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Berríos, Huss Violeta. "Recuerdo y olvido como parte de una historia: La ballenera de Quintay." Tesis, Universidad de Chile, 2010. http://www.repositorio.uchile.cl/handle/2250/112650.
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antropóloga socialLa cacería de ballenas en Chile, si bien se inicia en tiempos precolombinos, toma fuerza a mediados del siglo XX con el desarrollo de una industria ballenera nacional y culmina el año 1983 cuando se promulga una ley que prohíbe la caza de cetáceos en nuestras costas. La industria ballenera nacional se caracterizó por la presencia de buques cazadores y plantas faenadoras de cetáceos ubicadas a lo largo de las costas chilenas. Estas factorías se instalaron en las cercanías de ciudades como Punta Arenas, Valparaíso o Talcahuano, situándose en ocasiones en lugares donde existían pequeños poblados. Uno de los mayores proyectos industriales de este tipo fue la instalación de la planta ballenera de la “Compañía Industrial S.A. (INDUS)” en Quintay. Ésta era una corporación de gran envergadura, con altísimos niveles de producción. Por su parte, Quintay es un pequeño poblado rural, cercano a la ciudad de Valparaíso, que se desarrolla en torno a la pesca y la recolección de productos marinos. En el año 1940, aproximadamente, se inicia la construcción de la planta ballenera, generando perturbaciones en el diario vivir de sus habitantes. Los pobladores deben habituarse a una realidad distinta a la acostumbrada que incluye contacto con nuevas personas. La irrupción de la vida cotidiana del lugar y la creación de vínculos que debieron formar con desconocidos, generan en los sujetos cambios en la forma que entendían su mundo, debiendo formar nuevas imágenes para representar su realidad. Es en este sentido, el foco principal que guía esta investigación consiste en efectuar un análisis de las representaciones sociales que los habitantes de la caleta de Quintay tienen sobre el período de funcionamiento de la planta ballenera, con el fin de entender cuál es la narración que poseen sobre su pasado y de qué manera la construyen. Para ello, se ha de realizar una reconstrucción en torno a la vida cotidiana que experimentaron los quintaínos durante los años que la INDUS desarrolló sus labores en la caleta. Lo anterior se elaborará a partir del relato biográfico de los pobladores que presenciaron ese tiempo.
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Lara, Martínez Guillermo-Fernán. "Caracterización y modelado de la producción de sonidos de las ballenas beluga (Delphinapterus Leucas) basado en modelos de análisis / síntesis de voz." Doctoral thesis, Universitat Politècnica de València, 2016. http://hdl.handle.net/10251/74645.
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[EN] This thesis deals with the study of the sounds produced by beluga whales (Delphinapterus leucas) with a fundamental objective: its characterization and modeling. To this end, analysis / synthesis algorithms of the sounds produced by these animals are proposed. These algorithms are inspired by recent researches on how beluga whales produce the sound and in the physiognomy of the sound production organs.
This is a multidisciplinary work, and in order to achieve this goal many fields and topics have to be studied: the generation of sounds in musical instruments, time-frequency analysis techniques along with pattern recognition methods, feature selection, the potential to include algorithms that work in the cepstral domain and a quantitative analysis of the Recurrence Plots. All this allows to propose a sound production model capable to adapt to the peculiarities of this specie and reproduce with high fidelity its wide repertoire of sounds.
In addition, in order to validate the proposed model, different sounds from a database of beluga whale vocalisations were analysed. These sounds were compared with those generated with a generic analysis / synthesis model. Furthermore, it is proposed to use the synthesis model parameters for a new sound classification based on how the sounds are produced, achieving better results than those obtained with classifiers based on characteristics of the time-frequency diagram.
All the proposed hypotheses have been validated by doing acoustic measurements of beluga whales from the Oceanografic of Valencia (supervised by park biologists), as well as a large number of audio laboratory recordings under controlled conditions.
Finally, a passive acoustic monitoring device called SAMARUC design in the framework of the projects related to this thesis is described. The SAMARUC system has the possibility to include different signal processing algorithms for sound analysis in open water environment and is capable of recording high quality sounds. It can also provide the classification of the acoustic events as well as the noise indicators of good environmental status of our seas and oceans. These indicators include underwater noise levels as reflected in the Descriptor 11 of the Marine European Directive. For this reason we expect that this research will have a significant importance in the future years.[ES] Esta tesis doctoral aborda el estudio de los sonidos producidos por las ballenas beluga (Delphinapterus Leucas) con un objetivo fundamental: su caracterización y su modelado. Para ello, se propone una serie de algoritmos de análisis / síntesis de los sonidos producidos por estos animales inspirados en las recientes investigaciones sobre el funcionamiento y la fisionomía del aparato fonador de las ballenas beluga. Se trata de un trabajo multidisciplinar, en el que para alcanzar este objetivo, se analiza la generación de sonidos en instrumentos musicales, se repasan técnicas de análisis tiempo-frecuencia junto con métodos de reconocimiento de patrones, se aplican técnicas de selección de características, se analiza el potencial de incluir algoritmos que trabajen en el dominio cepstral y se realiza un análisis cuantitativo de los Recurrence Plots como medida del determinismo. Todo esto permite plantear un modelo de producción de sonidos capaz de adaptarse a las peculiaridades de ésta especie y reproducir con una alta fidelidad su amplio repertorio de sonidos. Además, con la finalidad de dar validez al modelo propuesto, se analizan y sintetizan diferentes sonidos de una base de datos de vocalizaciones de ballenas beluga para compararlos con los generados con un modelo de análisis/ síntesis genérico. De manera adicional, se propone emplear los parámetros del modelo de síntesis para realizar una nueva clasificación de sonidos de la especie basada en su naturaleza de producción, consiguiendo mejorar los resultados obtenidos con clasificadores basados en características del diagrama tiempo-frecuencia. Las hipótesis propuestas han sido validadas con la realización de medidas acústicas de las ballenas beluga del Oceanografic de València (supervisadas por los cuidadores del parque), así como con un gran número grabaciones de audio de laboratorio en condiciones controladas. Finalmente se describe el dispositivo de monitorización acústica pasiva SAMARUC, diseñado con la funcionalidad de incluir los algoritmos implementados en entornos de aguas abiertas, pudiendo ofrecer datos de la grabación de los sonidos, la clasificación de éstos, así como los indicadores del buen estado medioambiental de nuestros mares y océanos. Estos indicadores incluyen los niveles de ruido submarino tal y como se recoge en el descriptor 11 de la Directiva Marina Europea y es por ello que se prevé que esta línea de investigación tenga un auge considerable en años futuros.
[CAT] Aquesta tesi doctoral aborda l'estudi dels sons produïts per les ballenes beluga (Delphinapterus Leucas) amb un objectiu fonamental: la seua caracterització y modelat. Es proposen una sèrie d'algoritmes d'anàlisi / síntesi d'aquestos sons inspirats en recents investigacions sobre el funcionament i la fisonomia del aparell fonador de les ballenes beluga. Es tracta d'un treball multidisciplinar, on per a arribar a aquest objectiu s'analitza la generació de sons en instruments musicales, es repassen tècniques d'anàlisi temps-freqüencia junt a mètodes de reconeixement de patrons, s'apliquen tècniques de selecció de característiques, s'analitza el potencial de la inclusió d'algoritmes que treballen en el domini cepstral i es realitza un anàlisi quantitatiu dels Recurrence Plots com a mètrica del determinisme. Tot aço permet plantejar un model de producción de sons capaç d'adaptar-se a les peculiaritats d'aquesta espècie i reproduir amb una alta fidelitat el seu amplíssim repertori de sons. Ademés, amb la finalitat de donar validesa al model proposat, s'analitzen i sintetitzen diferents sons d'una base de dades de vocalitzacions de ballenes beluga per a comparar-les amb les generades per un model d'anàlisi / síntesi genèric. De manera addicional es proposa emprar els paràmetres del model de síntesi disenyat per a fer una nova classificació de sons basada en la seua naturalesa de producció, aconseguint millorar el resultats obtinguts amb classificadors basats en característiques del diagrama temps-freqüencia. Les hipòtesis proposades han sigut validades amb la realització de mesures acústiques de les ballenes beluga de l'Oceanogràfic de Valéncia (supervisades pels cuidadors del parc), així com una gran quantitat de grabacions d'àudio de laboratori en condicions controlades. Finalment es descriu el dispositiu de monitorització acústica pasiva SAMARUC, disenyat amb la funcionalitat d'incloure els algoritmes implementats en entorns d'aigües obertes, podent oferir dades de la grabació dels sons, la seua classificació, així com els indicadors del benestar mediambiental dels nostres mars i oceans. Aquestos indicadors inclueixen els nivells de so submarí tal com es diu al descriptor 11 de la Directiva Marina Europea. Es per aço que es preveu que aquesta línia d'investigació tinga un auge considerable als anys futurs.
