{"?xml":{"@version":"1.0"},"edm:RDF":{"@xmlns:dc":"http://purl.org/dc/elements/1.1/","@xmlns:edm":"http://www.europeana.eu/schemas/edm/","@xmlns:wgs84_pos":"http://www.w3.org/2003/01/geo/wgs84_pos","@xmlns:foaf":"http://xmlns.com/foaf/0.1/","@xmlns:rdaGr2":"http://rdvocab.info/ElementsGr2","@xmlns:oai":"http://www.openarchives.org/OAI/2.0/","@xmlns:owl":"http://www.w3.org/2002/07/owl#","@xmlns:rdf":"http://www.w3.org/1999/02/22-rdf-syntax-ns#","@xmlns:ore":"http://www.openarchives.org/ore/terms/","@xmlns:skos":"http://www.w3.org/2004/02/skos/core#","@xmlns:dcterms":"http://purl.org/dc/terms/","edm:WebResource":[{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:doc-LZP843HG/f59da853-dc26-43ca-aa0f-02cb9e7be8ec/PDF","dcterms:extent":"394 KB"},{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:doc-LZP843HG/d11985ed-b031-411a-8b6a-45e8786f4435/TEXT","dcterms:extent":"57 KB"}],"edm:TimeSpan":{"@rdf:about":"2018-2025","edm:begin":{"@xml:lang":"en","#text":"2018"},"edm:end":{"@xml:lang":"en","#text":"2025"}},"edm:ProvidedCHO":{"@rdf:about":"URN:NBN:SI:doc-LZP843HG","dcterms:isPartOf":[{"@rdf:resource":"https://www.dlib.si/details/URN:NBN:SI:spr-QVBBDN4R"},{"@xml:lang":"sl","#text":"Analiza (Ljubljana)"}],"dcterms:issued":"2024","dc:creator":"Bačani, Nina","dc:format":[{"@xml:lang":"sl","#text":"številka:1"},{"@xml:lang":"sl","#text":"letnik:28"},{"@xml:lang":"sl","#text":"str. 77-99"}],"dc:identifier":["ISSN:1408-2969","COBISSID_HOST:252851203","URN:URN:NBN:SI:doc-LZP843HG"],"dc:language":"sl","dc:publisher":{"@xml:lang":"sl","#text":"Univerza v Mariboru, Univerzitetna založba"},"dc:subject":[{"@xml:lang":"en","#text":"art"},{"@xml:lang":"sl","#text":"balet"},{"@xml:lang":"en","#text":"ballet"},{"@xml:lang":"en","#text":"dance"},{"@xml:lang":"sl","#text":"ontologija"},{"@xml:lang":"en","#text":"ontology"},{"@xml:lang":"en","#text":"Plato"},{"@xml:lang":"sl","#text":"Platon"},{"@xml:lang":"sl","#text":"ples"},{"@xml:lang":"sl","#text":"teorija idej"},{"@xml:lang":"en","#text":"theory of forms"},{"@xml:lang":"sl","#text":"umetnost"}],"dcterms:temporal":{"@rdf:resource":"2018-2025"},"dc:title":{"@xml:lang":"sl","#text":"Platon in ples| ontologija plesa skozi prizmo Platonove teorije idej ter Platonovo vrednotenje plesa|"},"dc:description":[{"@xml:lang":"sl","#text":"In this article we discuss the ontology of dance from the perspectives of Plato and contemporary authors. We begin by presenting various philosophical aspects of the concept of dance. This is followed by an analysis of the ontology of dance, where we draw on the thinking of the contemporary authors Osintseva and Pakes. The latter focuses (among other things) on the parallels between Platonism and the ontology of dance. In the following, we examine relevant Platonic ontology or Theory of Forms, which posits the existence of a suprasensible realm. The article addresses the issue of Plato's critique of art in The Republic, where he advocates for the exclusion of artists from the ideal state. Plato perceived art as imitation, which he argued had a negative influence on the population. These views seem inconsistent with his positive attitude towards art in elementary education. In ancient Greece, a person skilled in dance was considered educated. Plato incorporated the concept of harmony into his philosophy of music, a quality still regarded as one of the highest virtues in music and dance today. In conclusion, we compare ballet with Plato's Theory of Forms, revealing their similarities"},{"@xml:lang":"sl","#text":"V članku obravnavamo ontologijo plesa z vidika Platona in sodobnih avtorjev. Na začetku predstavimo različne filozofske vidike koncepta plesa. Sledi opis ontologije plesa, kjer se naslonimo na razmišljanje sodobnih avtoric Osintseve in Pakes. Slednja se (med drugim) osredotoča prav na podobnosti med platonizmom in ontologijo plesa. V nadaljevanju razložimo relevantno Platonovo ontologijo oz. teorijo idej, ki zagovarja obstoj nadčutnega sveta. Prikazana je problematika Platonove kritike umetnosti v Državi, kjer je predvidena izločitev umetnikov iz idealne države. Platon je umetnost dojemal kot posnemanje, ki na prebivalstvo nima dobrega vpliva. Ta stališča se zdijo neskladna z njegovo pozitivno naravnanostjo do umetnosti v osnovnem izobraževanju. Pri starih Grkih je človek, ki je znal plesati, veljal za izobraženega. Platon je v svojo filozofijo glasbe vključeval pojem harmonije, ki še danes velja za eno najvišjih kvalitet glasbe in plesa. V zaključku primerjamo balet s Platonovo teorijo idej, odkrivajoč njune podobnosti"}],"edm:type":"TEXT","dc:type":[{"@xml:lang":"sl","#text":"znanstveno časopisje"},{"@xml:lang":"en","#text":"journals"},{"@rdf:resource":"http://www.wikidata.org/entity/Q361785"}]},"ore:Aggregation":{"@rdf:about":"http://www.dlib.si/?URN=URN:NBN:SI:doc-LZP843HG","edm:aggregatedCHO":{"@rdf:resource":"URN:NBN:SI:doc-LZP843HG"},"edm:isShownBy":{"@rdf:resource":"http://www.dlib.si/stream/URN:NBN:SI:doc-LZP843HG/f59da853-dc26-43ca-aa0f-02cb9e7be8ec/PDF"},"edm:rights":{"@rdf:resource":"http://creativecommons.org/licenses/by/4.0/"},"edm:provider":"Slovenian National E-content Aggregator","edm:intermediateProvider":{"@xml:lang":"en","#text":"National and University Library of Slovenia"},"edm:dataProvider":{"@xml:lang":"sl","#text":"Društvo za analitično filozofijo in filozofijo znanosti"},"edm:object":{"@rdf:resource":"http://www.dlib.si/streamdb/URN:NBN:SI:doc-LZP843HG/maxi/edm"},"edm:isShownAt":{"@rdf:resource":"http://www.dlib.si/details/URN:NBN:SI:doc-LZP843HG"}}}}