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Perkins, Miriam Yvonne. "The silent move a reading and interpretation of Mark 5:21-43 /." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.
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Pakes, Anna. "Dance interpretation and the cultural institution : exploring the condition(s) of British and French contemporary dance in the 1990s." Thesis, City University London, 2001. http://openaccess.city.ac.uk/11878/.
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This study examines what is intended and understood as the meaning of contemporary dance in its sociocultural context, in which the role of the state is a significant factor. It investigates the extent to which the structures and practices of public arts funding influence the production and reception of contemporary dance, focusing on British and French dance in the 1990s. By focusing on specific works in critically reflexive terms, it seeks to offer a basis for future ethnographic study of dance practices and dance audiences. The thesis employs a critical hermeneutic method, offering a philosophical reflection on dance as well as exploring the mutual implication of artistic practice, aesthetic response and their socio-political and economic contexts. The philosophical grounding of the investigation is explored in detail, in order to support a reflexive engagement of methodological issues of broader relevance to the discipline of dance studies. The relation between verbal language and dance is critically examined: drawing from Saussure and Wittgenstein, the argument is made for the contextual determination of meaning in both these "forms of life". A discussion of aesthetic and anthropological theories which recognise the mutual implication of artwork and context is followed by a reflection on the methods of dance analysis that most effectively explore the extent and character of that implication. Phenomenological and hermeneutic approaches are discussed, including methods derived and adapted from the study of literature which focus analytic attention on the reception rather than production of texts. An emphasis on spectatorship and dance interpretation seeks to redress what is argued as an imbalance in dance studies, namely the privileging of the perspectives of choreographing and performing subjects in dance analysis. The empirical investigation explores the structure and development, since 1945, of what is termed the "cultural institution", namely the set of conventions and practices which both enable and constrain the production and reception of contemporary dance art. It is argued that the state, through intervention via policy formulation and subsidy distribution, has played a key role in setting parameters within the "danceworld", a subsidiary of the broader cultural institution and the environment which contexts contemporary dance performance. An overview of the politico-economic conditions of dance in the 1990s is presented, and four case studies then extend this discussion by exploring how those conditions are actualised on individual sites of dance productionand reception. Four works are examined in detail (Kim Brandstrup's Crime Fictions, Russell Maliphant's Unspoken, Daniel Larrieu's Mobile and Herve Robbe's ld. ), in terms of their institutional context and the viewing experiences to which they give rise, arguing for a connection between the types of aesthetic response articulated and the institutional conditions in which the works are performed and received. The thesis argues against a determinist relation between the politico-economic context and the aesthetics of dance, proposing instead that these two dimensions of contemporary dance practice need to be examined conjointly. It seeks to demonstrate that this is crucial, if the current condition of contemporary dance in Britain and France is to be both understood and critically appraised.
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Stanich, Veronica Dittman. "Poetics and Perception: Making Sense of Postmodern Dance." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1402089308.
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Pagel, Amber Noelle. ""How Can We Know the Dancer from the Dance?": Cognitive Poetics and the Poetry of William Butler Yeats's." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984126/.
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Cognitive poetics, the recently developed field of literary theory which utilizes principles from cognitive science and cognitive linguistics to examine literature, is applied in this study to an exploration of the poetry of William Butler Yeats. The theoretical foundation for this approach is embodiment theory, the concept from cognitive linguistics that language is an embodied phenomenon and that meaning and meaning construction are bodily processes grounded in our sensorimotor experiences. A systematic analysis including conceptual metaphors, image schemas, cognitive mappings, mental spaces, and cognitive grammar is applied here to selected poems of Yeats to discover how these models can inform our readings of these poems. Special attention is devoted to Yeats's interest in the mind's eye, his crafting of syntax in stanzaic development, his atemporalization through grammar, and the antinomies which converge in selected symbols from his poems.