Lara Martínez, G. (2016). Caracterización y modelado de la producción de sonidos de las ballenas beluga (Delphinapterus Leucas) basado en modelos de análisis / síntesis de voz [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/74645
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Smith, Jacqueline Nichole. "Fairy Tales en pointe: Fairy Brides, Ballerinas, and Ballets that Made the Tale." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8968.
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The relationship between ballet and fairy tale is by no means a new or unique discovery—to either dance history or literary studies. However, aside from relatively brief mentions of ballets as examples of fairy-tale adaptation, ballet's relevance to fairy-tale studies has been somewhat undervalued. While scholars often relegate ballet to a smaller part in fairy tale's influence through the performing arts, fairy-tale ballet deserves to have its own, independent academic conversation because ballet contributes uniquely to both fairy-tale history and canon. Ballet can be credited with both giving new life to an old tale and creating a brand new one through an amalgamation of formalistic fairy-tale motifs and figures—particularly when it comes to female figures. Through an analysis of nineteenth-century Romanticism, fairy-tale form, and the narratives created by three of the most famous fairy bride ballets--La Sylphide, Giselle, and Swan Lake--we can distinguish how Romantic ballet affects fairy-tale studies because of the special conditions this "feminized" art placed on narrative and character. The pervasion of the fairy bride character and motif in ballet indicates a potentially unique tale type, and these three fairy brides together reveal a different dimension to our view of female fairy-tale characters by actively shaping their own stories according to Romantic values that place them outside of traditional fairy-tale roles. Thus, fairy-tale ballets significantly substantiate Romantic imagination beyond the bounds of literary form, and therefore both emphasize and nuance the fairy-tale female paradigm by making unique contributions to the fairy-tale canon.
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Rojas, Letelier Camila. "Veloparque cerro La Ballena." Tesis, Universidad de Chile, 2011. http://www.repositorio.uchile.cl/handle/2250/115869.
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Gorney, Oscar K. "Ballers." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1525.
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Rifas, Carlos Guarino Gomez. "A zona de cisalhamento sinistral \"Sierra Ballena\" no Uruguai." Universidade de São Paulo, 1995. http://www.teses.usp.br/teses/disponiveis/44/44134/tde-03062015-090005/.
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A zona de cisalhamento Sierra Ballena é um cinturão milonitico de até 6km de espessura e 75okm de comprimento formado por milonitos e ultramilonitos de diferentes tipos. Constitui o limite colisional entre o arco magmático de Pelotas e a margem passiva do Craton do Rio de La Plata. A temperatura e pressão de sua formação inicial dos milonitos oscilam no campo da fácies anfibólito, passando a xistos verdes e a feições rúpteis dos estágios tardios. Sua cinematica mostra ser essencialmente sinistral. Constitui simultaneamente com a zona de cisalhamento Além-Paraiba-Cubatão-Lancinha um dos sistemas de cisalhamento mais extensos do sudoeste de Gondwana. Sua reativação se deu durante vários períodos do Fanerozoico. O bloco leste é integrado por várias rochas graníticas aqui descritas, enquanto o bloco oeste apresenta granitos muito deformados, assim como uma sequência de rochas supracrustais do laualleja dobradas em dois eventos principais e características de sequência de margem passiva. Outra sequência supracrustal integrada por xistos miloniticos e possivelmente rochas vulcanicas, dominada por dobramento recumbente e foliação horizontal é descrita aqui pela primeira vez como Formação Fazenda el Fortim, situada entre o granito Aigua e a zona de cisalhamento sinistral Sierra Ballena.Sierra Ballena Shear Zone is a mylonitic belt 6 Km wide and 750 Km long. It is composed by rnylonites and uItramylonites of different types, due to differences in composition of protoliths and intensity of deformation. It is the last Pre-Devonian event in the Uruguay-Rio Grande do Sul Shield. S.B.S.S.Z. is the collisional border between the Pelotas magmatic arc and the passive margin of the Rio de La Plata craton. Her mylonites register a large activity time because they present features corresponding to \"hot mylonites\" as well as \"cold\" ones. Initial formation pressure and temperature correspond to amphibolite facies following to greenschist to brittle in the late stages. Her kinematics shows essentially a synistral component as part of simple shear as well as transtensional. It constitutes simultaneously with the Alem-Paraiba-Cubatão-Lancinha Shear Zone one of the most extensive shear belts of SW Gondwana. Her ractivation occur in Phanerozoic times affecting Paraná Basin sediments and performing the borders of Meso-Caenozoic basins. The eastern block is mainly integrated by various granitic rocks which are here described; meanwhile the western block exposses highly deformed granites, and a supracrustal sequence. The supractustal have been folded in two events and are integrated by limestones, dolomites, marbles, metamicroconglomerates, metasiltstones and acid, basic and intermediate metalavas, as well as reworked tuff ; all of the Lavalleja Group. A supracrustal sequence integrated by mylonitized schists and possible acid metavulcanic rocks, dominated by recumbent folding and horizontal foliation is described here for the first time: Fazenda El Fortin Formation, situated between the Aiguá Granite and S.B.S.S.Z.
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Prest, Julia Tamsin. "Molière's comédies-ballets : court and town." Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.625065.
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Dos, Santos Marie-Hélène. "Génétique de l'intertextualité dans "El vientre de la ballena" de Javier Cercas." Dijon, 2000. http://www.theses.fr/2001DIJOL002.
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Ha, Steven Kyung-Gyoon. "Classicism and Romanticism in Three Ballets by Frederick Ashton." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1607420030830412.
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Jubin, Frédérique. "Historique et esthétique des ballets du Marquis de Cuevas." Paris 1, 2007. http://www.theses.fr/2007PA010570.
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La thèse traite de l'historique et de l'esthétique des ballets du Marquis de Cuevas entre 1947 et 1962. " L'historique» tient compte des évènements marquants ayant jalonné la vie du Marquis de Cuevas. " Les maîtres de ballet» donne les noms et les périodes auxquelles, ces différents personnages sont intervenus. "Les danseurs» traite des nationalités, de l'effectif, des différents contrats, des conditions de vie du danseur et des salaires. "L'étude des ballets» expose les conceptions esthétiques du Marquis sur la danse, retrouve les origines du répertoire et l'héritage de Diaghilev et expose les lignes du néo-classicisme en danse. Puis l'étude se consacre aux reprises d'origines diverses et aux créations en présentant cette fois les lignes du contemporain classique. Pour chaque chorégraphe étant intervenu de son vivant dans la troupe, il est proposé après avoir traité de ses ouvrages, une synthèse de son style. La conclusion à l'étude entière débouche sur l'évolution esthétique de la Compagnie.
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Akiyama, Nobuko. "Les comédies-ballets de Molière : genre ludique par excellence." Paris 4, 1994. http://www.theses.fr/1994PA040109.
