Publication: El silencio de Salomé: seis coreografías de lo dionisiaco en la modernidad
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2018-01-15
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Universidad Complutense de Madrid
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Abstract
Esta tesis es una investigación en teoría estética de la danza y versa sobre la recuperación y el declive de la categoría estética de lo dionisiaco en la modernidad. Su objetivo es analizar los modos diferenciados en los que la danza se constituyó como expresión de lo dionisiaco en la modernidad entre el fenómeno decimonónico de la flânerie y las coreografías de masas del primer tercio del siglo XX. Esta investigación presenta seis lugares estéticos de emergencia que tuvieron lugar en tal acotación histórica y que constituyeron coreografías diferenciadas de lo dionisiaco, aportando cada uno de ellos un vocabulario propio y un tono diferenciado a esta categoría estética. En consecuencia, el concepto de lo dionisiaco presentado por Nietzsche se muestra no como una noción estética unívoca, sino como un complejo y polisémico lugar común constituido por matices específicos. Asimismo, lo dionisiaco se muestra como noción sexo-política, constituyéndose esta tesis tanto como una investigación en estética filosófica como en estudios feministas.
This dissertation is a research on aesthetic theory on dance and it deals with the rebirth and the decline of the Dionysian in Modernity. In order to deal with this aesthetic issue, this research analyses the ways dance was understood, shaped, and written as an expression of the Dionysian in Modernity. This research covers the time period beginning with the nineteenth-century phenomenon of flânerie and ending with the development of mass choreographies in the first third of the twentieth century. It presents six aesthetic emergence-spaces, which took place in that time period and shaped distinguished choreographies of the Dionysian. Therefore, this dissertation exposes six aesthetic dance-matters in Modernity, each of which wrote about the Dionysian in a different and specific way by providing to the Dionysian field respectively distinctive vocabularies and semantic features. Consequently, the Dionysian concept, which was theorized by Nietzsche, is not shown as a univocal aesthetic notion but as a complex and multivocal aesthetic structure constituted by various, different, and distinguishable aspects or hints. Moreover, the Dionysian field is shown as a gendered concept and, consequently, this dissertation is raised both as a philosophical and as a gender critical research.
This dissertation is a research on aesthetic theory on dance and it deals with the rebirth and the decline of the Dionysian in Modernity. In order to deal with this aesthetic issue, this research analyses the ways dance was understood, shaped, and written as an expression of the Dionysian in Modernity. This research covers the time period beginning with the nineteenth-century phenomenon of flânerie and ending with the development of mass choreographies in the first third of the twentieth century. It presents six aesthetic emergence-spaces, which took place in that time period and shaped distinguished choreographies of the Dionysian. Therefore, this dissertation exposes six aesthetic dance-matters in Modernity, each of which wrote about the Dionysian in a different and specific way by providing to the Dionysian field respectively distinctive vocabularies and semantic features. Consequently, the Dionysian concept, which was theorized by Nietzsche, is not shown as a univocal aesthetic notion but as a complex and multivocal aesthetic structure constituted by various, different, and distinguishable aspects or hints. Moreover, the Dionysian field is shown as a gendered concept and, consequently, this dissertation is raised both as a philosophical and as a gender critical research.
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Filosofía, leída el 17-02-2017