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Books on the topic 'Balint, groupe'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Otten, Heide. The Theory and Practice of Balint Group Work. Routledge, 2017. http://dx.doi.org/10.4324/9781315147055.

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2

Great Britain. Working Group on Automated Vote Counting. Report of the Working Group on Automated Vote Counting. Home Office, 1994.

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3

The Grand Union (1970-1976): An improvisational performance group. P. Lang, 1991.

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4

Travis, John. Spandau Ballet. Sidgwick & Jackson, 1986.

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5

Ferreira, Paulo, and Vítor Pavão dos Santos. Verde Gaio: Uma companhia portuguesa de bailado [1940-1950] : 29 de Abril 1999 a 31 de Março 2000, Museu Nacional do Teatro. Ministêrio da Cultura, 1999.

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6

I know this much: From Soho to Spandau. Fourth Estate, 2009.

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7

Sapir, Michel. Du côté de chez Marx, du côté de chez Freud: Mémoires d'un homme de plaisir. Flammarion, 1998.

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8

True: The autobiography of Martin Kemp. Orion, 2000.

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9

G, Marsh Carol, ed. Musical theatre at the court of Louis XIV: Le mariage de la Grosse Cathos. Cambridge University Press, 1994.

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10

Enid, Balint, ed. The Doctor, the patient, and the group: Balint revisited. Routledge, 1993.

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11

Courtenay, Michael, Andrew Elder, and Enid Balint. The Doctor, the Patient and the Group: Balint Revisited. Routledge, 1993.

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12

Courtenay, Michael, Paul Julian, Andrew Elder, Sally Hull, and Enid Balint. The Doctor, the Patient, and the Group: Balint Revisited. Routledge, 1993.

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13

Otten, Heide. Theory and Practice of Balint Group Work: Analyzing Professional Relationships. Taylor & Francis Group, 2017.

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14

Otten, Heide. Theory and Practice of Balint Group Work: Analyzing Professional Relationships. Taylor & Francis Group, 2017.

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15

Roust, Colin. Georges Auric. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190607777.001.0001.

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Although Georges Auric (1899–1983) is best remembered today for his affiliation with the Groupe des Six, his musical career was long, productive, complex, and intimately attuned to the realities of modern life. His polyvalent career—as a composer of concert, theatrical, ballet, popular, film, and television music; music critic; opera director; and arts administrator—reveals a diversity of engagements that speak to a reconfiguration of the role of the composer in the modern world. Auric was a product of his time, with deep connections to France’s artistic, social, and political elites. At the same time, he drew on his prestige and privilege to improve the country’s musical life in tangible ways, whether with regard to musical education and accessibility or to the establishment of fair copyright laws. He took artistic collaboration, already a hallmark of the short-lived Groupe des Six, to a level that surpassed any of the other members of that group. Diverging from the romantic trope of individual creation, Auric’s legacy troubles conventional ideas of what it means to be a composer.

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16

McIntosh, Jonathan. The women’s international gamelan group at the Pondok Pekak. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.003.0008.

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Balinese gamelan music stresses notions of unity, community and totality that are realized through the interaction of players and instruments. Traditionally considered a male activity, Balinese women now perform gamelan music in sacred and secular contexts. Moreover, the rise of mass tourism and an increase in the number of expatriates living in Bali now means that gamelan music has become an important site for ‘intercultural’ collective music-making. Nonetheless, little research exists concerning this emerging and significant facet of Balinese musical performance, with no studies examining intercultural musical activities of women’s gamelan ensembles. This chapter explores the collective creativity and social agency of an international women’s gamelan ensemble in Bali. Examining how this musical ensemble emerged, the micro processes of orchestral rehearsals and performances, and the relationship between traditional music and dance, this chapter extends research that has focused hitherto on the gamelan ensemble in Bali as a (primarily male) orchestral practice.

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17

Harris, Andrea. Making Ballet 3. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199342235.003.0007.