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Dans la première partie répartie en trois chapitres (les relations que les comédies-ballets de Molière entretenaient avec la pastorale, avec le ballet de cour, et avec les pièces à machines) nous procèderons à une étude à la fois historique et dramaturgique, de manière à élucider comment Molière a procédé pour élaborer la dramaturgie ludique de ses comédies-ballets. Dans le premier chapitre de la deuxième partie, nous examinerons divers procédés ludiques qui sont moins influencés par des éléments historiques. Et le deuxième chapitre est consacré à une étude comparative entre les comédies-ballets et les autres productions dramatiques de Molière. La troisième partie a pour but d'élucider le rôle de la musique dans les comédies-ballets de Molière. Dans le premier chapitre, seront examinés des exemples musicaux qui contribuent à une meilleure intelligence des comédies-ballets et dans le deuxième chapitre, nous examinerons des exemples musicaux qui illustrent la dramaturgie ludique des comédies-balletsIn the part I subdivided into three chapters (the relations between the comedy-ballets of Molière and the pastoral, the court ballet, and the machine plays),we will study the historical and dramatic elements, so as to reveal how Molière elaborated the dramaturgy based on the spirit of play in the comedy-ballets. In the first chapter of the part II, we will examine various dramatic techniques which are not influenced very much by the historical elements and the second chapter is destined for the comparative study between the comedy-ballets and the other dramatic works of Molière. The part III is destined to reveal the role of the music in the comedy-ballets of Molière. In the first chapter, will be examined the musical elements which contribute to the better comprehension of the comedy-ballets and in the second chapter, we will examine the musical examples which illustrate the dramaturgy based on the spirit of play in the comedy-ballets
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Gundlach, Catherine P. "Reflections of a fool a modern ballet derived from electronic sound sources." Thesis, Kansas State University, 1985. http://hdl.handle.net/2097/9844.
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Abgottspon, Silvan. "Histologische Veränderungen am Ballen des Rindes bei Ballenfäule /." Zürich : Zentralstelle der Studentenschaft, 2001. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=009639036&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Taylor, Virginia Christine. "Ballerinas in the Church Hall : ideologies of femininity, ballet, and dancing schools." Thesis, University of Chichester, 2003. http://eprints.chi.ac.uk/1612/.
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The 'Church Hall' is a metonym for the Private Dancing School, ubiquitous in the UK, whose principal clients are young girls. The thesis interrogates the notion that taking part in ballet is a capitulation to the 'stereotypically feminine', by analysing the testimony of girls aged between 8 and 11 who attend local dancing schools. It presents their comparative assessment of the pedagogies in their primary schools and dancing classes. The thesis interrogates the stability of the idea of 'feminine' and its relationship with the political position of women, employing the theoretical, conceptual foundation for the obverse of a phallogocentric value system developed by psychiatrist Ian D.Suttie (1935), and the possibilities of loosening binary oppositions offered by the semiotic (Greimas') square. The thesis also proposes that the 'symbolic spread' (Frye, 1976: 59) of ballet, and hostility to it, are cognate with the concerns, dynamics, and reception of literary romance, and that both are perceived by the 'guardians oftaste and learning' (Northrop Frye's phrase, 1976:23) in terms which demonstrate Suttie's 'taboo on tenderness'. The thesis brings into representation the history and relationship to the state of British dance culture's 'Private Sector', in dialectical relationship to the largely negative terms in which it is cast by the academic dance community and the maintained education sector. The thesis challenges most private dance schools' exclusion from access to an authentic ballet 'text' by arguing it to be, like ballet's history in the working theatre, marginalised on ideological as much as artistic grounds. It recognises the place of the dancing class in social history, and presently, as a locus of social capital (Putnam, 2000) and, with reference to information from parents and popular culture, as a 'Women's Room' (French, 1977). The study is in part ethnographic, in part literary criticism, and in part historical; it considers representations in fiction, criticism, historiography, and other sources; it also draws on research in cultural and critical theory, education, anthropology, the history of art, sociology, hermeneutics, and other philosophy. It is post-positivist and qualitative. Neither its historical and social findings, nor its theoretical approach, have appeared before in the critical record.
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Tran, Thi Phuong Thao. "Développement de biocomposites à base de Poly(Acide Lactique) et de balles céréalières : vieillissement des biocomposites et traitement de surface des balles." Thesis, Montpellier 2, 2013. http://www.theses.fr/2013MON20203/document.
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Les balles de céréales, à savoir l'enveloppe autour du grain, ont récemment retenu l'attention des scientifiques afin d'entrer dans la formulation de biocomposites. En effet, ces sous-produits de l'agriculture ont un coût négligeable, sont perpétuellement renouvelables et disponibles en volume important dans le Monde et leur fin de vie est assurée par leur biodégradabilité. Leurs compositions chimiques et leurs propriétés thermiques et mécaniques sont similaires à celles des fibres naturelles.Dans cette thèse, deux types de balles de riz et deux types de balles de Petit Epeautre ont été étudiées à travers leur microstructure, leur composition chimique, leurs propriétés mécaniques et thermiques. Les balles ont été incorporées dans une matrice bio-sourcée et biodégradable, à savoir le poly(acide lactique) (PLA) pour donner des biocomposites dont les propriétés d'usage ont été étudiées. Il apparaît que les balles céréalières peuvent devenir un candidat potentiel intéressant pour le renforcement du PLA moyennant une amélioration de l'adhésion à l'interface entre les balles et le PLA.Afin d'améliorer cette interface, les balles ont été traitées par une solution alcaline (NaOH) et par des agents de couplage de type organosilane (3-aminopropyltriéthoxysilane et 3- glycidoxypropyltrimethoxysilane). Le traitement alcalin a permis de retirer une grande partie des hémicelluloses, de la lignine, de la cire et de la silice présentes dans les balles. La dissolution de ces constituants a provoqué une plus forte hygroscopicité des balles et se traduit par de plus faibles propriétés mécaniques des biocomposites. Le couplage traitement alcalin/traitement silane semble apporter une amélioration des performances plus importantes que le traitement silane seul. Ce traitement de surface a davantage d'impact sur la balle de Petit Epeautre que sur la balle de riz.L'évolution des propriétés d'usage des biocomposites à base de balles de riz au cours de différents vieillissements (thermique, hydro-thermique, cyclages hygro-thermiques, UV) a été étudiée. Les résultats montrent que l'évolution microstructurale induite par les vieillissements influence significativement les propriétés des biocomposites. La dégradation des biocomposites se traduit par une diminution de la masse moléculaire moyenne du PLA. La réorganisation de ces macromolécules augmente sensiblement le taux de cristallinité du matériau. Ceci induit un changement de la couleur, de la stabilité dimensionnelle des pièces et des propriétés mécaniques du PLA et des biocomposites qui dépend essentiellement de la température de vieillissement par rapport à la température de transition vitreuse du PLA. Il apparaît que l'ajout de balles accélère la dégradation du PLA. Dans le cas d'un vieillissement hydro-thermique au-dessus de la température de transition vitreuse du PLA, une réduction de cette dégradation a été mise en évidence par l'utilisation de certains traitements de surface des ballesThe cereal husks, namely the envelope around the grain, have recently attracted the attention of scientists for biocomposites development, because they are low-cost, renewable, biodegradable, and available in abundant volume throughout the world. Their chemical composition and their thermal and mechanical properties are similar to the natural fibers.In this work, two types of rice husk and two types of Einkorn wheat husk were studied through their microstructure, chemical composition, mechanical and thermal properties. The husks have been incorporated into a bio-sourced and biodegradable matrix, namely poly (lactic acid) (PLA) to produce biocomposite which functional properties were studied. It appears that the husks can be good candidates for strengthening the PLA through improved adhesion at the interface between the husks and the PLA.To improve the husks/PLA interface, the husks were treated with an alkaline solution (NaOH) and organosilane coupling agents, such as 3-aminopropyltriethoxysilane and 3 - glycidoxypropyltrimethoxysilane. The alkaline treatment has removed much of hemicelluloses, lignin, wax and silica present in the husks. The dissolution of these components resulted in a higher hygroscopicity of husks and lower mechanical properties of biocomposites. The coupling between an alkaline treatment and a silane treatment seems to provide better properties than the silane treatment alone. This surface treatment has a greater impact on the Einkorn wheat husks than on rice husksThe variations of the functional properties of rice husks based biocomposites during different ageings (thermal ageing, hydro-thermal ageing, hygro-thermal cycled ageing, UV ageing) was studied. The results show that the microstructural changes induced by ageing significantly influence the properties of biocomposites. Biocomposites degradation results in a decrease of the average molecular weight of PLA. The reorganization of these macromolecules significantly increases the degree of crystallinity of the material. This causes a change in color, dimensional stability of devices and mechanical properties of PLA and biocomposites which essentially depends on the ageing temperature regards to the glass transition temperature of PLA. It appears that the addition of husks accelerates the degradation of PLA. In the case of a hydro-thermal ageing performed above the glass transition temperature of the PLA, a reduction of this degradation was demonstrated by the use of specific surface treatments of husks
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Suzuki, Kotoka. "Yôei : for six percussion, cd and a dancer /." May be available electronically:, 1999. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
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D.M.A. final project--Department of Music, Stanford University, 1999.For six percussionists, dancer and compact disc of computer-generated sounds. "... a dancer ... triggers and controls the electronic sounds in real-time using the five electric sensors that are attached to his/her body. All the computer generated sound sources derive from the sounds of the percussion instruments used in this piece, and similarly, the percussion often imitates the sound of the computer-generated sound of the cd and the dancer"--P. iv. Includes instructions for performance.