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Garner, Sandra L. "What Sort of Indian Will Show the Way? Colonization, Mediation, and Interpretation in the Sun Dance Contact Zone." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1281961865.
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Coates, Maran. "Moderat's Rusty nails and Loie Fuller's Serpentine dance : analysis cloth, the body and movement as symbolic interpretation of meaning in film." Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1015733.
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The main objective of the study is to explore how cloth, the body and movement are able to communicate possible symbolic meaning in Loïe Fuller’s Serpentine Dance film and Moderat’s Rusty Nails music video. The study further attempts to establish the characteristics of fashion film to include cloth, the body and movement and provide a methodology that locates fashion film as a sign system using a visual semiotic analysis framework. The films were then compared and contrasted to determine similarities and differences in their use of cloth, the body and movement. The findings from the film analysis suggest that cloth, the body and movement communicate symbolic meaning in the films based on their associated meanings that are generated both inside and outside the film context. By focussing on cloth, the body and movement as primary communicators (rather than secondary or supporting communicators) in film, new meanings can be interpreted from their interrelationship. The results inform new ways for fashion designers and fashion filmmakers to engage with cloth, the body and movement in fashion film.
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COREY, FREDERICK CHARLES. "PRINCIPLES FOR THE USE OF STYLIZED MOVEMENT DURING THE INTERPRETATION AND PERFORMANCE OF LITERATURE BASED ON MARTHA GRAHAM'S USE OF CLASSICAL TRAGEDY IN MODERN DANCE." Diss., The University of Arizona, 1987. http://hdl.handle.net/10150/184153.
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The interpretation and performance of literature is a theatre art in which literary texts are transformed into staged productions. Novelists, poets, playwrights, and essayists use the symbols of written language to create an imagined world for their readers; interpretative performers present their audiences with this world through symbols of both speech and movement. Hence the interpretation and performance of literature incorporates a wide range of literary and performance theory. Unfortunately, little is known about how literary texts can be communicated through symbolic movement. The purpose of this study, then, is to propose principles of stylized movement which would be useful to the interpretative performer of literature. To develop these principles, Martha Graham's choreographic use of classical tragedy was investigated. Using a decriptive methodology based on Aristotle's elements of tragedy, four of Graham's ballets were analyzed in view of their literary sources: Cave of the Heart from Euripides' Medea, Night Journey from Sophocles' Oedipus the King, Clytemnestra from Aeschylus' The Oresteia, and Cortege of Eagles from Euripides' Hecuba and The Trojan Woman. As a result of this investigation, five principles emerged. Stated as descriptions of Graham's work, the principles are: (1) rhetoric shapes the form, (2) movement vocabularies are created, (3) synecdochical movement is expanded over time, (4) stage properties assume multiple meanings through movement, and (5) costumes expose movement and indicate character. By using these principles as guidelines, the interpretative performer may understand, create, and utilize stylized movement that communicates the ideas, images, and actions inherent in the text being staged.
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Freire, Priscila Gambary. "Dança brasileira e dança negra para piano solo de Camargo Guarnieri : uma abordagem interpretativa." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285143.
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Orientador: Eduardo Antonio Conde Garcia JuniorDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Camargo Guarnieri (01/02/1907 - 13/01/1993) é considerado um dos maiores compositores brasileiros. Ele escreveu muitas obras para orquestra, música de câmara, canto coletivo e instrumentos solistas. Para piano, instrumento que dominou com muita desenvoltura e habilidade, dedicou quase duzentas peças. Além da obra vocal, coral, orquestral e instrumental geral, a produção pianística de Camargo Guarnieri tem sido pesquisada com freqüência por estudiosos musicais no Brasil e no exterior. Contudo, pouco se tem produzido cientificamente acerca das Danças para piano solo concebidas pelo compositor entre 1928 e 1946. Por outro lado, tem-se a consciência de que trabalhos científicos direcionados à performance pianística são de grande importância e necessidade para o meio acadêmico e profissional musical. A intenção desta pesquisa está centrada na realização de uma abordagem interpretativa da Dança Brasileira e da Dança Negra, compostas por Camargo Guarnieri no período supracitado.
