caa a22 4500 386309531 CHVBK 20180307111540.0 cr unu---uuuuu 161130s1988 xx s 000 0 eng 10.2307/1478382 doi S0149767700010433 pii (NATIONALLICENCE)cambridge-10.2307/1478382 Schmidt Paul Pushkin and Istomina: Ballet in Nineteenth-Century Russia [Elektronische Daten] [Paul Schmidt] Where is the point from which we say "I see”? We begin with our eyes ("all eyes,” we say), and we watch. We become spectators, those who watch, and who are defined by that act alone. The act is old, but each perception is new, and each is individual: "I see,” I say, not someone else. Do others see indeed? What do they see? Turn to your left, to your right; enquire, and arguments abound. Believe your eyes, we say: I do, of course, but do I believe yours? There's the rub — and I rub my eyes; the problem vexes. No spectacle provides its spectators with an identical experience. I close my eyes; the spectacle dissolves, yet a vision persists: persistence of vision, we say. Yet how can I see what someone else has seen, if the eyes that saw are gone, if the spectacle they saw is gone? Your eyes, his eyes, those eyes long dead and gone — can I believe them? How does the vision persist? Copyright © Congress on Research in Dance 1988 Dance Research Journal Cambridge University Press 20/2(1988), 3-8 0149-7677 20:2<3 1988 20 DRJ https://doi.org/10.2307/1478382 text/html Onlinezugriff via DOI 1 research-article jats NATIONALLICENCE 856 40 https://doi.org/10.2307/1478382 text/html Onlinezugriff via DOI NATIONALLICENCE 100 1- Schmidt Paul NATIONALLICENCE 773 0- Dance Research Journal Cambridge University Press 20/2(1988), 3-8 0149-7677 20:2<3 1988 20 DRJ CC0 http://creativecommons.org/publicdomain/zero/1.0 nationallicence BK010053 XK010053 XK010000 NATIONALLICENCE NATIONALLICENCE NL-cambridge