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Oyhantçabal, Cironi Pedro Bernardo. "The Sierra Ballena Shear zone kinematics, timing and its significance for the geotectonic evolution of southeast Uruguay /." [S.l.] : [s.n.], 2005. http://deposit.ddb.de/cgi-bin/dokserv?idn=976886154.
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Frison, Hélène. "La réception des Ballets russes à Madrid et Barcelone (1916-1929)." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030128.
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La compagnie des Ballets russes, fondée par Diaghilev en 1911, constitue un tournant dans l’histoire de la scène occidentale. Reprenant le principe de l’œuvre d’art totale, la troupe propose des spectacles composés par des peintres, des chorégraphes et des musiciens. Leur succès est fulgurant et leur influence décisive. Cette thèse se propose d’étudier la réception des Ballets russes en Espagne. Alors que l’Europe est en guerre, la Péninsule constitue une terre d’accueil propice aux échanges. Les intellectuels du pays s’interrogent sur les possibilités de rénover la scène théâtrale et sont attentifs aux expériences qui viennent de l’étranger. Les ballets que propose la compagnie entrent en résonnance avec leurs propres préoccupations. Ils posent à la fois la question de la tradition au sein de la modernité, du national et du cosmopolitisme et s’exportent à l’étranger. Ce travail s’attache à confronter les différentes réceptions qui sont simultanément menées dans les deux capitales culturelles de l’Espagne au moment où les régionalismes s’affirment toujours plus. La présentation de l’état des lieux de la scène espagnole constitue le premier moment de cette thèse. La deuxième partie est entièrement consacrée à la première saison (1916) que la compagnie donne en Espagne ainsi qu’aux débats auxquels elle donne lieu. Les troisième et quatrième parties mettent en miroir les lectures qui sont faites à Madrid puis à Barcelone et présentent les singularités de chacune des deux capitales culturelles du paysThe Ballets Russes company was founded by Diaghilev in 1911, and marked a turning point in the history of the Western European stage art. Taking up the Gesamtkunstwerk, the company offered shows composed by painters, choreographers and musicians. Their success was immediate and their influence was decisive. This work will examine how the Ballets Russes were received in Spain. The Spanish peninsula offered a fertile ground for exchange while Europe was at war, with the country's intellectuals wondering about how to renew the theatre scene and being receptive to foreign experiments on the matter. The ballets offered by the company reflected those concerns by addressing the question of the role of tradition within modernity as well as the concepts of nationalism and cosmopolitism while managing to find an audience abroad. This study aims at confronting the simultaneous reception of the Ballets Russes in the two cultural capitals of Spain at a time when regionalism was becoming increasingly strong. The first part will give a description of the Spanish theatre and arts scene. The second part will be entirely dedicated to the company’s first season in Spain (1916) and to the debates it raised. The third and fourth parts will deal with the way the ballets were received and understood in Madrid and Barcelona, through a presentation of the particularities of each of these two cultural capitals
La compañía de los Ballets russes, fundada por Diaghilev en 1911, constituye un momento relevante de la historia de la escena occidental. Inspirándose del principio del Gesamtkunstwerk wagneriano, la compañía presenta espectáculos compuestos por pintores, coreógrafos y compositores. Su éxito es enorme y su influencia decisiva. Esta tesis estudia la recepción de los Ballets russes en España. Durante la Primera Guerra Mundial, la Península aparece como una tierra de acogida propicia a los intercambios. Los intelectuales españoles se interrogan sobre las posibilidades de renovar la escena teatral y están atentos a las experiencias realizadas en el extranjero. Las obras estrenadas por la compañía llaman su atención. Compaginan la tradición y la modernidad, lo nacional y el cosmopolitismo y se exportan al extranjero. Este estudio presenta una comparación entre las diferentes recepciones llevadas a cabo en las dos capitales culturales españolas en un momento en que los regionalismos se afirman cada vez más. Una presentación general de la escena español de aquel entonces constituye el primer momento de esta tesis. La segunda etapa se centra en la primera temporada rusa que la compañía presenta en España (1916) así como en los debates que surgen entonces. Las etapas 3 y 4 estudian las recepciones que tienen lugar en Madrid y en Barcelona comparando las características de cada una de las capitales culturales del país
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Baxter, Hannah. "The effect of Stravinsky's ballets on the role of the conductor." Thesis, University of Sussex, 2014. http://sro.sussex.ac.uk/id/eprint/49075/.
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This thesis explores Stravinsky's effect on the role of the conductor, employing a combination of score analysis, performance analysis, aesthetics and historicism. Stravinsky is widely regarded as one of the most influential composers of the Twentieth Century, and this now 'mythic' influence is perceived by many to have transformed the conductor's work. I investigate how true this assumption is, and whether The Rite of Spring in particular is responsible for any developments. The compound methodology allows for the study of rhythm, structure, harmony, instrumentation, hermeneutics and staging. My seven case studies (The Firebird, Petrushka, The Rite of Spring, Les Noces, Apollo, Stravinsky Violin Concerto, and Agon) are all ballets, which also places spotlight on a commonly neglected genre in music. This allows for the consideration of choreography - an additional influencing factor that is bypassed in most musicological and conducting literature. Moreover, the study of Stravinsky's ballets, as they span the composer's entire career, can serve as a useful lens through which to view the composer's repertoire as a whole. Therefore the findings of the thesis can be indicative of Stravinsky's broader influence on the conductor. The conclusions drawn were that although it is impossible to refute Stravinsky's overall impact on the conductor's work (particularly in relation to his comtemporaries), there are numerous overrated areas of impact. Furthermore, The Rite of Spring is not solely responsible for these changes. In fact, it overshadows the challenges present throughout Stravinsky's repertoire, which manifest themselves in the innovative choreography, instrumentation, rhythm and anti-interpretative devices.
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Redfern, Sophie M. "The Bernstein-Robbins ballets of the 1940s : sources, genesis and reception." Thesis, University of Sheffield, 2014. http://etheses.whiterose.ac.uk/5682/.
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Cappelle, Laura. "Nouveaux classiques. La création de ballets dans les compagnies de répertoire." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA157.
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Cette thèse a pour objet d’étude les processus d’élaboration de nouveaux ballets dans les compagnies de répertoire. À travers une enquête internationale, elle se propose d’interroger dans une perspective sociologique la situation de création spécifique qui est celle des chorégraphes de formation classique, insérés dans des institutions vouées principalement à l’entretien d’un répertoire d’œuvres existantes. Leurs trajectoires professionnelles et les différences genrées qu’elles mettent en évidence y sont élucidées, ainsi que la dimension fondamentalement collective d’un travail artistique qui implique la coopération d’autres acteurs, notamment les interprètes et les répétiteurs. À partir des formes d’incorporation et de circulation du mouvement, des logiques de création se dégagent, qui permettent d’interroger la nature de l’autorité créative du chorégraphe.Appuyé sur l’observation des répétitions de cinq créations au Ballet du Bolchoï, au Ballet de l’Opéra de Paris, à l’English National Ballet et au New York City Ballet, ce travail est complété par 29 entretiens et une base de données recensant toutes les créations des compagnies étudiées entre 2000 et 2016. Ces données croisées permettent de faire ressortir l’imaginaire commun qui sous-tend le travail des chorégraphes au XXIe siècle, les différences entre les quatre pays ainsi que les tensions propres à une forme de création identifiée comme classiqueCreativity within classical art forms is often underrated, and little is known about what it takes to craft a new ballet. This thesis explores the process of making new works in ballet companies today from a sociological perspective. Drawing on original field work in four countries, it looks at the specificity of the creative endeavours of ballet-trained choreographers, who work in institutional contexts where creation is allowed only limited space in comparison to the existing repertoire. The career trajectories of classical choreographers are addressed along with gender biases in the field. An in-depth look at the ways in which movement is shared, shaped and incorporated in the studio reveals the collective nature of creative processes which closely involve dancers and ballet masters.In addition to sustained periods of observation related to five creations at the Bolshoi Ballet, English National Ballet, New York City Ballet and the Paris Opera Ballet, the data gathered includes 29 interviews and a database listing every ballet created by the four companies above between 2000 and 2016. These findings shed light on the classical imaginary – a network of images and models, I argue, underpinning the work of 21st-century ballet choreographers – and highlight the complexity of classical artistic identities today
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Tomasella, Chiara <1994>. "L'analisi di una mostra temporanea: 'Léon Bakst: Symbol of the Ballets Russes'." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/16598.
