Dissertations / Theses on the topic 'Dance hall'

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.

This dissertation explores the history and aesthetic of ballet in Parisian music halls at the turn of the twentieth century. Although the phenomenon is now long forgotten, ballet was for more than four decades a popular form of entertainment for a large audience. Between 1872 and 1918, nearly two hundred ballets were staged in Paris's music halls, more than half of which were premiered by the three most prominent halls: the Folies-Bergère, the Olympia, and the Casino de Paris. These newly written, composed, and choreographed ballets were often complex productions with lavish scenery and costumes, large ballet corps, and star ballerinas. Although they were in many ways structurally comparable to ballets staged at the Paris Opéra, music-hall ballets reflect the preferences of their fashionable, pleasure-seeking audiences through their emphasis on catchy up-beat music, stage spectacle, and the female body. My doctoral research brings to light this important ballet culture and repertoire. I begin with an overview of the historical circumstances that made it possible for variety theatres to adopt ballet. I then examine ballet's new context in order to establish the institutional features that helped shape music-hall ballet, and provide biographical information about the artists who created and performed them. This is followed by analyses of music-hall ballet's conventions, with sections on the types of subjects favoured by librettists, the formal structures of popular ballets, the choreographic elements that were typically incorporated, and the musical characteristics of the genre. I end with an exploration of the visual and musical elements that distinguish music-hall ballet as a “popular” genre, and discuss its mediation of high and lowbrow features and intersections with contemporary popular culture.<br>Cette thèse examine l'histoire et l'esthétique du ballet dans les music-halls parisiens au tournant du XXe siècle. Quoiqu'on l'ait longtemps oublié, le ballet constitua pour plus de quatre décennies une forme de divertissement populaire auprès d'un vaste public. Entre 1872 et 1918, près de deux cent nouveaux ballets furent mis en scène dans les music-halls de Paris, dont plus de la moitié furent créés dans trois établissements proéminents, les Folies-Bergère, l'Olympia et le Casino de Paris. Ces œuvres aux partitions, chorégraphies et livrets originaux constituaient fréquemment des productions complexes et spectaculaires, faisant appel à des décors et costumes flamboyants, un important corps de ballet et des danseuses étoiles. Bien que les ballets de music-halls aient été comparables, sous plusieurs aspects, aux ballets contemporains présentés à l'Opéra de Paris, ils reflètent néanmoins les préférences de leur audience épicurienne par l'importance accordée à une musique vive et entraînante, au spectaculaire et au corps féminin. Ma recherche met en lumière l'importance de la culture et du répertoire du ballet de music-hall. Je me penche d'abord sur les circonstances historiques qui permirent aux music-halls d'adopter le ballet. J'examine ensuite ce nouveau contexte de représentation du ballet afin d'établir les caractéristiques institutionnelles qui contribuèrent à façonner les ballets de music-hall, et offre de l'information biographique sur les artistes qui créèrent et interprétèrent ceux-ci. J'analyse les conventions du ballet de music-hall, les types de sujets abordés par les librettistes, les structures formelles des ballets populaires, les éléments chorégraphiques communément incorporés et les aspects du langage musical propres au genre. En terminant, j'explore les attributs visuels et musicaux caractérisant le ballet de music-hall comme un genre « populaire », discute de la façon dont il ama

