Quotations

{{timeline, 1900s=1902
1972
1991
1997, 2000s=2002
2004}} * 1902, George van Ness Dearborn, “A contribution to the Physiology of Kinesthesia,” in Journal Für Psychologie und Neurologie [http://books.google.com/books?ie=UTF-8&vid=0t8lI3RwG1rQKZtkWH&id=_2MRP-liGIQC&dq=kinesthesia&lpg=RA1-PA65&pg=RA1-PA65] *: The work made endeavor to keep as close as possible to the ordinary conditions of average voluntary movement with the arm; the chief departure from this normality was obviously the blindfolding of the subjects, but herein lies of course the crux of the results in a study of kinesthesia, for it is one of the unexplained curious facts of psychology that vision drowns completely out in unskilled movement the kinesthetic sensations. * [1972] 1998, Michael Goldman, “Romeo and Juliet:'' The Meaning of a Theatrical Experience,” excerpt of ''Shakespeare and the Energies of Drama'' quoted in an edition of William Shakespeare's ''Romeo and Juliet (ISBN 0451526864) [http://books.google.com/books?ie=UTF-8&vid=ISBN0451526864&id=03yKmnXp_lEC&pg=PA160&lpg=PA160&dq=kinesthesia&sig=8GwC-i7jy6YMQeKuxpPrvkq3BRU] *: The dominant bodily feelings we get as an audience are oppressive heat, sexual desire, a frequent whiz-bang exhilarating kinesthesia of speed and clash, and above all a feeling of the keeping-down and separation of highly charged bodies, whose pressure towards release and whose sudden discharge determine the rhythm of the play. * 1991, Eugenio Barba, A Dictionary of Theatre Anthropology [http://books.google.com/books?ie=UTF-8&vid=ISBN0415053080&id=dYPkWQjAFmcC&pg=PA68&lpg=PA68&dq=kinaesthesia&sig=hAcuJXyeYzRrJmQ1avYfswdLf6g] *: Everything that works directly on the spectators’ attention, on their understanding, their emotions, their kinaesthesia , is an action. * 1997, Jane C Desmond, Meaning in Motion [http://books.google.com/books?ie=UTF-8&vid=ISBN082231942X&id=2fDJtHOuAhAC&pg=PA163&lpg=PA163&dq=kinesthesia&sig=iPcH7a59RdJU1xlF6cKpLwMz5RM] *: At the same time the kinesthesia of early modern dance engaged female viewers in ways that the spectacle of late-ninteenth-century ballet did not. In fact, since many female spectators had experienced the same movement techniques that the dancers transformed in performance—Delsarteanism and aesthetic gymnastics—their kinesthetic response was particularly intense and led more than a few to identify the dancer’s flow of bodily motion as reflective of their own. * 2002, Gary Delforge, Musculoskeletal Trauma [http://books.google.com/books?ie=UTF-8&vid=ISBN0736038795&id=Knoh8cYUxkMC&pg=PA209&lpg=PA209&dq=kinesthesia&sig=C-5DKljnhnE6PKOvjeL-o4Exrbk] *: Muscle fatigue has been shown to have a negative effect on knee joint position sense and kinesthesia (Skinner et al. 1986) and glenohumeral position sense (Myers et al. 1999) in healthy subjects. * 2004, John F Roe, All This Is So [http://books.google.com/books?ie=UTF-8&vid=ISBN1862545790&id=taGeOnsiEXkC&pg=PA416&lpg=PA416&dq=kinaesthesia&sig=FapgXkAZqs4_2X1iw5sessoaFVQ] *: Now she knew more, far more, experience lashing her every moment, the scene’s kinaesthesia engulfing her.