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Making Ballet 3 provides a choreographic analysis of the ballet Western Symphony, produced by the New York City Ballet in 1954 with choreography by George Balanchine, music by Hershy Kay, scenery by John Boyt, and costumes by Karinska. It brings to light the multitude of intertextual allusions that occur throughout the ballet, playfully intermingling references of “America” with an entire lineage of nineteenth-century European classicism. Although Western Symphony has no story line, it crafts a deliberate message: a long, transatlantic genealogy of Western classicism that, in the twentieth century, has come to rest in America. Drawing on archival sources and movement analysis, this interchapter argues that Western Symphony incorporates parody to present a revisionist ballet history in which the high cultural lineages of Europe and America are intimately entwined. Ultimately, this message reinforced the Atlanticist politics of private and state anticommunist groups in the cultural Cold War, the historical setting for its production and performance.

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18

Stevenson, Jane. The Ghost of a Rose. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198808770.003.0018.

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The ballet brings together many of the threads pursued in this book: patronage, queerness, the Sitwells, interactions between fine art, design, and popular culture. Because Diaghilev made ballet a fashion, his public found themselves exposed to avant-garde music and art which would otherwise have struggled to find an audience, but ballet’s relationship with modernism is uneasy. Apart from being unnatural, ballet is collective and collaborative rather than individualistic, which sets it at an angle to any idea of art as the product of a purely individual consciousness. The radical modernist approach to dance was to deconstruct ballet and start again from the ground up, evolving expressive dance forms based on natural movement. However, ballet was a meeting point of high and low culture.

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19

Klapper, Melissa R. Ballet Class. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190908683.001.0001.

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Surveying American ballet in 1913, Willa Cather reported that few girls expressed any interest in taking ballet class and that those who did were hard-pressed to find anything other than dingy studios and imperious teachers. A century later, ballet is everywhere. There are ballet companies across the United States; ballet is commonly featured in film, television, literature, and social media; professional ballet dancers are spokespeople for all kinds of products; nail polish companies market colors like “Ballet Slippers”; and, most importantly, millions of American children have taken ballet class. Beginning with the arrival of Russian dancers like Anna Pavlova in the early 1900s, Ballet Class: An American History explores the growth of ballet from an ancillary part of nineteenth-century musical theater, opera, and vaudeville to the quintessential extracurricular activity it is today, pursued by countless children nationwide and an integral part of twentieth-century American childhood across borders of gender, class, race, and sexuality. A social history, Ballet Class takes a new approach to ballet and helps ground an art form often perceived to be elite in the experiences of everyday people who spent time in barre-lined studios. Drawing on materials including children’s books, memoirs by professional dancers and choreographers, pedagogy manuals, dance periodicals, archival collections, and oral histories, this pathbreaking study provides a national perspective on the history and significance of recreational ballet class in the United States and its influence on many facets of children’s lives, including gender norms, consumerism, body image, children’s literature, extracurricular activities, and popular culture.

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20

Hadley, Tony. To Cut a Long Story Short. Pan Books, 2005.

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21

To Cut a Long Story Short. Sidgwick & Jackson Ltd, 2004.

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22

Hadley, Tony. To Cut a Long Story Short. Pan Macmillan, 2013.

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23

Langston, Joy K. The Transition to Democracy and the Struggles to Take Over the Party. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190628512.003.0004.

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This chapter provides a description of the political and economic crises of the mid-1990s that led to the loss of the PRI’s majority in the Chamber and the presidential defeat in 2000. Even as leaders of the authoritarian regime grappled with downward electoral trends, groups within the party began to battle among themselves over the timing and scope of the transition and of party change. The PRI adapted to the rigors of electoral competition because vote-winning groups within its ranks took over the party and defeated their internal rivals, who were less able to respond to the challenges of the ballot box. Political institutions such as federalism and the two-tiered electoral system helped define winners and losers within the party and gave the winning groups—the party’s governors and the national party officers—ways of controlling resources (candidacies and finances) that did not come into direct conflict.

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24

Kattner, Elizabeth. Finding Balanchine's Lost Ballets. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9780813066646.001.0001.

