press, Orlando, 1985. xii + 329 pp., figures, tables, references, index. $60.00 (cloth); $34.95 (paper)." American Antiquity 52, no. 3 (July 1987): 646–47. http://dx.doi.org/10.2307/281607.

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Gore, Charles. "Photography on the color line: W.E.B. Du Bois, race, and visual culture – Shawn Michelle Smith." Journal of the Royal Anthropological Institute 12, no. 3 (September 2006): 703–4. http://dx.doi.org/10.1111/j.1467-9655.2006.00359_26.x.

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Rhym, John. "Cinematic Rehearsals of Phenomenology: On the Ontic-Ontological Schema and Heideggerian Film Theory." Film-Philosophy 28, no. 1 (February 2024): 79–97. http://dx.doi.org/10.3366/film.2024.0256.

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This article argues that the strengths and problems of Shawn Loht's Phenomenology of Film: A Heideggerian Account of the Film Experience (2017) are rooted in its method, which derives from a specific interpretation of Heidegger's existential analytic and from the critical strategy implemented by Heidegger – and thus later adopted by his readers and applied to various disciplinary domains – in his polemical engagement with the history of philosophy. Central to this method is what I refer to as the ontic-ontological schema, and the article maps out the ways in which it operates in Loht's book: how it shapes his critical intervention into film studies and his claims about film ontology and spectatorship. My argument is that the ontic-ontological schema, while allowing the author to make interesting inroads into debates in film-philosophy, nonetheless undermines the coherence and efficacy of his claims about the cinematic experience as well as his attempts to mobilize these claims in the analysis of specific films. That is, Loht's disciplinary application of the ontic-ontological schema makes for a compelling discursive polemic, but it also exposes a crucial conceptual incompatibility in the work's configuration of and navigation between ontology, aesthetics, and criticism.

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Collins, Peter. "Recasting culture and space in Iberian contexts - Edited by Sharon R. Roseman & Shawn S. Parkhurst." Journal of the Royal Anthropological Institute 15, no. 1 (March 2009): 217–18. http://dx.doi.org/10.1111/j.1467-9655.2008.01537_41.x.

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