À mi-chemin entre un café, un jardin d’agrément, un bal et une scène théâtrale, les cafés-concerts et les music-halls représentent les divertissements les plus importants du XIXe siècle. Espaces spectaculaires qui accueillent des sociabilités hétérogènes et qui combinent une double fonction artistique et festive, l’identité socioculturelle de ces nouveaux loisirs s’est d’abord élaborée par opposition au statut du lieu d’art. Le postulat de la rareté des répertoires et des artistes issus des cafés-concerts et des music-halls dans l’historiographie des arts scéniques, et dans la transmission des savoirs en danse, nous a conduits à enquêter sur les raisons et les enjeux de cette mise à l’écart. « Lieux dangereux et vulgaires », « spectacles immoraux », « artistes insipides », sont les expressions symptomatiques d’une perception négative fondée sur un ensemble idéologique qui concourt à dessiner les contours d’une illégitimité culturelle. Une première étape de la recherche vise à analyser les principes de distinction sociale et de hiérarchisation artistique en œuvre dans le processus de délégitimation des cafés-concerts et des music-halls, en puisant dans les sources produites par les institutions en charge du contrôle des spectacles au XIXe siècle. Catégorisés en tant qu’objets populaires, les arguments déployés par les instances administratives et la police des théâtres révèlent en premier lieu le fondement d’une idéologie de classe, focalisée sur les origines prétendues populaires de ces divertissements. Entre le Second Empire et la Troisième République, l’histoire des cafés-concerts et des music-halls est traversée par un phénomène de féminisation qui bouleverse les pratiques et les représentations associées à ces espaces et participe à resémantiser leurs premières attributions sociales et symboliques. La seconde phase de ce travail s’intéresse aux effets d’un processus qui interagit sur les plans socioculturel, professionnel et symbolique par une présence féminine érotisée et qui tend à bâtir la catégorie du divertissement comme appartenant au genre féminin. Afin d’interroger les échanges entre altérités féminines et corporéités populaires sur les scènes des cafés-concerts et des music-halls durant la seconde moitié du XIXe siècle, la thèse mobilise deux catégories d’artistes féminines — les effeuilleuses et les danseuses de chahut-cancan — réunies autour d’un geste scénique et érotique commun : le déshabillage. L’étude de ce geste ouvre un troisième champ de questionnements sur les rapports entre l’érotique et l’illégitime dans les pratiques professionnelles de femmes qui exercent un métier artistique au sein d’un lieu spectaculaire à la fois déconsidéré et hautement érotisé. À travers les différentes étapes qui jalonnent cette recherche, la réflexion cherche à rendre compte de l’impact du déshabillage érotique sur la sensibilité d’une époque, sur le statut social des femmes, mais également sur les mouvements internes de professionnalisation des artistes de café-concert et de music-hall au XIXe siècle, et plus globalement, sur l’héritage historiographique de ces divertissements<br>Halfway between a café, a pleasure garden, a ball and a theatrical stage, café-concert and music hall are the main entertainment places in the 19th century. Spectacular spaces that welcome heterogeneous sociability and combine a dual artistic and festive function, the socio-cultural identity of these new leisure activities was first developed as opposed to the status of the art place. The postulate of the rarity of repertoires and artists from café-concert and music hall in the historiography of performing arts, and in the transmission of knowledge in dance, has led us to investigate the reasons of this exclusion and the issues at stake. "Dangerous and vulgar places", "immoral performances", "insipid artists", are symptomatic expressions of a negative perception based on an ideological set that contributes to drawing the contours of cultural illegitimacy. The first stage of the research consists in analysing the principles of social distinction and artistic hierarchy in the process of delegitimization of café-concert and music hall, based on the sources from the institutions responsible for controlling 19th century performances. Categorized as popular objects, the arguments put forward by the administrative authorities and the theatre police reveal first and foremost the basis of a class ideology, focused on the supposedly popular origins of these entertainments. Between the Second Empire and the Third Republic, the history of café-concert and music hall was marked by a phenomenon of feminization that disrupted the practices and representations associated with these places and helped to redefine their first social and symbolic attributions. The second stage of this work focuses on the effects of a process that interacts socioculturally, professionally and symbolically through an eroticized female presence, and that tends to build the entertainment category as belonging to the female gender. In order to question the exchanges between female otherness and popular corporealities on the stages of café-concert and music hall during the second half of the 19th century, the thesis focuses on two categories of female artists — the effeuilleuse (strippers) and the chahut-cancan dancers — gathered around a common scenic and erotic gesture: undressing

