The
‘authentic dancer’ as a tool for audience engagement
Engagement with performance is an
experiential event. To have a lived-experience within the performance
construct, infers that the engagement is somehow ‘more live’. Central to this
paper is whether audience connection is via the traditional Western model of
‘passive’ viewing
[1]
, or via a more
phenomenological pathway of experiencing the work via the senses and the tools
utilised for this connection.
Most contemporary dance works throughout
the world, are currently created for, and then presented within, the
traditional presentation dance paradigm: 60-90 minutes in length, seated or
fixed ‘passive’ audience, created tour ready and presented within a
proscenium/single front theatre format with a separation between audience and
performer. While every country includes cultural variations, ‘contemporary
dance’ is often made without questioning this traditional Western ‘presentation
paradigm’, which does not privilege the experiential, or the audience, except
from a single viewing point. As such, the majority of contemporary dance
currently being created is a form of Western contemporary dance. While many choreographers from non-Western countries who
are creating work within that paradigm (i.e. with similar vocabularies,
conventions and presentation format), choose to localise their work with
geographic and cultural concerns outside it, they usually create and then
present work within the standard paradigm: while the movement styles may vary, the
way in which the audience engages with it does not. For example, indigenous
choreographers in Australia are creating works with specific cultural concerns
and innovative choreography drawing on their specific history of dance, but
they are, more often than not, creating the works to be performed within the
Western traditional presentational paradigm. This format is replicated by
contemporary (and ballet) choreographers throughout Asia, South America and
Africa.
But what happens when a contemporary
dance work is specifically designed to be ‘experienced’ by the audience?
Privileging the ‘experiential’ via subtle shifts in this traditional dance
paradigm? Can variations of the Western presentational paradigm change how
audiences engage with dance?
Work of this kind is integrally
co-dependent on an audience, and allows the concept to reveal how best the
audience can experience it: Will the audience understand the concept of choice
if they have choice? Will the audience remember childhood fun if they play on
swings during the performance? Will an audience understand that they are
voyeurs if they watch through peepholes? This research looks at how changes in the Western presentational
paradigm alters how audiences engage with dance. Along with the tools of audience
agency, liminality, variations of site, ritual and audience proximity –
tools that that invert the traditional presentation paradigm and create
engagement via physical interactions with the audience – the current
question for this paper is: can ‘performer authenticity’ also be used as a tool
of connection with the audience?
When a work is specifically designed
to be experienced by the audience, then the role of the performer, the actual
performance, changes the experiential possibilities for that audience. With
historical precedents in theatre and post-modern dance, the ‘real’ or
‘authentic’ dancer is a performer who is able to connect via immediacy,
engaging their audience not by illusion, but through a visceral connection of
the everyday.
Engagement
tools – why do we want to engage more?
Although the traditional Western
dance presentation format isn’t a bad model per se – we have all had
profoundly engaging experiences within it – it has to be acknowledged
that this strict paradigm rarely allows for deviation, is enforced by 19th
Century architecture, touring agencies, funding authorities and history, rather
than the needs of a particular work, concept, or audience. Wilhelm Dilthey who
wrote extensively about the lived-experience remarks that ‘one cannot “think” a poem. One
experiences it with all one's faculties’
(Fehling, 1943, pp.
15-16)
. But within the Western presentation paradigm,
experiencing dance ‘with all one’s faculties’, is near impossible.
Heidegger talks of experience and
says that as Dasein (nature of Being)
we have two potentials: one that is situated in the world of social constructs
and constraints (work, domestic, children etc.) requiring us to perform
socially constructed functions where ‘we must draw a horizon around ourselves
in order to be able to focus on our daily affairs’ blinding us to our ‘ownmost
possibility’. The other is situated in the knowledge that our lives are finite
- that we will die and once we live in that knowledge (Being-toward-the-end) we
then have active choices about what we will do with our lives: The Authentic
self is one that is Being-in-the world, but particular to the world - one that
makes decisions (or non-decisions) about how he will go forward towards his
death
(Guignon, 1983, pp.
132-138)
.
What ramifications do these
philosophical views of the world have within the constructed world of
performance? Is there a responsibility toward the audience to create an
environment, an experience, which asks them to Be-in-the world, even if it is
only for the duration of the performance?