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Il presente lavoro di tesi ha lo scopo di analizzare le diverse fasi che coinvolgono la realizzazione di una mostra temporanea: la genesi del progetto, il contenuto della mostra, la dinamica dei prestiti di opere d'arte, l'allestimento, il project management dell'evento e l'esito del progetto.
La mostra oggetto di analisi è 'Léon Bakst: Symbol of the Ballets Russes' curata dalla Professoressa Maria Ida Biggi e Natalia Metelitsa, tenutasi a Palazzo Cini dal 12/10/2018 al 19/11/2019 nell'ambito della Stagione Russa 2018 in Italia. Ho avuto il piacere e la fortuna di veder nascere questa mostra e di occuparmi delle visite guidate nel corso del suo svolgersi grazie al tirocinio formativo universitario. Da questa mia esperienza lavorativa e di apprendimento deriva l'interesse per questo progetto e la scrittura di questa tesi.
Trattandosi di una mostra di 'beni teatrali' particolare attenzione è stata posta su questo tipo di beni e sul modo in cui si possa 'mostrare il teatro'.
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Huesca, Roland. "Paris à l'époque des ballets russes, 1909-1913 : histoire culturelle de l'esthétique." Strasbourg 2, 1997. http://www.theses.fr/1997STR20096.
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Dès leur première venue à Paris, en 1909, les ballets russes de Serge de Diaghilev remportent un véritable triomphe. Avec Giselle, le pavillon d'armide ou encore les sylphides, M. Fokine, le chorégraphe rencontre et exalte la tradition. Le tout-paris, toujours lié aux valeurs nobiliaires, aime retrouver sur scène les grandeurs et la beauté d'un classicisme chers à la France. Il apprécie également de voir les peintres russes présenter des décors aux couleurs vives et lumineuses dans un style impressionniste dont la capitale s'enorgueillit. Enfin, dans l'enthousiasme et la jubilation de leurs danses, les danseurs russes, recréent aussi les valeurs d'un orient mythique et rêvé depuis le XIXe siècle. Érotisme et fougue barbare prennent corps sous les pas et les gestes des danseurs. Les ballets russes attisent ainsi les fantasmes du clan le plus huppé de la capitale. Avec V. Nijinsky il en est tout autrement. Trois oeuvres : "L'après-midi d'un faune", jouée pour la première fois en 1912, comme jeux et le "Sacre du printemps", présentées en 1913, avivent les controverses. L'attrait pour la tradition fait place aux avant-gardes. Sous le sceau du "moderne", le jeune chorégraphe bouleverse les usages. Accusé d'obscénité dans la dernière scène du "faune", son évocation du printemps renouvelle l'expérience du sacré dans le tout nouveau théâtre des Champs-Élysées devenu à l'occasion le "véritable temps de l'art". La critique peine à rendre compte de ces nouveautés. Les transpositions sémantiques vont bon train. V. Nijinsky proposerait-il des chorégraphies cubistes? Profitant de l'émoi, le nationalisme esthétique francais, se sentant menacé, exprime sa volonté hégémonique et cherche, dans ses accusations, à légiférer l'ordre du goût. Entre triomphes et scandales, les ballets russes proposent leurs spectacles. Une analyse phénoménologique de ces soirées permet de construire une histoire culturelle de l'esthetique. Les discours de la presse, les témoignages, les sources iconographiques ou les reconstitutions filmiques servent le travail herméneutique. Trois temps scandent la méthode proposée : décrire, construire et interpréter. Au gré des constructions, les représentations et les comportements artistiques de la Belle Époque apparaissent peu a peuOn their very first visit to paris, in 1909, S. De diaghilev's russian ballets met with a huge success. With such works as giselle, le pavillon d'armide or les sylphides, the choreographer, m. Fokine not only followed the rules of the dance tradition, but he also revived it. The parisian elite, who still craved on the values of the peerage, enjoyed seeing the greatness and the beauty of a appreciated to discover the russian painters' vividly coloured backdrops, which reminded them of the impressionistic style, a style that paris was proud to have been the centre of moreover, the russian dancers, full of enthusiasm and exultation, also recreated the values of a mythical orient, which has been dreamt of ever since the xixth century. The dancers' steps and gestures embodied a vision of eroticism and barbarous ardour. Thus, the russian ballets allowed the well-to-do parisians to meet their fantasies. Things changed with v. Nijinsky. Three of his works, l'apres-midi d'un faune, first played in 1912, jeux and le sacre du printemps both premiered in 1913, were highly controversial. Tradition gave way to the avant-garde. The young choreographer, considered a "modern" artist by all, id not follow the rules of ballet, but his rite of spring renewed the sense of sacred things. Critics id not know how to account for so many signs of novelty and semantic transpositions seem to have been only way out. Did v. Nijinksy create cubist choreographies? Taking the opportunity the supporters of the french aesthetic nationalism, who felt threatened, tried to impose their own sense of what beauty and good taste should be. The russian ballets with their various performances met triumphs a well as scandals. A phenomenological analysis of these dance evenings allows the elaboration of a cultural history of aesthetics what the press wrote, what people said, the pictures that were taken or the films which try to create the performances are useful to a hermeneutic work. Three steps mark the method used here : first there is a description,,then an elaboration is followed by the next one, the belle epoque's perceptions and representations of art are little unveiled
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Waleckx, Denis. "La musique dramatique de Francis Poulenc (les ballets et le théâtre lyrique)." Paris 4, 1996. http://www.theses.fr/1996PA040106.
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A partir de l'étude des ballets et des opéras de Francis Poulenc, cette thèse démontre l'importance de la production dramatique du compositeur (intérêt portés à l'ensemble des arts sollicités, recherche systématique d'un livret à mettre en musique compositions musicales parmi les plus abouties de son catalogue). Cette thèse commence par l'étude des ballets, occupant chronologiquement la première partie de la production de Poulenc, avant de s'intéresser au théâtre lyrique, que le compositeur abordera à partir des années quaranteThis thesis, studying ballets and operas of Francis Poulenc, proves that the stage works constituted a very important part of Poulenc’s production. This thesis begins by studying ballets, first composed, and continues with opera's analysis
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Guertin, Léon. "Le sechage des balles de foin denses à basse température /." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60522.
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Rectangular bales of hay measuring 35 x 46 x 84 cm baled to a density ranging from 145 to 172,4 kg/m$ sp3$ were dried on a dryer which can contain 4 300 bales for a total weight of approximately 130 tons. A 1,2 meter fan activated by a 60 kw L.P. Gaz engine insured an air flow of 840 m$ sp3$/min at 625 Pa of static pressure. This research has clearly demonstrated that approximately 50% of the drying air flowed between the bales placed on the dryer. By increasing the flow of air, the drying rate of the bales of hay was also increased. The results obtained prove of the effect of both temperature and relative humidity of the air on drying capacity. Finally, the dryer was more efficient when ten (10) rows of bales were dried at one time rather than 5. It would be desirable to develop a mathematical model to produce a computer simulation of drying applied to bales of hay. Efficient strategies to improve drying procedures of densely baled hay could thus be developed.
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Morissette, René. "Modélisation et optimisation du séchage artificiel du foin en balles." Thesis, Université Laval, 2006. http://www.theses.ulaval.ca/2006/24113/24113.pdf.
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Crystal, Raphael. "High wire : chamber ballet in five movements for multiple woodwind player (piccolo, E� clar., alto sax., bass clar.) and piano and written report High wire : a tonal and serial composition." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1292541.