Made available in DSpace on 2016-04-27T18:47:25Z (GMT). No. of bitstreams: 1 Dissertacao Leandra.pdf: 346654 bytes, checksum: d4a171ce1c97cc4e809a78a53ba55631 (MD5) Previous issue date: 2005-05-13<br>The aim of de present dissertation is to how the collective corporal movement, through the dance hall promotes, a new old people socialization. The research was performed with old people that take part of a dance hall group from Open University to Third Age of Faculdades Integradas of Santa Fé do Sul. Five students were interviewed, being three men and two women with age above 60 years old. The speeches showed in interviews were checked through teories as: body, effect of aging, socialization, corporal movement and dance hall. To guide the research, we elaborated a more general questionnaire which was applied on thirty participants of the group and from this we selected five people to be interviewed. The interview script we elaborated is found in attached. We see that the exposed questions on script point to tests, interviewed old people s interpretations about the several possibilities of old age to be lived, of new ways, of different manners and, as well, how the body may own new meanings that do not hinder the old people to dance, to keep touch with the other one and to plan the future.<br>O objetivo da presente dissertação pesquisa como o movimento corporal coletivo, através das danças de salão promove, uma nova socialização do idoso. A pesquisa foi realizada com idosos, que fazem parte de um grupo de Danças de Salão da Universidade Aberta à Terceira Idade das Faculdades Integradas de Santa Fé do Sul. Foram entrevistados cinco alunos, sendo três homens e duas mulheres com idade acima de 60 anos. As falas apresentadas nas suas entrevistas foram analisadas a partir de teorias como: corpo, envelhecimento, socialização, movimento corporal e dança de salão. Para nortear a pesquisa elaboramos um questionário mais geral que foi aplicado em trinta (30) participantes do grupo e a partir daí selecionamos cinco (5) pessoas para serem entrevistadas. O roteiro de entrevistas que elaboramos encontra-se em anexo. Entendemos que as questões expostas no roteiro apontam para avaliações, interpretações dos entrevistados idosos sobre as várias possibilidades da velhice ser vivida, de novas formas, de diferentes maneiras e, também, como o corpo pode possuir novos significados que não impeçam o idoso de dançar, manter contato com o outro e planejar o futuro.

Diploma thesis „Sport centre“ is made as a project documentation. The designed building structure is detached on a plane terrain in Lipník nad Bečvou. It has two floors and a basement. This building construction is based on the footings. The load-bearing walls are bricked up by Porotherm blocks. The ceilings are made up of panels Spiroll and PZD. The roof construction is designed as a single-flat. In building is squash, dance hall, gym, spinning, massages, snack bar and bowling with two lanes. Car park is next to the building.

Souvent devisagees, rarement envisagees, la personne et l'oeuvre de jean cocteau ont suscite de nombreux commentaires. Or la partie theatrale de cette creation aux diverses facettes n'a pas veritablement eveille l'interet des exegetes. D'importances zones d'ombre subsistent autour d'une oeuvre couvrant pourtant toute la premiere moitie du xxeme siecle. Multiples sont les projets et les realisations dont l'histoire a perdu ou transforme la memoire : plus de trente ans apres la mort du poete, une page de l'histoire de son theatre restait encore a ecrire. Jean cocteau a des le debut lie les destinees de son theatre a celles du cirque et du music-hall : de l'adaptation du songe d'une nuit d'ete (1913-1915) a orphee (1926) ces arts etablissent un lien a la fois technique et thematique entre des spectacles ou entrent egalement en scene des peintres (picasso, jean hugo, irene lagut) et des musiciens (stravinsky, satie, le groupe de six). Veritables evenements artistiques, les premieres donnerent souvent lieu a des scandales largement rapportes et commentes par la presse du temps. Omnipresents dans les oeuvres de jeunesse, elements fondateurs d'un theatre essentiellement visuel, le cirque et le music-hall disparaissent au fur et a mesure que jean cocteau perfectionne sa technique theatrale et elabore sa propre mythologie. Tout en conservant les acquis du passe, le poete se tourne peu a peu vers un theatre qui renonce a privilegier les aspects visuels : la recherche textuelle l'emporte progressivement sur la recherche scenique<br>Often stared, rarely considered, the personality and works of jean cocteau have generated many comments. The theatrical part of his works in all its diversity hasn't really aroused the interest of his followers. There are still areas of obscurity around his works covering half the twentieth century. There are many projects and achievements, the memory of which history has lost or changed : more than thirty years after the death of the poet, a page of his theatre's history still remains to be written. From the start, jean cocteau linked the destinies of his theatre to those of the circus and the music-hall : from the adaptation of a midsummer night dream (1913-1915) to orphee (1926) those arts establish a link both technical and thematic between shows equally involving painters such as picasso , jean hugo, irene lagut and musiciens like stravinsly, satie, le groupe des six. True artistics events, the premieres often gave raise to scandals widely reported ans commentated in the current newspapers. The circus and the music-hall were omnipresent in his first works, and were alos elements in the fouding of a theatre mainly visual. However, the circus and music-hall disappeared just as jean cocteau perfected his theatrical technique and elaborated his own mythology. While conserving his past skills the poet went slowly howards a theatre wich didn't give priority to visual aspects : the textual research progressively taking over the scenic research