And what of the performers? As
Fraleigh says, ‘my dance cannot exist without me: I exist my dance’
(Flanagan, 2004, p.
xvi)
. Is this also an opportunity for them to reveal themselves as
authentic? This question poses more difficulty in terms of the function of art
and the role of art as therapy. The role of art (as opposed to therapy) is to
communicate: but by what means is the communication most effective? Returning
to the question of the authentic performer: can performer authenticity be used
as a tool that facilitates the audience's Being-in-the-world?
Authenticity
in performance
Authenticity, when connected with
dance, connotes a long history of therapeutic usage. While the processes of ‘Authentic
Movement’ are interesting and have wide appeal, they have little impact on the
role of authenticity within the presentation paradigm. So what word should we
use when talking about ideas of authenticity in performance? Improviser Andrew
Morrish
[2]
, thinks that performers
are always authentic if they are working within a relational paradigm: I’m in
relation to you as the audience and once I acknowledge that, anything I do is
authentic. In terms of his improvisational form, he prefers the word ‘present’
to ‘authentic’ as there is less judgement. What I’m interested in however, is
how audiences feel about that: do audiences engage more if they perceive a
dancer is being present, authentic or real?
This was an initial research
question during the development of a new contemporary dance work titled Being There (2007). Audience feedback
from this work indicated that the performers’ realness made them engage with
the dancers more: ‘we really felt them fall and cry and hurt themselves’. Other
feedback supported this: it was suggested that when the performers spoke text
they didn’t write, the connection was broken – because ‘they weren’t as
believable as when they were just being themselves’. In other words, they were
not authentic.
What has to be acknowledged when
looking at this area is that however real or authentic a performer is at any
given moment on stage, she is still on stage and within a constructed
environment. Dance works are not performance art: The paradigm is different. In
dance there isn’t an assumption that the dancer is the work of art herself,
even if it is a solo. Rather, that she is revealing the work of art and is part
of the work of art. But those expectation boundaries can be blurred. If there
is a blurring, then is that process one of connection for the audience? Dance
researcher and theorist Ryod Climenhaga believes this to be the case. He
believes Pina Bausch’s attention to performer presence creates ‘a world of
immediate presence that directly engages the audience, rather than a re-presented
world that comes from a constructed idea of time and space’
(Climenhaga,
2009, p. 100)
.
Why
authenticity? How might it be engaging in onstage?
Heidegger's use of the word
authentic ‘brings with it a more sharply defined sense of what it is to be
human.’ As an authentic,
transparent self, we know ourselves, our social requirements, our finite time
as a living being and the impact of choice on our life. All of our decisions,
once seen and taken responsibility for, are what make us authentic: make us
Be-in-the-world. It is that understanding which makes us unique. We are no
longer just ‘Anyone’, although we can be throughout our lives, we now have
choice. This pathway of transparency and authenticity, ‘as the “art of
existing” points to a capacity for grasping life in a different way’
(Guignon,
1983, p. 136)
.
The assumption here, however, is
that to Be-in-the-world, is better than being inauthentic. And that
authenticity and experiencing are nourishing ways not only of living, but also
of engaging with live art. Anthropologist Charles Lindholm says that while this
search for authenticity is a current concern, it has been since the 18th
Century and that ‘the quest for authenticity touches and transforms a vast
range of human experience today… authentic art, authentic music, authentic
food, authentic dance, authentic people….’
(Lindholm,
2008, p. 1)
. But where has this
desire for authenticity come from?
The breakup of feudal relationships
in 16th Century Europe changed established societal positions and brought into
question an individual’s sincerity and broader issues of authenticity
(Lindholm,
2008, p. 3)
. By the late
18th Century, Rousseau’s Confessions had been published, shockingly revealing his ‘true’ person, and in the process
becoming the ‘harbinger of a new ideal in which exploring and revealing one's
essential nature was taken as an absolute good, even if this meant flying in
the face of the moral standards of society.’ This attitude, according to
Rousseau, was about ‘directly experiencing authentic feeling. Only then could a
person be said to have a real existence,’
(Lindholm, 2008, p. 8)
which is
central to the modern quest for authenticity – both individually and
collectively.
But as Lindholm points out: ‘if a
Rembrandt can be called authentic, so can Coca Cola’ because ‘authenticity can
be ratified by experts who prove provenance and origin, or by the evocation of
feelings that are immediate and irrefutable’
(2008,
p. 1)
.