Abstract: Camargo Guarnieri (01/02/1907 - 13/01/1993) is one of the most important Brazilian composers. His large output includes music for orchestra, chamber music, solo voice, choir and solo instruments. Guarnieri was an accomplished pianist and wrote several pieces for piano. A significant amount of research has been conducted on Camargo Guarnieri's music both in Brazil and abroad. However, little has been written about the Danças, composed between 1928 and 1946. This paper aims to provide suggestions for interpretation based on the analysis of the compositional and musical resources used by the composer in Dança Brasileira and Dança Negra.
Mestrado
Praticas Interpretativas
Mestre em Música
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Bojner, Horwitz Eva. "Dance/Movement Therapy in Fibromyalgia Patients : Aspects and Consequences of Verbal, Visual and Hormonal Analyses." Doctoral thesis, Uppsala : Acta Universitatis Upsaliensis : Univ.-bibl. [distributör], 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-4639.
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Martínez, Rosalía. "Music, movements and colors in Andean fiesta. Bolivian examples." Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/79171.
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En la fiesta andina, la música suele tanto oírse como verse. Esta dimensión multisensorial de la situación musical no es únicamente el resultado de una yuxtaposición de elementos sonoros y visuales. el análisis de las articulaciones que los campesinos indígenas de la zona de sucre (Bolivia) construyen entre sonidos, movimientos y colores revela la presencia de organizaciones singulares de la experiencia sensible que se caracterizan tanto por su espesor sensorial como por la manera en la cual se encuentran conectadas con otros campos del conocimiento. Estas formas de intersección culturalmente elaboradas implican el cuerpo mismo de los músicos, generando nuevas configuraciones perceptivas.In the Andean fiesta music is as much intended to be seen as it is to be heard. The multisensorial aspect of musical performance is not just a matter of the juxtaposition of sounds and sights. The analysis of the articulations that indigenous peasants of sucre (Bolivia) construct among sounds, movements and colors reveals an original organization of sensitive experience that is as much characterized by its sensory depth as it is by the ways it is linked to other domains of knowledge. The forms of culturally elaborated intersections that occur in the body of the musician lead to new perceptive configurations.
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Jensen, Kirstine Nurdug. "Fremstillingen af en familietradition : en hermeneutisk tolkning." Thesis, Stockholms konstnärliga högskola, Institutionen för danspedagogik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-682.
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The description of a family tradition – a hermeneutic interpretation The purpose of this thesis is to deepen the knowledge of the description of a family tradition and how it can be analysed and interpreted as well as what a family tradition can consist of. The conclusion is that it can consist of more than just dance and music. The family members’ life circumstances, the social contexts, the use of the body, and the content of the repertoire are also described as important aspects of the family tradition according to my interpretation. To fulfil the purpose of the study, I have used a hermeneutic approach to examine the content of two texts (a magister thesis and a film) in relation to the research context, in which they were made, and to my preunderstanding. The thesis contributes to the field of dance pedagogy by offering an example of how a dance pedagogue can obtain knowledge about a repertoire and/or a tradition and thereby develop their understanding of what they pass on through their teaching.
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Murakami, Yumi. "De la critique à la création poétique : l'importance du ballet dans l'écriture de Mallarmé." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL094.