This collection of seven representative original short stories will include four short stories relating to a fictional location in Dallas, the Starry Skies gay country-and-western dance hall. Three short stories set in fabulous, sometimes absurd settings, will follow. A preface dealing with the nature of fictional place and non-fictional place in fiction will precede the collection of short stories.

This dissertation examines how Philippine (or Filipino) authors emphasise the need for articulating or “re/membering” cultural identity. The researcher mainly draws from the theory of Caribbean critic, Stuart Hall, who views cultural identity as an articulation which allows “the fragmented, decentred human agent” to be considered as one who is both “subject-ed” by power but/and one who is capable of acting against those powers (Grossberg 1996 [1986]: 157, emphasis mine). Applied to the Philippine context, this writer argues that, instead of viewing an apparent fragmented Filipino identity as a hindrance to “defining” cultural identity, she views the “damaged” (Fallows 1987) Filipino history as a the material itself which allows articulation of identity. Instead of reducing the cultural identity of a people to what-they-could-have-been-had-history-not-intervened, she puts forward a vision of identity which attempts to transfigure these “damages” through the efforts of coming-to-terms with history. While this point of view has already been shared by other critics (such as Feria 1991 or Dalisay 1998:145), the author’s contribution lies in presenting re/membering to describe a specific type of articulation which neither permits one to deny wounds of the past nor stagnate in them. Moreover, re/membering allows one to understand continuous re-articulations of “new” identities (due to current migration), while putting an “arbitrary closure” (Hall) to simplistic re-articulations which may only further the “lines of tendential forces” (such as black or brown skin bias) or hegemonic practices.<p><p>Written as such (with a slash),“re/membering” encapsulates the following three-fold meaning: (1) a “re-membering”, to indicate “a putting together of the dismembered past to make sense of the trauma of the present” (Bhabha 1994:63); as (2) a “re-membering” or a re-integration into a group and; as (3) “remembering” which implies possessing “memory or … set [ting] off in search of a memory” (Ricoeur 2004:4). As a morphological unit, “re/membering” designates, the ways in which Filipino authors try to articulate cultural identity through the routes of colonisation, migration and dictatorship. <p><p>The authors studied in this thesis include: Carlos Bulosan, Bienvenido Santos, N.V.M. Gonzalez, Nick Joaquin, Frank Sionil José, Ninotchka Rosca, Jessica Hagedorn, and Merlinda Bobis. Sixty-years separate Bulosan’s America is in the Heart (1943) from Hagedorn’s Dream Jungle (2003). Analysis of these works reveals how articulation is both difficult and hopeful. On the one hand, authors criticize the lack of efforts and seriousness towards articulation of cultural identity as re/membering (coming to terms with the past, fostering belonging and cultivating memory). Not only is re/membering challenged by double-consciousness (Du Bois 1994), dismemberment and forgetting, moreover, its necessity is likewise hard to recognize because of pain, trauma, phenomena of splitting, escapist attitudes and preferences for a “comfortable captivity”. <p><p>On the other hand, re/membering can also be described as hopeful by the way authors themselves make use of literature to articulate identity through research, dialogue, time, reconciliation and re-creation. Although painstaking and difficult, re/membering is important and necessary because what is at stake is an articulated Philippine cultural identity. However, who would be prepared to make the effort?