So does our wider desire for
authentic experiences include a desire for it within the arts? In her 1983
article, Carter discusses the German word Erlebnis used in phenomenology as knowing or understanding a work via a
‘lived-experience’. It is, she says, ‘akin to knowing an object in nature
directly through the senses, as opposed to knowing the object through the words
that label or describe it’
(1983,
p. 66)
. Carter’s focus is on
how we experience dance and she expands the notion of Erlebnis
(lived-experience) and its ramifications within performance, to also include
the experience of the performer: ‘The dancer brings to the performance a
substantial knowledge about dance (Erkenntnis),
including a system of formalised training, and, at the same time, he discovers
and discloses to the audience an individualised presence that can only be
experienced at a particular moment of performance (Erlebnis)’
(1983,
p. 62)
. Although relevant to
the understanding of how knowledge can manifest, the experiential and Erlebnis,
is focused here solely on how audience experience the performance – but
the question central to this paper is whether the experience (Erkenntnis) of
the performer deepens the audience’s connection to the overall work.
What does
the industry think?
This presentation paradigm although
currently popular, has, in the past, not only been challenged, but been
completely inverted. The 1960s saw many countries experiencing unrest,
revolution, empowering political movements and overhauling established
governments. The arts were not immune to these changes – feminism,
socialism, black rights and anti war movements flourished through the arts and
there are myriad examples of audience interaction, audience participation and
audience manipulation works from this time – all of which challenged what
dance (and performance) could be and what roles audience and performer played
in these constructs. But much of the revolutions of that time looking at form
over content have since gone out of fashion and we are currently back in
theatres telling stories that suit the world-wide presentation paradigm. Within
this presentation paradigm there are inherent priorities that affect making
– namely that the audience, while considered, is not prioritised, that
there is usually a fixed distance between audience and performer and that the
audience is usually seated and passive (as opposed to with agency).
While there are many ways in which
this presentation paradigm can be challenged (and is so), can the role of
dancers and conventions of how to ‘dance’ within this paradigm be modified to
vary how audiences engage?
Pina Bausch has been using the idea
of the present or authentic performer as an integral part of her choreographic
style since the 1980s. There are numerous other choreographers who also work in
this way, but her work has been a major influence in the world of Western
choreography for over three decades and is worth highlighting. Bausch’s use of
authenticity is vastly different to the use of ‘the everyday’ in the 1960s
Post-Modern choreographic movement in the US, where the everyday was utilised
to highlight the form of the work and the body used as an everyday instrument,
often in everyday situations. Bausch takes a different standpoint in her work:
she utilises theatricality but asks her performers to undergo often difficult
situations on stage, so we see how they reveal themselves as people –
thus forming an unexpected and individual connection with the audience.
In his 2009 book about Bausch,
Climenhaga discusses his audience experience of the work Kontakhoff:
For the moment sitting there in the dark I
am stunned, oddly uncovered, and exhausted. Bausch has made us all work hard,
and the penultimate image of that woman lingers. I see her in my mind and carry
the image with me as I head back out into the lobby. Despite the artifice of
the situation, the woman goes through a very real event, and her presence on
stage is a product of both her actual existence in this moment, and the long
and dense collage of images that lead up to it. The moment has power, in part,
to the degree that we are able to see the woman as a real person enduring a
real as well as a metaphoric trial, and Bausch has supplied a context that
demands our attention to her subjectivity as expressed in bodily terms. She
incorporates, or makes body, the underlying feeling structure of the image
because it is enacted on her and expressed with the real presence of her body
in the moment
(Climenhaga, 2009, p.
87)
.
This calls into question the role of
performer within the conceptual framework of creation: If she is a performer,
what does that authenticity mean to her within the profession? How can she ever
‘perform’ authentically? For Bausch and her dancers, part of the process in
this work was utilising ‘the real presence of the performer’s body, without
attempting to push his or her body through an objective technique, and without
trying to make his or her body stand for something else in the presentation of
character within a dramatic story’
(Climenhaga,
2009, p. 33)
.
But can a dancer ever find the
authentic within the construction of a disciplined and bespoke art form? Can a
dancer ever ‘dance’ and be authentic?
Classical ballet and Western
contemporary dance are art forms that are taught on the body. Separating the
self from the body allows the body to be trained more easily: changes,
criticisms and discussions are about the body and its facility or limitation
and not about the person. The student is taught this from a very young age.
Invariably there is a student to whom this has not been made clear and she is,
usually in her teens, devastated by criticism that challenges her self worth.