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Nous nous pencherons tout au long de notre thèse, sur la question de la construction poétique dans les pensées de Mallarmé concernant la Danse, et ce, à partir des modifications syntaxiques et lexicales que celui-ci a effectuées sur certaines de ses œuvres. À travers l’analyse du processus par lequel Mallarmé affinera ses pensées dans ses écrits poétiques et ses critiques de la Danse, nous essaierons de définir le rôle pris par la Danse dans la dernière partie de sa vie. Tout en cherchant à contextualiser ses critiques, nous procèderons à un examen minutieux des pièces que Mallarmé a vues et dont il a précisément établi la critique. Puis, en nous penchant sur la réécriture de texte opérée entre « Notes sur le Théâtre » et « Crayonné au Théâtre » qui se trouve compilé dans son ouvrage Divagations, nous analyserons les évolutions potentielles de ses pensées et nous tenterons d’apporter une lecture des concepts de « regard », du « voile » et de « la nudité » à travers les œuvres poétiques de Mallarmé comme L’Après-midi d’un faune ou bien Hérodiade. Au sein du genre même de la Danse, nous nous concentrerons sur la place privilégiée du Ballet chez Mallarmé et, tout en définissant la vision que celui-ci avait de cet art, nous effectuerons une interprétation de sa prose poétique. Cela nous permettra de faire ressortir le caractère novateur et profondément singulier des écrits que Mallarmé a consacrés à la Danse, et de définir finalement tout ce que cet art représentait pour lui. Le concept de la Danse chez Mallarmé sort du cadre où il est ordinairement relégué, et est défini comme quelque chose revêtant une grande valeur et une haute signification dans le processus créatif de cet auteur. Cette thèse se propose de circonscrire les passerelles et les continuités entre les poèmes et les critiques de Mallarmé, afin de tenter de bâtir la conception que celui-ci avait de la DanseThe question of the poetic construction in the lines Mallarmé wrote about Dance will be examined throughout this thesis from the point of view of the modifications he made on some of his works. Through the analysis of the process by which Mallarmé has been able to refine his thoughts in his poetic writings and his critics of the Dance, we will try to define the role taken by the Dance in the last part of his life. Focused on the privileged place occupied by the Ballet, we will try to give an interpretation of his poetic prose while defining the vision that Mallarmé had of this art. The highly innovative and singular nature of his writings dedicated to the Dance will be highlighted and we will be able to finally define what this art represented for him. The concept of Dance for this poet, comes out of its ordinary framework, and it is defined as something of high value and high significance in Mallarmé’s creative process. With this thesis, we will circumscribe the continuities between the poems and the critics of Mallarmé, in order to seize more precisely how he came to think about Dance the way he did
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Yoo, Si-Hyun. "Contemporary interpretations of the practice of a traditional Korean dance Han Young-Sook's Salpúri Chúm /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488203158826464.
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Conceição, Osvanilton de Jesus. "Do jongo ao jogo = uma proposta de treinamento popular para atores." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284933.
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Orientador: Inaicyra Falcão dos SantosDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Essa pesquisa consiste na elaboração de uma proposta de treinamento popular para atores a partir da junção dos elementos musicais e movimentações presentes no Jongo desenvolvido no Quilombo São José da Serra, situado no Município de Valença no Estado do Rio de Janeiro, com aspectos metodológicos e teatrais presentes no sistema de jogos teatrais desenvolvido pela arte-educadora norte-americana Viola Spolin (1906 - 1994). Com a realização dessa proposta, visamos criar ambientes favoráveis para o desenvolvimento do potencial criativo, o alargamento da expressividade corporal e o aprimoramento vocal de atores, utilizando como parâmetro teatral os aspectos comuns ao teatro de rua brasileiro
Abstract: This research project aims at working up a proposal of popular training for actors by the junction of the musical and movement elements presented in the Jongo developed in the Quilombo São José da Serra, located in Valença, Rio de Janeiro, with the methodological and theatrical aspects presented in the system of the games developed by Viola Spolin (1906 - 1994).We aim at generating a propitious space for the development of the creative potential, the improvement of the body expression and the vocal enhancement of actors. In order to achieve this goal, we will use as a theatrical parameter the common aspects found in the Brazilian Street Theater
Mestrado
Artes Cenicas
Mestre em Artes
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Yoo, Si-Hyun. "Contemporary Interpretations of the Practice of a Traditional Korean Dance Han Young-Sook's Salp'uri Ch'um." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1394810091.