<p>------<p><p>Cette thèse démontre que, pour les auteurs philippins, l’articulation ou « re/membering » l'identité culturelle, est nécessaire. Le chercheur s'appuie principalement sur la théorie de Stuart Hall, qui perçoit l'identité culturelle comme une articulation qui permet de considérer l’homme assujetti capable aussi d'agir contre des pouvoirs (cf. Grossberg 1996 [1986]: 157). Appliquée au contexte philippin, cet auteur soutient que, au lieu de la visualisation d'une identité fragmentée apparente comme un obstacle à une « définition » de l'identité culturelle, elle regarde l’histoire philippine «abîmée» (Fallows 1987) comme le matériel même qui permet l'articulation d’identité. Au lieu de réduire l'identité culturelle d'un peuple à ce qu’ ils auraint pû être avant les interventions de l’histoire, elle met en avant une vision de l'identité qui cherche à transfigurer ces "dommages" par un travail d’acceptation avec l'histoire. <p><p>Bien que ce point de vue a déjà été partagé par d'autres critiques (tels que Feria 1991 ou Dalisay 1998:145), la contribution de l'auteur réside dans la présentation de « re/membering » pour décrire un type d'articulation sans refouler les plaies du passé, mais sans stagner en elles non plus. De plus, « re/membering » permet de comprendre de futures articulations de « nouvelles » identités culturelles (en raison de la migration en cours), tout en mettant une «fermeture arbitraire» (Hall) aux ré-articulations simplistes qui ne font que promouvoir des “lines of tendential forces” (Hall) (tels que des préjugés sur la couleur brune ou noire de peau) ou des pratiques hégémoniques.<p><p>Rédigé en tant que telle (avec /), « re/membering » comporte une triple signification: (1) une «re-membering », pour indiquer une mise ensemble d’un passé fragmenté pour donner un sens au traumatisme du présent (cf. Bhabha, 1994:63); (2) une «re-membering» ou une ré-intégration dans un groupe et finalement, comme (3)"remembering", qui suppose la possession de mémoire ou une recherche d'une mémoire »(Ricoeur 2004:4). Comme unité morphologique, « re/membering » désigne la manière dont les auteurs philippins tentent d'articuler l'identité culturelle à travers les routes de la colonisation, les migrations et la dictature. <p><p>Les auteurs inclus dans cette thèse sont: Carlos Bulosan, Bienvenido Santos, NVM Gonzalez, Nick Joaquin, Frank Sionil José, Ninotchka Rosca, Jessica Hagedorn, et Merlinda Bobis. Soixante ans séparent America is in the Heart (1943) du Bulosan et le Dream Jungle (2003) du Hagedorn. L'analyse de ces œuvres révèle la façon dont l'articulation est à la fois difficile et pleine d'espoir. D'une part, les auteurs critiquent le manque d'efforts envers l'articulation en tant que « re/membering » (confrontation avec le passé, reconnaissance de l'appartenance et cultivation de la mémoire). Non seulement est « re/membering » heurté par le double conscience (Du Bois 1994), le démembrement et l'oubli, en outre, sa nécessité est également difficile à reconnaître en raison de la douleur, les traumatismes, les phénomènes de scission, les attitudes et les préférences d'évasion pour une captivité "confortable" .<p><p>En même temps, « re/membering » peut également être décrit comme plein d'espoir par la façon dont les auteurs eux-mêmes utilisent la littérature pour articuler l'identité à travers la recherche, le dialogue, la durée, la réconciliation et la re-création. Bien que laborieux et difficile, « re/membering » est important et nécessaire car ce qui est en jeu, c'est une identité culturelle articulée des Philippines. Mais qui serait prêt à l'effort? <p><br>Doctorat en Langues et lettres<br>info:eu-repo/semantics/nonPublished