This is a high drop out age for young dancers. But those who continue
eventually find ways (some successfully) to hear discussion and criticism of
their bodies, their body's movement and their performance skills, as 'part of
the job' and not as a personal attack. Those who survive most successfully in
this industry have professional skills in detachment and in leaving the
personal and the emotional out of the studio. Even when asked to bring these
elements into the studio, this requires maturity and additional skills from
both the performer and the creator, skills that are not inherently part of
dance training.
When a dancer is asked to 'be
herself' on stage, what does that mean? How does she go about looking at this
question? Her training, often from the age of six, has been designed to train
her body as an instrument and to separate herself from that process, although
not entirely - choreographers still want 'emotion' or sometimes 'rawness' or,
in rare cases, 'reality'. But what they are asking for is a pre-conceived
construct of these things or for a dancer to draw on real life to expand a
character – much like an actor might. If they had really wanted those
things on stage the choreographer could have worked with an untrained
performer, entirely removing the virtuosic training and its resultant
‘performance’. As one dancer said to me: ‘it’s hard to be ‘angry’ or ‘sad’ when
you are doing an attitude turn.’
[3]
The dance profession has embedded
conventions about how to perform, how to teach, create and also how to watch
dance: Audiences expect that a 'dancer' will 'dance'. The question of
authenticity is most often discussed in terms of interpretation: ‘She dances
that role so well, she is so believable....’ But the question of her
authenticity is shrouded in the expectations of the profession. There is no
discussion of her authenticity in terms of who she is as a person, unless she
is a dancer first, and then a person. The assumption is that ‘the skills,
intuition, and genius of the interpreter were all that was necessary to present
a piece with authenticity and conviction’
(Lindholm,
2008, p. 26)
.
Leading Australian choreographer
Meryl Tankard auditioned for Bausch’s company while on tour as a member of The
Australian Ballet. She recounts her audition process: ‘It was the first time a
director had encouraged me to project my own personality on the stage, and it
opened a whole new world. I had nothing against being a sylph in a tutu and
toe-shoes, but the whole classical repertory suddenly seemed like a museum’
(Climenhaga,
2009, pp. 13-14)
.
What do
performers think?
Gadamer reminds us here that the
‘question of how truth is revealed or disclosed by art also suggest how art
conceals and hides truth’
(2003,
p. 141)
.
Andrew Morrish’s
[4]
form is improvisation
and so he is constantly required to be in-the-moment or authentic. He is
therefore an excellent person with whom to discuss ideas of performer
authenticity. One of his expectations of himself as an experienced performer is
‘to walk in front of the audience and say: ”We’ve all just arrived and this is
the only chance we’ll have to have this moment”. As if there is no tomorrow.
I’m trying to give myself that much courage and that much permission to be who
I have to be in that moment’
(Dyson,
2008, p. 3)
.
But he doesn’t believe that a
performer, no matter what they do, can be inauthentic. This is contrary to my
belief that authenticity is something different to ‘performing’ and because of
that difference, it could be utilised as a tool for engagement. Morrish says of
his own practice that he doesn’t know how to be inauthentic and doesn’t use the
terminology because ‘authentic’ ‘implies that there is something deep, and
something superficial (on top) and it creates a separateness’
(Dyson,
2008, p. 22)
and judgement of
performers. The form of improvisation, however, is one that requires a
performer to be-in-the-moment because material is not pre-made. What do
dancers, who work in environments where a performance is set and have seasons
of up to several weeks, think of performer authenticity?
I undertook a focus group
(Dyson,
2009)
to ask dancers this very
question. The group consisted of five professional dancers who have been
working in a variety of large to medium dance companies
[5]
for their entire
professional lives. These dancers represent the established core of the
profession: they have worked with numerous innovative and avant-garde
choreographers, but they have done so within company structures which means
they were usually on full time contracts, were expected to be at the height of
their profession, have toured nationally and internationally and have an
intimate knowledge of choreography, performing and performance.
The focus group came together
informally to discuss ideas of performer-presence and authenticity in their
profession. The general consensus of the discussion was that as professional
ballet and contemporary dancers, part of their profession was to ‘be whatever
was required’ by the choreographer. In other words: as dancers, their job was
to be great technicians but also to embody whatever ideas, personas or
characters the choreographer wanted. This wasn’t considered a positive or a
negative aspect of their job, but one that was required in all professional
situations they had worked in.