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Camozzi, Pistoja Ambrogio. "Dante and the medieval Alexander." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648418.
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Zacharioudakis, George. "Taking traditional Cretan dance music forward : interpretations with traditional Cretan instruments and with the Western flute." Thesis, University of Sheffield, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.577796.
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This project attempts an interpretation of traditional Cretan dance music with Cretan instruments and with the Western flute. Examining the changes in musical practices brought by the new socio-cultural conditions in Crete from the mid-twentieth century until today, it argues that Western musical trends have indirectly caused the neglect and loss of some pertinent musical qualities and the modification of the traditional Cretan musical character. More particularly, it argues that some old Cretan instruments and repertories are being abandoned, while the non-equal-tempered tuning and the Eastern Mediterranean modal systems are being replaced by Western equivalents. In this context the project endeavours to provide an alternative that restores these characteristics of traditional Cretan music, by revealing and using musical elements which were used around the first half of the twentieth century. In order to do so the project includes a musicological analysis of the traditional Cretan dance music. Specifically, it identifies and explains the non-equal-tempered tuning and the Eastern Mediterranean modal systems; it clarifies the distinct styles of interpretation and it examines other important facets of the music such as texture, structure, melodic development, improvisation and composition. Attempting to reduce the distance between earlier Cretan sound qualities and modern musical perception, the project adjusts the interpretations according to today's aesthetics and introduces modern audiences to new ways of performing traditional Cretan music. This is achieved by utilising the Western flute for the interpretation of the music and by extending the interpretative capabilities of the Cretan instruments. The project contains both written and practical components. The later consists of audio material which demonstrates in performance all the arguments and results presented in the thesis, offering new insights on the interpretation of Cretan music.
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Auersperg, Ruth E. "Dante : exilic discourse as self-constitution." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56814.
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This thesis is grounded in philosophy and in literature. It is concerned with the recognized human need for self-affirmation and with the consequences of its denial caused by exile. For the victim this means the loss of social interaction and public moral agency within his natural community through which self-affirmation can be actualized.In certain types of exilic literature constructive reactions were found to counteract this loss of freedom of choice of action and place, which entails potential annihilation of the exile's personal integrity.
In the exilic text of Dante as my chosen case study, I investigate the use of philosophical and literary means admitting of various kinds of self-referential expressions and of similacra of moral agency as substitutes for self-affirmation by public acts. Stimulated by these means, an intellectual and moral 'self-portrait' of the poet eventually emerges in the reader's consciousness. This 'portrait' is no static image of a pre-existent character, but a dynamic presence of an evolving human person of intellectual and moral integrity, as a reflection of the poet's self-perception.
By sample analyses and comparisons, my exposition substantiates the claim that Dante's text exemplifies the distinct and identifiable literary mode to which I refer as 'Exilic Discourse'.
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Vincent, Michael F. "Shifting Sands of Identity: Salome and Select Early Twentieth-Century Interpretations." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1292720996.
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Gustaw, Chantal. "Reading Paul and Dante in the fourteenth century." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/11871.