This thesis explores Shaker (architectural) intentionality through an examination of and proposed addition to the Shaker’s Holy City design template. The Holy City drawing and its accompanying text, ‘Explanations of the Holy City with its various parts and appendices pointed out’, depict a master plan of Shaker ‘Heaven’ and template from which Shaker settlements were to be constructed. This thesis proposes the addition of a meeting house design to the Holy City master plan, an addition through which intrinsic elements of Shaker architecture may be readily understood. The project encompasses two stages. The first involves an overall analysis of the Holy City, Shaker meeting house and village typologies. Secondly, ‘drawing’ upon the lessons arising from the analysis, the project proposes the addition of a meeting house to the Holy City documents. The proposed design is sited within the Holy City map and retrospectively mediates the Shakers idealized and constructed works.

碩士<br>國立政治大學<br>地政學系<br>89<br>What is public space? How to solve conflicts in public space? This paper has been summarized all issues of public space theory by the experience of C.K.S.’s memorial hall and street dance. How to let activities happen naturally? Public space which like C.K.S.’s memorial hall presents special cultural meaning, and combines with alternative value of street dance by material equipment and location. But more important is that how B. Boys “live” their “thirdspace” to counter pressure of real space, realize true publicity of public space, reach the goal of good city public space eventually. We can get three points in the end of this paper: first, there has be some thirdspace in public space because disadvantaged people have not been seen for so long, or public space is meaningless without people realized. Second, incase to solve conflicts in public space, we must return to social-cultural research to discover informal system, relationships between people, activities, and subculture in thirdspace. Third, planners have to realize the informal systems so to contribute their profession abilities within social-culture and network systems in thirdspace.

碩士<br>國立臺中教育大學<br>區域與社會發展學系國民小學教師在職進修教學碩士學位班<br>106<br>Street dance has been developing for more than 30 years in Taiwan, and by the impact of the globalization of pop culture and idol groups, the number of street dance participants has also been increasing year by year, as well as the demanding for dance spaces. Although being the origin of Taiwan’s street dance culture, the popularity of street dance and public dance spaces in Taichung is far less than Taipei City, thus through this study, we hope to understand the development of public dance spaces and the analysis of the usage of dance spaces in Taichung, on one hand to clarify how the dancers use the public dance spaces and recreate the meaning of public dance spaces, and on the other hand to understand the relationship between the street dance development limit and public spaces. To achieve this goal, this study takes the main public dance space in Taichung－the public spaces around Chung Shan Hall－as the research area, and takes the concepts of spatial practice, representation of space, and representational spaces in Lefebvre’s theory of the production of space as the basis of the research theory, as well as applying research methods such as Secondary Data Analysis, Observational Method and In-Depth Interview to collect related information, observe and interview the space users. The main conclusions are as follows: First, through the research and analysis for appropriate street dance spaces in Taichung, we have found that the public dance space development limits are not only related to the public sectors’ norms, but also highly relevant to the dancers’ dependence on public transportation. Second, after the public spaces around Chung Shan Hall are being used for dance practices, new rules have been created for space usage by the long-established unspoken rules between different dancers, as well as the coordination and understanding between them. Third, the surrounding area of Chung Shan Hall has not just become the representative of dance spaces in Taichung and showed the meaning of space from the bottom of the dancers’ hearts－as the “sense of belonging” of a family, the “inclusiveness” to people and space, the “sense of being on stage” to fulfill the emulation, the “affirmation” to test the dance skills and so forth－but has more so become irreplaceable.