George
[6]
, now 43, spent 17 years
dancing professionally and questioned what authenticity was in this context and
whether ‘dancing’ is now part of that, saying that after dancing since he was
six, ‘authenticity’ on stage would require a level of ‘de-coding’ of the body.
‘And if that’s what you want’ he added, ‘then why use dancers at all? Why not
use untrained people on stage?’
Christian, 39, said that ‘our
profession is about getting away from yourself – about being able to
leave some things out of the studio’ which involves a series of professional
skills that are learned over time and not easily shed. In his 19 years working
as a professional dancer he said that he was only ever asked to ‘be himself’
once on stage, by an independent artist and never while he was working in a
main-house company, but that the choreographer only asked for it while he was doing
a pedestrian task.
[7]
David, 36, with 16 years dancing
professionally said that ‘it actually really depends on the choreographer and
what they think is authentic. They can see something you do and believe it’s
authentic or ask to you to change something to fit their version of authentic.’
Tony added to this by saying that ‘if you are presenting something in a
proscenium arch – how can it ever be authentic?’ because you are
presenting it in a ‘performance’ paradigm and repeating it each night.
When I asked the focus group what
would happen if they were required ‘just to be themselves’ on stage, Mimi said
that if she were asked to be herself on stage then ‘you’d still be an actor
– you’d be clever and work out what bit of you works.’ David agreed saying that ‘you can
certainly act being authentic.’
While philosophically, Andrew’s
responses are different to those from my focus group, what all the performers
suggested is that they are rarely required by their profession to ‘be
authentic’ when they are onstage because it isn’t part of the profession unless
it’s improvised, even if there are choreographers who want to work with it. As
such, if they are required to be authentic on stage, it’s an inversion of a
major performance code and one that often unsettles an audience into a
different kind of interaction with the form:
Bausch is not the first to engage this
type of presentation and expression, but she is the first to place that bodily
presence at the centre of her presentational praxis. Rather than for a constructed
present, the performer is present, and that presence both creates and addresses
our own sense of self intertwined with others. Our own connection to the world
is shown as a bodily process, necessarily fractured, but what is important is
not so much the gaps created between ourselves and others, but the persistence
with which we try to bridge those gaps
(Climenhaga, 2009, p.
67)
.
Does this
use authenticity in performance make audience engage more?
While Morrish believes that
everything on stage is authentic, he does feel that there are elements of
‘being in the moment’ that change how an audience connects with you. He also
acknowledges that when an audience knows that what you are doing is ‘real’,
they connect more:
You are in survival mode and that’s what
we do when we perform. It doesn’t get more authentic or honest than that. It’s
also clear that audiences love that. This honesty thing is part of this too.
Sometimes people are very disappointed if they feel that the performer is
pretending. For me it’s clear that the performer is the kind of person who,
when they’re under stress, they pretend. It doesn’t get more authentic than
that. It is completely authentic all the time. You can’t be dishonest as a
performer. You can pretend and cheat as much as you like and the audience sees
you pretending and cheating. They know you are a pretender and a cheater. It’s
always authentic in that sense, in that survival paradigm
(Dyson, 2008, p. 24)
.
The difference between authenticity
and inauthenticity ‘lies not in what possibilities are available, then, but in
how those possibilities are heard and taken up’
(Guignon,
1983, p. 140)
. According to Bausch,
she utilises these tools because they are interesting to audiences, which
infers they are being used as a tools for engagement – and consciously at
that.
What do
audiences think?
‘As early as 1908 ads for Coke earnestly
exhorted consumers to “get the genuine.” This is only one example of
manufacturers’ efforts to persuade buyers that their brand was more natural,
more located in history, or more pure, or more real, that anything their
competitors had to offer’
(Lindholm, 2008, pp.
55-56)
.
But does this translate to audiences
or consumers of contemporary dance? Bruce’s answer, one of the participants of
a recent audience focus group, was an unequivocal Yes: ‘Of course if I see
someone on stage really telling their story I will connect with them more.’ But
his assertion was that it would have to be really ‘real’ and not a constructed
real. A point, he said, that made a difference.