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High Wire is a chamber ballet in five movements for multiple woodwind player (piccolo, Eb clarinet, alto saxophone, bass clarinet) and piano. It was inspired by Frederick H. Graham's Wait For The Muncie Boys: Indiana's Early Circuses, and was first performed, with choreography by Michele Kriner, at a concert of the Middletown Arts Project on January 26, 2003. The work is somewhat unusual in that it is both tonal and serial. It evokes popular musical styles of the turn of the twentieth century, with particular reference to circus music, and yet it is based on a twelve-tone series and generally adheres to strict serial techniques. The genesis of the work, the relationship of the music to the choreography, and the way in which two rather different musical sensibilities are reconciled are discussed in the written report that serves as an introduction to the score. A recording of the first performance is included in the side-pocket.School of Music
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Howell, Chelsea Gayle. "Multidisciplinary performance issues in Sergei Prokofiev's Trapèze." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1459902831&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Watts, Carolyn. "America in the Transatlantic Imagination: The Ballets Russes and John Alden Carpenter's Skyscrapers." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/31949.
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During its twenty-year lifespan, the Ballets Russes (1909 to 1929) was celebrated for bringing together illustrious artistic and cultural figures to collaborate on exotic productions based on Russian, Spanish, English and French themes. Notable by its absence from the Ballets Russes’ exotic interests is the culture and music of America, and this despite that during the 1920s Americans culture was a source of fascination and unease in the European cultural imagination. The Ballets Russes’ impresario, Serge Diaghilev, is recognized as holding the culture of the New World in disdain, yet nonetheless commissioned a “typically American” ballet score from Chicago composer John Alden Carpenter in 1923, which resulted in a score featuring a skyscraper-inspired machine aesthetic, and the inclusion of jazz and spirituals. Carpenter’s ballet was dropped by the Ballets Russes before production and was ultimately premiered as Skyscrapers: A Ballet of Modern American Life by the Metropolitan Opera Company on 19 February 1926. This thesis seeks to better understand Diaghilev’s perceived disdain for American culture, the reasons that caused him to avoid the inclusion of an American ballet in the Ballets Russes’ repertory, and his motives for commissioning a score from Carpenter. Drawing on archival documents from the Library of Congress, I construct a historical narrative of the commission and offer insight into the complex politics of patronage in the Ballets Russes. Furthermore, I position Skyscrapers as a product of cultural transfer, thus illustrating the manner in which Carpenter conceived of his ballet as an American work for an international audience. Finally, I examine the Metropolitan production of Skyscrapers and how it perpetuated racial stereotypes and participated in the debates about the mechanization of American life during the 1920s.
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Downes, Michael. "Debussy and the aesthetics of French music : from Wagner to the Ballets Russes." Thesis, University of Sussex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.388938.
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BERTOLONE, SILVIA. "José Ignacio Linazasoro e la ballena blanca : alla ricerca di un'architettura con sentido, progettare con la storia, per la città." Doctoral thesis, Università IUAV di Venezia, 2017. http://hdl.handle.net/11578/278735.
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Kim, Chan Ji Kim Chan Ji. "I. Composer and choreographer a study of collaborative compositional process. II. The lotus flower : ballet music for chamber ensemble and two-channel audio /." [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0013897.
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Fergison, Drue Alexandra. "Les noces : a microhistory of the Paris 1923 production /." Ann Arbor : UMI, 1995. http://catalogue.bnf.fr/ark:/12148/cb36963589p.
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Peruzzi, Elisabetta. "Approaches to ballet-making: the legacy of Ballets Russes in Australia between 1940 and 1960." Thesis, The University of Sydney, 2019. https://hdl.handle.net/2123/21859.
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Three major Australian ballet companies founded between 1941 and 1953 gave local dancers the chance to measure themselves with ballet repertoires originally staged in Russia and Europe and with an original choreographic repertoire created in Australia. In early-1941, Hélène Kirsova (1910-1962) founded her company, Kirsova Ballet, and staged her inaugural season at the Conservatorium of Sydney in July of the same year. In 1943, Edouard Borovansky (1902-1959) founded the Borovansky Australian Ballet, or Borovansky Ballet.1 The members of the company had been dancing since 1939, when Borovansky’s Petite Mozartiana premiered in Melbourne at the National Theatre Movement.2 In 1953, Kira Bousloff (1914-2001) founded the West Australian Ballet in Perth, presenting her first season in July of the same year.3 When these three European choreographers adopted Australia as their home country, they created new works and restaged repertoire that had been presented to Australian audiences between 1936-1940, during the three Australian Ballets Russes tours led by the Russian ballet impresario Colonel Wassily de Basil. These tours represented a sort of cultural revolution, as defined by Australian and International scholars, that had a strong impact on Australian artists: painters, composers and, of course, dancers and choreographers.4 While the success of these tours has been widely discussed, the influence that ballet technique and styles inherited from the artists of Ballets Russes companies had on the original and restaged choreographic works by Kirsova, Borovansky and Bousloff received less attention. This thesis examines the approaches to ballet-making in the restaging of Ballet Russes repertoires as well as in the creation of an original choreographic repertoire created in Australia between 1940 and 1960. Concentrating on the work of Kirsova, Borovansky and Bousloff – former de Basil’s Ballets Russes leading and character dancers who performed in Australia in the late-1930s – this thesis aims to investigate the artists’ modus operandi as they shared their ballet knowledge with Australian dancers. In order to understand their processes to ballet-making and their influences on local performers, in this thesis I examine and contextualise the legacy of the pedagogical and choreographic approaches of Ballets Russes artists in Australia between 1940 and 1960.
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Carter, Alexandra. "'Winged and shivering' : images of dancers in the Alhambra and Empire ballets, 1884-1915." Thesis, University of Surrey, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.335637.
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Gaetgaeow, Marisa Lily. "Authenticity and legacy in the reception of the Joffrey Ballet company’s reconstructed Stravinsky ballets." Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6576.
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When the Joffrey Ballet reconstructed the 1913 production of Le Sacre du printemps in 1987 and restaged Les Noces in 1989, the reception of these ballets drew upon the prevailing ideals of authenticity that also existed in music. The period’s Early Music revival emphasized the historically-informed performance of past music, using period instruments and techniques to approach an assumedly “authentic” performance. Over the course of twenty years in the late twentieth century the repertoire performed and recorded expanded chronologically closer to the present, challenging original conceptions that the nineteenth century was the benchmark for modern music and influencing the critical reception of later artistic works, including those of the Joffrey.
Because the Joffrey’s productions took place at Hancher Auditorium at the University of Iowa in Iowa City, this thesis presents a reception history of them that highlights both a national and local, Iowan narrative. This history is informed by archival documents from the University of Iowa’s Special Collections on the Iowa Center for the Performing Arts and from Hancher Auditorium. Hancher’s collection of press releases, coupled with the newspaper and magazine clippings, contributed to the cultivation of the Joffrey’s public image and those of the two ballets. These works—specifically their scores by Igor Stravinsky and their original choreographers Vaslav Nijinky and Bronislava Nijinska—are seen as pioneers of modernism. Yet, the reception of their reconstructed ballets took place at the height of the Early Music movement’s popularity. Reviewers weighed in on Le Sacre du printemps’ authenticity and their discussion of Les Noces also emphasizes legacy—be it that of the Joffrey Company itself, the legacy of the sibling choreographers, or that of the two works within the ballet repertoire. A comparison of the reception of these two productions also reveals the distinctions between reconstruction and revival.
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Borowski, Christian [Verfasser]. "Entwicklung von Verfahren und Bohrtechniken zur zufälligen Volumenelemententnahme aus Ballen / Christian Borowski." Clausthal-Zellerfeld : Technische Universität Clausthal, 2018. http://d-nb.info/1231364173/34.
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Valenzuela, Volkwein Javier Ignacio. "Estratigrafía y geología estructural de la región de Cerro La Ballena - Portezuelo Azabache (Cordillera de Domeyko 23°40' - 24°00'S." Tesis, Universidad de Chile, 2014. http://repositorio.uchile.cl/handle/2250/132142.