碩士<br>國立中央大學<br>藝術學研究所<br>87<br>Abstract The reason why Toulouse-Lautrec has a vague status in art history is mainly because he widely joins the creation of Minor Art, yet he is criticized in Grand Art''s techniques. Thus this essay focuses on two of his works each in the categories of Minor Art and Grand Art to explore his artistic characteristics. In the end of 19th century, it''s already a trend of culture to pursue the expression of "la modernite". Just like the Impressionists, Toulouse-Lautrec gets out of the Academic rules, and adapts the urban entertainment as his main subject. But unlike the brightness and happiness in Impressionism, it is noted that Toulouse-Lautrec usually reveals melancholy via his works. Here we select two of his important works as research objects：the poster " Moulin Rouge, La Goulue, 1891" and the oil painting "Au Salon de la Rue des Moulins, 1894". The main method used here is the analyzing technique. However, before proceeding the style research, we have to understand where his sense of melancholy comes, so firstly we discuss his painting processes by dividing them to three statuses: "study period", "mature period", and "change" in Chapter One. In Chapter Two, we present the social reality of girls in dance halls and brothels, and discuss how they were presented in Literature and Art. In Chapter Three and Four, we proceed the research of his art works" Moulin Rouge, La Goulue" and "Au Salon de la Rue des Moulins". Taking his formal elements and formal relationship to discuss his techniques, and how he uses these techniques to achieve the melancholy and modernite. In Chapter Five, by concluding the formal features in his dance hall and brothel images, we go on discussing Toulouse-Lautrec''s aesthetic achievement and contribution. In the research of the two works, we conclude Toulouse-Lautrec''s artistic characteristics: In the aspect of media, Toulouse-Lautrec breaks the distance of Grand Art and Minor Art, he brings the images of lower people to Grand Art, and raises the aesthetic standard of Minor Art. Technically, he uses his fluent lines, plane surface and decorative style to pursue the reality he sees. Presented in the content, Toulouse-Lautrec reveals his inferiority and scornfulness, he presents human beings in empty and melancholy atmosphere. This characteristic, in contrast of the dance hall and brothel subjects, is even more obvious.

Music is an essential piece of the culture of south Louisiana. Three genres -- Cajun, Zydeco, and Swamp Pop -- grew up in this region. The genres developed as separate cultures, primarily Cajun and Creole, developed and blended before entering a period of cultural assimilation in the early twentieth century. The music, and the social dancing that accompanies it, took place at weekly gatherings in rural residences in the eighteenth century. Commercial dance halls began to appear in the state around 1900 and have evolved throughout the century. The evolution of dance halls and their use follows a cultural evolution from relative isolation to assimilation and eventually cultural awareness and promotion as tourism blossomed in the state. Despite their significant place in the region's history, dance halls are not yet recognized in any official capacity, including the National Register of Historic Places. The Center for Louisiana Studies is collecting information about the extant and demolished buildings to advocate for preservation of dance hall culture and extant buildings. I am contributing to this advocacy effort with a National Register of Historic Places Multiple-Property Documentation Form for extant historic dance halls. The form will discuss the historic contexts of Cajun, Zydeco, and Swamp Pop music and establish typical and variable characteristics, both physical and associative, for dance hall buildings. Registration requirements based on significance and integrity will establish criteria for eligibility of extant buildings for the National Register of Historic Places.<br>text

Texas is home to many dance halls, but only 18 are known to have been built with a “round” (non-orthogonal) plan. Their common design was first conceived by the Austin County carpenter Joachim Hintz in 1897 for the twelve-sided Bellville Turnverein Pavilion. For the next 40 years, variations on the building type were disseminated and constructed exclusively in Central and South Texas farming communities settled by German and Czech immigrants. These structures were probably based on the octagonal barn plans promoted heavily in the agricultural press at the end of the nineteenth century, yet they look nothing like the round barns of New York and New England or the domed masonry dairy barns of the upper Midwest. This building type is unique to Texas. The majority of the state’s six-, eight-, and 12-sided dance halls were built in a line along State Highway 36 and the Gulf, Colorado and Santa Fe Railroad. This thesis explores the architectural history and physical characteristics of these very special Texas dance halls.<br>text