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Finding Balanchine’s Lost Ballets: Exploring the Early Choreography of a Master allows the reader to learn about one of the twentieth century’s greatest artists in a way that has not before been possible. Balanchine’s Russian ballets did not survive in the repertory, but this book demonstrates how some of these lost works need not be relegated to the pages of history but can and should be reconstructed, giving us a vision of our past as artists, scholars, and audiences. The book details the work of setting Balanchine’s first group ballet, Funeral March (Choreography by George Balanchine © The George Balanchine Trust), on the dancers of the Grand Rapids Ballet. It follows this project from archival studies to studio research with the dancers to a final performance. Through careful research on Balanchine’s earliest ballets, traditional research is brought from the archive into the studio, and finally, onto the stage. This visceral approach enables dance history to be studied in its most natural state, kinesthetically, through movement, allowing us to explore, examine, and above all, experience the earliest works of this master.

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25

Goodin, Robert E., and Kai Spiekermann. Factionalism. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198823452.003.0014.

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Condorcet, Rousseau, and the American Founders saw factions as a threat to democracy. This chapter builds upon the idea of democratically-epistemically correct outcomes introduced in the previous chapter and applies it to factions. The largest faction (the ‘Masses’) will typically prevail over the smaller faction (the ‘Elites’). However, members of a well-organized faction can improve their chances of winning by practising ‘epistemic solidarity’: they first identify what the true interest of their faction is by taking a pre-election ballot among themselves, and then vote as a block in the election. If the Masses practise epistemic solidarity they will likely prevail; if only the Elites but not the Masses do so, the smaller Elites can beat the larger Masses. We also introduce uncertainty about group membership and employ computer simulations to explore the effects of imperfect group formation.

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26

Mark, Morris. Dances. Dance Research Foundation, 1991.

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27

Phillips, Christian Dyogi. Nowhere to Run. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197538937.001.0001.

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Nowhere to Run: Race, Gender, and Immigration in American Elections advances an intersectional account for why the underrepresentation of women and racial minorities in elected office has proven so persistent. Using an original dataset encompassing nearly every state legislative general election from 1996 to 2015, and interview and survey data from 42 states, the book demonstrates that factors in candidate emergence that have long been treated as exclusively “racial” or “gendered” in political science are, in fact, shaped by race and gender simultaneously. Focusing on women and men from the two fastest-growing racial groups in the United States—Asian Americans and Latina/os—the book shows that prevailing conceptions of the utility of majority-minority districts and the importance of individual-level concerns like ambition in explaining representation on the ballot require revision. The intersectional model of electoral opportunity presented in the book argues that overlapping and simultaneous structural factors play a previously underappreciated role in shaping who runs for office—and who does not. At the national level, the distribution of majority-white populations across most districts sharply constrains the number of realistic opportunities for nonwhite women and men to get on the ballot. At the local level, within districts and communities of color, the scarcity of viable opportunities to run exacerbates informal processes and institutions that tend to push women of color further from the candidate pipeline. These interactive features of the landscape of electoral opportunities produce a systemic absence of competition for descriptive representation in most state legislative elections.

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28

Farfan, Penny. “[W]‌ithout the assistance of any girls”. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190679699.003.0004.

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This chapter focuses on Vaslav Nijinsky’s Afternoon of a Faun (1912) to consider how modernist performance could queer sex without representing same-sex relations and in the process become a focal point for sexually dissident spectatorship. In the ballet, the Faun bypasses a group of nymphs in favor of a solitary sexual experience. In doing so, he thwarts narrative expectations, foregrounding an autonomous male sexuality that was thrown into relief by the two-dimensionality of Nijinsky’s choreography. This relationship between modernist form and queer content produced a representation of male sexuality that was neither conventionally masculine nor effeminate. Afternoon of a Faun’s significance as a key work of queer modernism is underscored by its role in the historical emergence of an identifiably gay and lesbian audience, as well as by the mythologization of Nijinsky as the Faun as both an enabling and cautionary figure of queer sexuality.

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29

Langston, Joy K. Changes to Candidate Selection and Political Recruitment. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190628512.003.0007.

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This chapter examines how the PRI’s candidate selection and recruitment changed from the hegemonic to the democratic era to capture how electoral competition strengthened the governors at the expense the corporatist sectors and other PRI groups. Under hegemony, the president controlled (through choosing or vetoing) which PRI politician appeared on the ballot, and thus could punish or benefit ambitious politicians within the wide-flung coalition. Once competition grew, however, a candidate’s popularity with voters began to weigh on these decisions and governors began to demand control over nominations for subnational and federal posts. Regime leaders had to devolve power over federal candidacies to state executives because of their ability to win votes for the party, decentralizing the party. National party leaders won a good deal of control over the closed-list PR seats for both the Chamber and the Senate. Most party-affiliated unions lost nomination power because they were unable to choose popular candidates or procure electoral victories, weakening their position within the party.