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Given the importance of Paul for Dante's characterization of the pilgrim, and his invocation of the Pauline Epistles throughout the Commedia, this thesis began by asking how important Paul was to Dante's fourteenth-century readers. It examines the use of the Pauline Epistles by the Trecento commentators of Dante's Commedia in order to contribute to our understanding of how both were read in late medieval Italy. Part One examines reading practices in the Middle Ages, and introduces commentary writing as a genre. The fourteenth century commentators are then described, with a focus on personal circumstances that may have influenced their interpretations. Part Two examines the use of Paul in the commentaries, differentiating between different forms of citation, such as when the commentators used Paul because they identified Pauline references or allusions in the poem, or when they included Paul in their interpretations for other reasons. This produced close readings of selected commentaries which reveal how the commentators read Paul and understood Dante. Jacopo della Lana used Paul when copying Aquinas, and his knowledge of the Epistles themselves, it is argued, was often confused and inaccurate. Pietro Alighieri repeatedly used Paul in combination with other sources in order implicitly to link canti. Guido da Pisa viewed the Commedia as a prophetic dream vision, and equated Dante with Biblical figures, including Paul. This comparison allowed Guido to justify his use of Dante as a life model for his dedicatee. The commentators acknowledge the importance of Paul when Dante clearly alludes to the Epistles, but in general, they simply use Paul as an authoritative voice. Finally, this thesis demonstrates their understanding of Dante not just as narrator/character, but also as reader.
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Crisafi, Nicolò. "Dante's masterplot and the alternative narrative models in the Commedia." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:a0b2b6df-734d-4c38-97c8-58ddef7cf19a.
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This thesis investigates the narrative models in Dante's Commedia with the aim of opening up the poem to alternatives to the dominant narrative embedded in the text, which it terms Dante's masterplot. This is the teleological trajectory which allows the poet to subjugate earlier works or earlier parts of the poem to the revisionist gaze of its endpoint. The thesis analyses the masterplot's workings in the text and its role in the interpretation of the poem, and documents its overwhelming success in influencing readings of the Commedia. It then explores three competing narrative models that resist and counter its monopoly, which are enacted by (i) paradoxes, (ii) alternative endings and parallel lives; and (iii) the future. Paradoxes are used to neutralise the teleological hierarchy and thus allow Dante to represent contradictory ideas and experiences in the temporal medium of language. Through counterfactuals and twin episodes, Dante establishes in his poem a number of storylines that detour from and run parallel to the main narrative; this allows him to make room for an affective space within the text, which suspends narrative necessity and moral normativity. The future tense poses a problem case for the masterplot in that it indefinitely postpones the endpoint on which teleology relies, and thus exposes the poem, and its author's, vulnerability to time and circumstance. By focusing on non-linear modes of storytelling, the thesis questions interpretations of the Commedia that favour one normative master-truth, and highlights instead the manifold poetic, theological and ethical tensions which, due to the masterplot's influence, are often overlooked. The thesis concludes with a proposal that, alongside the traditional notions of Dante's characteristic plurality of linguistic registers and styles, Dante's narrative pluralism can and should come to play a key role in contemporary and future readings of the Commedia.
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Borda, Ann Elizabeth. "Nikolai Gogol's commedia del demonio." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26784.
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Though it is not certain to what extent Gogol was familiar with Dante, it appears he may have regarded Dead Souls I (1842) as the first part of a tripartite scheme in light of La Divina Commedia. Interestingly, the foundations for such a scheme can be found in Gogol's first major publication, Evenings on a Farm near Dikanka (1831-1832) and, in the prose fiction and plays of 1835-1836, a definite pattern is revealed. The pattern that evolved in the works of this period involves the emergence of a demonic element which shatters any illusion of a Paradise which may have been established previously. Consequently, one is then drawn down through the awakenings of conscience - Purgatory and, finally, to realization in the Inferno.
The inversion of the Dante scheme which takes place, results in a "commedia del demonio". This "commedia" is particularly significant for both interpreting Gogol's works and for understanding the author himself. It forms a bridge between Gogol's early comic-gothic tales in Evenings and the mature style and humour of Dead Souls. Equally important is the fact that correlations with the literary devices and the religious thought of Dante's time can also be seen.