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Magíster en Ciencias, Mención GeologíaGeólogo
El presente estudio, enfocado en el desarrollo del borde occidental de la Cordillera de Domeyko dentro de la zona de Cerro La Ballena-Portezuelo Azabache (23°40'-24°00'S), ha permitido determinar la evolución tectono-estratigráfica de ese segmento desde el Paleozoico tardío al Cenozoico temprano. La región estudiada incluye una sucesión volcanoclástica y sedimentaria marina a continental continua, sin quiebres estratigráficos, desarrollada entre el Triásico Superior al Cretácico Inferior (Formación Cerro La Ballena, Grupo Caracoles y Estratos de San Manuel), sobre la cual se disponen en discordancia angular secuencias sedimentarias y volcánicas del Cretácico Superior (Formación Quebrada Mala) y el Complejo Intrusivo y Volcánico del Cerro Azabache. En discordancia angular sobre estas unidades se dispone una aislada y reducida unidad volcánica (Basaltos del Cerro Pico de Oro) de edad probablemente cercana al límite Cretácico-Terciario. Sobre estos se sitúa, en discordancia angular, una potente secuencia de tobas riolíticas y coladas andesíticas del Paleoceno superior al Eoceno inferior (Formación Cinchado). Esta zona, ubicada al oeste del núcleo de la Cordillera de Domeyko, presenta evidencias de deformación polifásica, a través de una deformación de escama gruesa desarrollada durante el Cretácico Superior, caracterizada por la formación de un anticlinal de basamento, con deslizamientos gravitacionales asociados, un nuevo periodo de intensa deformación compresiva en el límite Cretácico-Terciario, la formación de fallas normales durante un periodo de extensión en el Paleoceno-Eoceno inferior, y uno o más episodios deformación con una importante componente de rumbo a lo largo de la Falla Sierra de Varas, ocurridos con posterioridad al Paleoceno - Eoceno inferior.
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Levine, Sarah. "The Birth of Tragedy out of the Spirit of Dance: Nietzschean Transitions in Nijinsky's Ballets." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/rs_theses/37.
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This project compares the career of the early 20th century ballet dancer, Vaslav Nijinsky, to Friedrich Nietzsche’s theory of the tragic arts. In The Birth of Tragedy (1872) and elsewhere, Nietzsche argues that artists play the central role in communal mythmaking and religious renewal; he prescribes the healing work of the “tragic artist” to save modernity from the decadence and nihilism he identifies in scientism, historicism, and Christianity. As a dancer, and especially as a choreographer for the Ballets Russes (1912-1913), Nijinsky staged a kinetic response to modern culture that not only displayed shared concerns with Nietzsche, but also, as I argue, allow him to be interpreted as Nietzsche’s archetypical tragic artist. By juxtaposing the philologist-philosopher and dancer-choreographer as artists, I situate the emergence of Modern Art as a nascent movement still bound to Romanticism even while rebelling against it, and as an attempt to reinterpret art in a mythic (and thoroughly modern) context.
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Dietrich, Karin [Verfasser]. "Die Schwedischen Ballette - Les Ballets Suédois : Getanzte Visionen im Paris der 1920er Jahre / Karin Dietrich." Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2015. http://d-nb.info/1080456007/34.
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CHEMIZARD, NATACHA. "Les creations des ballets de satie et du groupe des six en france (1917-1970)." Lyon 2, 1995. http://www.theses.fr/1995LYO20003.
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Soixante-cinq ballets ont ete ecrits par satie et le groupe des six ; sur ces soixante-cinq ballets, la moitie a vu le jour grace a des compagnies prestigieuses, telles celle de diaghilev, ou celle de rolf de mare (jusqu'en 1929). L'autre moitie de ces ballets (ecrits jusqu'en 1960) reste meconnue. . . . Peut-etre du fait d'etre concue en dehors des idees choregraphiques nouvelles ou peut-etre faute d'un impressario genial. Satie and the "groupe des six" wrote sixty-five balletsHalf of wich were brought to life thanks to prestigious
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Pruiksma, Rose A. ""Dansé par le roi" : constructions of French identity in the court ballets of Louis XIV /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb392486471.
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Maurice, Didier. "Evaluation spatiale et pondérale de l'évolution des balles obturatrices per-opératoires pour maxillectomies." Paris 7, 1993. http://www.theses.fr/1993PA07GA01.
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Cormier, Étienne. "Mesure de la teneur en eau en continu durant le séchage du foin en balles." Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25712/25712.pdf.
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Tomic-Vajagic, Tamara. "The dancer's contribution : performing plotless choreography in the leotard ballets of George Balanchine and William Forsythe." Thesis, University of Roehampton, 2013. https://pure.roehampton.ac.uk/portal/en/studentthesis/the-dancers-contribution-performing-plotless-choreography-in-the-leotard-ballets-of-george-balanchine-and-william-forsythe(8d30f02d-1d2d-43da-b238-e055215cf52f).html.
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This thesis explores the contributions of dancers in performances of selected roles in the ballet repertoires of George Balanchine and William Forsythe. The research focuses on “leotard ballets”, which are viewed as a distinct sub-genre of plotless dance. The investigation centres on four paradigmatic ballets: Balanchine’s The Four Temperaments (1951/1946) and Agon (1957); Forsythe’s Steptext (1985) and the second detail (1991). It explores how performers across different company cultures perform and conceptualise several solo roles in these works. The research focuses on the dancers from the choreographers’ resident troupes (New York City Ballet, Ballett Frankfurt), and performers in the productions by several international repertory companies. The thesis is structured as a discursive, analytical space that merges two distinct vantage points: that of the spectator and of the performer. Dancers in this thesis, therefore, are not passive subjects, but important contributors and narrators of their individual processes and experiences. The study functions as a meeting place, bringing to light the links between the performer’s ideas and the spectator’s perception of the dance. The methodology integrates ethnographic approaches (observation and qualitative interviews) with movement analysis. The complex influences behind the dancers’ approaches are viewed in relation to their specific cultural contexts and Pierre Bourdieu’s notion of habitus. The examination of the finer details of the performances and dancers’ contributions in set choreography reveals a range of conceptualisations, from abstract to thematic imagery, and from fictional to documentary narratives. The study demonstrates that the dancers’ imprint in the leotard ballets is a complex set of culturally conditioned, embodied qualities and ii actions (both conscious and/or unintended). Together these form a type of individual “agency”, which shapes the look of the role and the overall ballet, particular to a single performance and to specific points in the dancer’s career.
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Copping, Roxanne Celine. "Composers and the Ballets Russes : convention, innovation, and evolution as seen through the lesser-known works." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/composers-and-the-ballets-russes--convention-innovation-and-evolution-as-seen-through-the-lesserknown-works(1357e7f5-17c5-4d98-a32a-13f4ba8bfda1).html.
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The primary focus of this thesis is a selection of lesser-known Ballets Russes works, which, despite being largely neglected in academic studies, constitute important chapters in the history of the company. The bright light of publicity that shone on Stravinsky - in particular on Le Sacre du Printemps - has cast shadows over other Ballets Russes works, creating an over-simplified historical perspective. This is not to deny that Le Sacre was a watershed moment for the company, and in seeking to enrich our understanding of its place within broader musical trends, the thesis is divided into three sections, representing works composed before, around the same time as, and after, Stravinsky’s notorious masterpiece. Following a brief introduction, and a descriptive chapter outlining Diaghilev’s artistic heritage, as well as Paris before the arrival of his company, the first section deals with the Ballets Russes’s early modus operandi; focusing on Nikolai Tcherepnin’s Le Pavillon d’Armide and Reynaldo Hahn’s Le Dieu bleu. The next explores the Ballets Russes in the wake of Le Sacre du Printemps, using Erik Satie’s Parade as an example of a ballet indebted to Stravinsky’s innovations. However, influence was not entirely a one-way phenomenon, and part of this section also discusses connections between the early Ballets Russes works and Le Sacre. Finally, the season of French ballets performed in 1924 allows me to reflect on the stylistic changes that occurred in the later years of the company, using Darius Milhaud’s Le Train bleu, Georges Auric’s Les Fâcheux, and Francis Poulenc’s Les Biches as examples of the company’s shift to an enterprise that placed greater emphasis on the visual. This research argues that even the lesser-known works, despite their apparent lack of musical innovation, contributed to the more path-breaking scores that have come to command scholarly interest. Moreover, the seasons I have highlighted reflect the changing ideologies of Diaghilev and his company, as it evolved from a Russian troupe inspired by the Mir Iskusstva, to a European artistic collective presenting the ideas of Cocteau and Les Six to Paris. Areas of future research extend from this thesis, as many other lesser-known ballets not encompassed here would clearly benefit from detailed scrutiny. Applying the principles of musical examination here outlined, together with an open-minded approach to new historical perspectives, should further help to redress the balance of scholarly attention that has skewed the overall understanding of the Ballets Russes.