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30

Kay, William K., and Stephen J. Hunt. Pentecostal Churches and Homosexuality. Edited by Adrian Thatcher. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199664153.013.39.

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Historically, the majority of Pentecostal churches stem from holiness and revivalistic streams of Christianity, while neo-Pentecostal churches are often indigenous plantings that broke away from congregations established by earlier Protestant mission. Given their stress on religious experience and their belief in the indwelling power of the Holy Spirit, Pentecostal churches have always stressed individual holiness, and this holiness is understood in terms of abstinence from drugs, alcohol, gambling, immodest dress, and sexual immorality as traditionally defined. This chapter describes adjustments and initiatives that indicate how new norms may emerge. The issue is essentially concerned with the interpretation of Scripture and variations in church government. Where these interpretations align with an LBGT-friendly hermeneutic, LBGT-friendly Pentecostal churches will and have emerged. Such changes tend to occur in new or split-off groups rather than in traditional Pentecostal denominations, especially when denominations are governed by large ministerial conferences where decisions are by secret ballot.

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31

1954-, Mihaltianu Dan, ed. Balt-Orient-Express. Institut für Auslandsbeziehungen, 1996.

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32

Eller, Jonathan R. New York, 1951. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036293.003.0038.

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This chapter focuses on Ray Bradbury's 1951 trip to New York, describing it as more personally stressful than any of his previous visits. While in New York, Bradbury wrote two new pages for “The Magical Kitchen” and produced a new page for a very short time-travel piece titled “The Dragon.” He also felt that he could handle the unpredictability of the New York publishing world this time around. This chapter begins with a discussion of Bradbury's itinerary in New York, including meetings with magazine editors such as Eleanor Stierham of Today's Woman and a lecture on writing at Columbia University; he also watched a first-run performance of Darkness at Noon, the Sidney Kingsley adaptation of Arthur Koestler's novel. The chapter then turns to a series of unpleasant encounters that unnerved Bradbury, particularly the four editorial parties he attended and his confrontation with a group of ballet dancers. Bradbury articulated his feelings in “A Flight of Ravens,” his highly autobiographical story of the final days of his New York trip.

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33

Kemp, Martin. True: An Autobiography Poster. Orion mass market paperback fiction, 2000.

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34

Kemp, Martin. True. Orion (an Imprint of The Orion Publishing Group Ltd ), 2000.

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35

Kemp, Martin. True: Auto Of Martin Kemp. Orion, 2000.

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36

True. Orion mass market paperback, 2000.

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37

Schaflechner, Jürgen. Solidifying Hinglaj: Striving for a Uniform Tradition. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190850524.003.0007.

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By exploring the features of the most important annual religious festival at Hinglaj, chapter 6 reveals how one local community’s version of Hinduism became hegemonic and synonymous with the “real” or the “actual” tradition of the Goddess. Utilizing the author’s own extensive ethnographic material, it describes how the increasingly plural religious landscapes at Hinglaj has not led to a democratization of interpretation of the shrine’s various traditions but rather to the solidification of one set of narratives and practices favored by the Hinglaj Sheva Mandali. Thanks to the vast institutional network attached to the local temple committee—largely composed of Lasi Lohana group members—Lohana practices at the temple have been framed and disseminated in a way that suggests their association with broader notions of progress and education. This chapter furthermore engages with the ban of animal sacrifice (Hin. bali) at Hinglaj to demonstrate how this prohibition played a significant role for solidifying a coherent tradition at the shrine.

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38

Baulch, Emma. Making Scenes: Reggae, Punk, and Death Metal in 1990s Bali. Duke University Press, 2007.

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39

Marsh, Carol G., and Rebecca Harris-Warrick. Musical Theatre at the Court of Louis XIV: Le Mariage de la Grosse Cathos (Cambridge Musical Texts and Monographs). Cambridge University Press, 1995.

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