Climenhaga believes that the
‘performer's presences strongly engages the audience's attention and cultivates
the audience’s own sense of presence - a sense of the importance of being in
the moment at that event’
(Allain
& Harvie, 2006, p. 193)
. After each of my performances I ask for feedback about
audience experience. The questions for Being
There (2007) were about proximity to the dancers, and there was a specific
question about whether the performance quality/authenticity of the performers
made the work more engaging. The majority of the feedback said that the
authenticity of the performers engaged them in unexpected ways: ‘With the
intensity of the performers I couldn't help but be engaged.’ ‘The emotional
honesty of the dancers drew me in.’ ‘It broke my heart’ ‘The
dancers’ performance quality - particularly their ability to cross performance
genres was far more engaging that any work I've seen.’ [She] ‘drew me in with
her groundedness and the ‘genuineness’ of her emotion.’
What is interesting to note about
the reactions to these particular performers, in this particular work, is that
the ‘engaged’ responses
[8]
were centred around the
audiences’ proximity to the dancers: the audience was asked to sit in an
ellipse on stage and the dancers were often performing quite close to them.
While the audience didn’t move once the work began, the proximity to the
dancers allowed them an unusual opportunity to see these dancers deconstructing
their own profession and their own world of performance in an intimate
environment. This was done for, and with the audience, and for some, it
connected them deeply with the performers.
For Georg Simmel, an early 20th
Century sociologist, ‘the eye of a person discloses his own soul when he seeks
to uncover that of another. What occurs in this direct mutual reciprocity is
the entire field of human relationships’
(Flanagan,
2004, p. 109)
. It seems from feedback
over the last three years that audiences do engage when elements of the
traditional performance paradigm are inverted or consciously manipulated by
choreographers. What is interesting to observe however, is that while some
inversions are gimmicks and done without thought or intent, those artists
specifically wanting to engage their audiences via shifts in this paradigm,
usually end up making works that connect on deeply experiential levels.
Performer authenticity, while
utilised often in film and theatre, is not common in the form of dance. Because
society desires authenticity, and its uncommon usage in dance, an inversion of
this convention is one of the many tools that is available to choreographers to
form deep connections with their audience and is gaining popularity throughout
the world as a form of connection via reality and the immediacy of live
performance.
endnotes
[1]
A ‘passive audience’ in this context means ‘without
agency’. This is the standard kind of audience within the traditional 19th Century
theatre model of presentation for theatrical performances. Within this model
the dance work is usually made for the seated audience to ‘receive’. ‘Passive’
refers to this ‘receiving’, as well as the lack of physical and active choices available to the audience within this context.
[2]
Andrew Morrish has been working in the form of dance and
performance improvisation for over 26 years as a solo artist and as part of Trotnam and Morrish.
[3]
‘Mimi’ from the focus group discussion.
[4]
See previous note about Morrish
[5]
Dance Companies represented:
Australian Ballet, Australian Dance Theatre, Dance North, Expressions Dance
Company, Queensland Ballet, RamebertDance Co. (London), Random Dance (London),
Sydney Dance Company
Independents/Project Companies: Attik Dance (UK), Bunty Mathias & Co. (London), Clare Dyson, Dance
Encore, Gender M Production Inc., David Massingmay Dance (London), Olivia
Millard, Sue Peacock, Emily Urns & Co. (London)
[6]
All names are pseudonyms
[8]
While there were some audience members who were not
engaged, none cited performer authenticity or proximity as the reasons for
this.
________________
references
Allain, P., & Harvie, J. (2006). The
Routledge Companion to Theatre and Performance. London: Routledge.
Carter, C. L. (1983). Arts and Cognition: Performance, Criticism, and
Aesthetics. Art Education, 36(2, Art
and the mind), 61-67.
Climenhaga, R. (2009). Pina Bausch.
Abingdon: Routledge.
Dyson, C. (2008). Interview with solo performer & improviser Andrew
Morrish about Authenticity (ideas on engagement with audience and performer
authenticity ed.). Paris.
Dyson, C. (2009). Focus Group: Performer Authenticity. Brisbane.
Fehling, F. L. (1943). On Understanding a Work of Art. The German Quarterly, 16(1), 13-22.
Flanagan, K. (2004). Seen and Unseen
: Visual Culture, Sociology and Theology: Palgrave Macmillan.
Gadamer, H.-G. (2003). Gadamer on Heidegger: Heidegger's Later Philosophy.
In D. Milne (Ed.), Modern Critical
Thought (pp. 12). Malden: Blackwell Publishing Ltd.
Guignon, C. B. (1983). Heidegger and
the problem of Knowledge. Indianapolis: Hackett Publishing Company Inc.
Lindholm, C. (2008). Culture and
Authenticity. Malden: Blackwell.
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