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Shuhly, David. "Presentation of the Sun King: The Performance of Power in 17th Century French Ballets des Entrees." Fogler Library, University of Maine, 2000. http://www.library.umaine.edu/theses/pdf/ShuhlyD2000.pdf.
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Rousselot, Maëlle. "De la transe dans les ballets du XIXe siècle à aujourd’hui : pour un décentrement des regards." Electronic Thesis or Diss., Bourgogne Franche-Comté, 2023. http://www.theses.fr/2023UBFCC037.
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Cette recherche formule l’hypothèse qu’il puisse y avoir des présences de transe au sein des représentations et des perceptions des ballets du XIXe siècle à aujourd’hui. De là, surgissent de nombreuses questions : comment la transe serait-elle représentée et perçue dans ces œuvres ? Qu’est-ce que ces représentations de transe ou au contraire son invisibilité dans ces ballets, disent de nous, Occidentaux ? Comment définir la transe, ce phénomène insaisissable et état aux multiples facettes ? Notre opération méthodologique consiste alors, non pas tant à définir la transe, que de dégager des dimensions et des traits transiques, soit des aspects récurrents relevés au sein d’un corpus ouvert de phénomènes de transes diversement repérés comme tels au fil de l’histoire occidentale du XVIe siècle à aujourd’hui. À la suite, cela nous permet de relever les traits et dimensions transiques au sein des ballets du XIXe à aujourd’hui, cela à travers des analyses d’œuvres et de discours à partir de sources diverses (livrets, textes, images, dessins, lithographies, tableaux, photographies, vidéos) et d’entretiens avec des danseurs. Ainsi, nous pouvons à la fois aborder le phénomène de transe dans toute sa complexité et décentrer nos regards sur les ballets. Nous découvrons un XIXe siècle foisonnant d’aspects transiques, alors que, de la fin du XXe siècle jusqu’à aujourd’hui, les éléments recouvrant et effaçant ces aspects semblent nombreux. Or, le fait de montrer ou au contraire d’effacer ces caractéristiques est porteur de discours sur ces danses, mais aussi de son public. Ce décentrement des regards permet également de possibles relectures « transiques » de ces ballets à l’heure contemporaineThis research formulates the hypothesis that there may be presence of trance in the representations and perceptions of ballets from the nineteenth century to the present day. This raises a number of questions: how is trance represented and perceived in these works? What do these representations of trance, or on the contrary its invisibility in these ballets, say about us as Westerners? How can we define trance, this elusive phenomenon and multifaceted state? Our methodological operation, then, consists not so much in defining trance, as in identifying, dimensions and features, i.e., recurring aspects found within an open corpus of trance phenomena variously identified as such throughout Western history from the sixteenth century to the present day. This then allows us to identify the transic features and dimensions of ballets from the nineteenth century to the present day, through analyses of works and discourses based on various sources such as librettos, texts, images, drawings, lithographs, paintings, photographs, videos and on interviews with dancers. In this way, we can both approach the phenomenon of trance in all its complexity and shift the way we look at ballets. We discover a nineteenth century teeming with trance aspects, whereas from the end of the twentieth century to the present day, there seems to be many elements that obscure and erase these aspects. The fact of showing or, on the contrary, erasing these characteristics conveys information about these dances, but also about their audience. This decentred perspectives also allows possible “transic” reinterpretation of these ballets in a contemporary context
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Vergnaud, Sabine. "La Musique et les arts dans la collaboration du Groupe des Six avec les Ballets Suédois (1920-1925)." Thesis, Saint-Etienne, 2010. http://www.theses.fr/2010STET2146.
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Rolf de Maré, directeur, et Jean Biirlin, chorégraphe, fondent à Paris, en 1920 les Ballets suédois. Durant ses cinq années d'existence, cette compagnie affiche la volonté de se libérer de l'hégémonie russe en proposant des programmes audacieux. Les plus novateurs d'entre eux sont réalisés avec la collaboration de compositeurs du Groupe des Six -Milhaud, Poulenc, Honegger, Auric, Tailleferre - mais aussi celle d'écrivains et de peintres tels Jean Cocteau, Paul Claudel, Blaise Cendrars, Ricciotto Canudo, Fernand Léger, Jean Hugo et Irène Lagut. Entre 1921 et 1923, la compagnie crée au Théâtre des Champs Elysées : L'Homme et son désir de Milhaud, Les Mariés de la Tour Eiffel des Six (sauf Durey), Skating Rink de Honegger, Marchand d'oiseaux de Tailleferre et La Création du monde de Milhaud. Autant de prototypes dans lesquels le théâtre, la peinture et la musique imposent un renouvellement chorégraphique constant,mais également un renouvellement du ballet comme genre. Cette thèse s'intéresse au rapport de ces compositions avec les autres arts sollicités dans une même énergie créatrice. L'étude génétique s'appuie sur la comparaison des partitions manuscrites avec les tapuscrits et manuscrits des livrets (conservés entre autres au Dans muse et de Stockholm, au fonds B. Cendrars des Archives Littéraires Suisses à Berne). Elle consulte aussi les correspondances, les maquettes de décors, de costumes, les esquisses chorégraphiques et permet de définir la place et le rôle de tous les acteurs de ces ballets. Elle souligne l'impact de la collaboration des Suédois avec les Six non seulement sur l'évolution de la danse mais aussi sur celle des autres artsThe Ballets suédois was formed in Paris in 1920 by Rolf de Maré, director, and Jean Biirlin,choreographer. In its five-year existence, this company asserted its wish to break away from the Russianhegemony by proposing daring performances. The most innovative of them were created in collaborationwith composers from 'les six' such as Milhaud, Poulenc, Honeger, Auric or Tailleferre, and also with thecontribution of writers and painters such as Jean Cocteau, Paul Claudel, Blaise Cendrars, RicciottoCanudo, Fernand Léger, Jean Hugo or Irène Lagut. Between 1921 and 1923, the company stagedMilhaud's L'Homme et son désir and La Création du monde, Honegger's Skating Rink, Tailleferre'sMarchand d'oiseaux and The Marriage on the Eiffel Tower by 'les six' (to which Durey did notcontribute) at the Théâtre des Champs-Elysées; so many prototypes on which drama, painting and musicnot only imposed constant choreographic renewal, but a renewal of the ballet as a genre. This thesis dealswith the connection between those compositions and the different forms of art they combine in the samecreative energy. The genetic study is based on the comparison of the handwritten scores with thetapuscripts and the manuscripts of the librettos (kept at the Dansmuseet in Stockholm or at the FundsBlaise Cendrars of the Swiss Literary Archives in Bern). It also studies correspondence, models ofscenery, costumes, choreographic sketches and aims at defining the place and role of al! the performers in_those ballets. It stresses the impact the collaboration between the Swedish and 'les six' had, not only onthe evolution of dancing, but also on thal of other forms of arts
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Crognier, Lionel. "Conditions d'expression et rôle des connaissances tactiques dans l'anticipation de trajectoires de balles au tennis." Paris 5, 2003. http://www.theses.fr/2003PA05S023.
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Cette recherche s'inscrit dans le cadre de l'expertise cognitive et vise à comprendre les déterminants de l'anticipation au tennis. Au cours des vingt dernières années, la question "quel type d'information est extraite pour anticiper l'endroit et le moment du rebond de la balle" a reçu deux réponses pricipales. Il a été montré que des indices visuels précoces étaient prélevés sur le mouvement de l'adversaire et que le vol de la balle pouvait spécifier le temps restant avant le contact entre la balle et la raquette. L'objet de cette thèse est de déterminer si l'habilité d'anticipation peut être attribuée à une troisième source d'information : celle qui est liée au contexte tactique du jeu. Autrement dit, la connaissance des épisodes de jeu antérieurs à la trajectoire de la balle à juger peut-elle améliorer la qualité de la prédiction?. . .