Such works as "Old World Landowners" (Mirgorod, 1835), "Viy" (Mireorod, 1835), "Nevsky Prospekt" (Arabesques, 1835) and the play The Government Inspector (performed in 1836) are especially representative of Nikolai Gogol's "commedia del demonio", and therefore form an integral part to this study. In connection with these and other works, certain links concerning the literary and historical heritage, and personal spirituality which exist between Gogol and Dante as reflected in both their own life and works will be examined as well. Thus the "commedia" scheme, and ultimately, Gogol as a writer of the human "soul" may be better understood.Arts, Faculty of
Asian Studies, Department of
Graduate
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Jones, Judith Frances. "Dances of life and death : interpretations of early modern religious identity from rural parish chuches and their landscapes along the Hampshire/Sussex border 1500-1800." Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/366338/.
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This thesis enters a territory infrequently visited by English archaeologists – the early modern period. I have chosen a research area encompassing fifty neighbouring parish churches along the border of East Hampshire and West Sussex and studied what survives of their post-medieval material culture. Though these medieval churches have generally been altered in the 19th century many of them still retain material, architectural, landscape and documentary clues which reveal important aspects of their early modern condition and the religious experiences of their parishioners in life and death. A major aim has been to show that far from being stripped of imagery and cultural artefacts, other materials were introduced, designed to communicate new forms of Protestant ritual to parishioners who may frequently have been bewildered by the rapid religious changes of the 16th and 17th centuries. Having described the area and visited its historical biography in Part One and in order to capture a sense of what it was like to participate in parish religion, I concentrate on four themes emanating from my studies of these churches: space, sensory experience, the performance of memory and gender. Thus Part Two deals with the spatial qualities of new architectural innovations and the effects of the reorganisation of church furniture and is followed by an account of the sensory experiences which religious participation evoked. These discussions centre on the lives of parishioners. Part Three turns to parishioners’ encounters with death and their understandings of the ways in which the church and churchyard framed and enabled the performance of social memory. The final discussion chapter is a series of case studies centred on tombs commissioned by individual gentlewomen for their families and themselves and their nuanced interpretations of mortuary imagery. A major element of this study lies in the way it develops contemporary methodological frameworks within early modern social archaeology. This allows a wider synthesis to be achieved using thematic regional approaches which run alongside the contextual exploration of the sample’s locales over this long transitional period. My approach is also informed by theoretical issues emanating from a number of associated disciplines such as history, art history and anthropology. This is an unusual standpoint which aims to provide a particularly multilayered exploration of an area and time rich in archaeological material which builds on and develops current scholarly thinking in this particular realm of social archaeology.
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Bogoiavlenskaia, Anna. "Suggestioni dantesche nel sistema poetico, teologico e politico di Vladimir Soloviov." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33875.
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The main scope of this study consists in analyzing how the poetic and ideologic universe of Dante is implanted and transformed in the Russian culture of the late XIXth---early XXth century. Particular emphasis is made on the role of Dante's heritage in the philosophy and poetry of the first Russian philosopher and symbolist poet---Vladimir Soloviov, as well as on the further impact of dantesche images on some major representatives of the Russian Symbolist movement.This analysis will be done through a demonstration of major point of interference between Soloviov and Dante: these can be examples of direct influence (as is the case with Theocracy) of appearance of the same archetypes (as is the case with Sofiology and theory of love).
Despite the clear and definite presence of dantesque motifs in Soloviov's heritage, no systematic analysis of the parallels between the two has been made up to date.
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Martin, Zora. "Choose to Avoid Tragedy." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1135.
Full textAbstract:
Shakespeare's ideas about free will and moral choice, as illustrated in his play Macbeth, may have been influenced by Dante's Inferno. Dante was known to Shakespeare's contemporaries, and therefore most likely to the Bard himself. Current literature has not conclusively addressed this topic, and a focused examination is important, because it offers both an additional perspective on free will in Inferno, and adds to the understanding of free will in Macbeth.
Read at face value, Macbeth seems to bear no responsibility for his actions because they were preordained by the fates. Dante believed in free will, and Macbeth bears more than one similarity to his Commedia. Read through a Dantean lens, Macbeth has free will - even if choosing not to exercise it. Through the mere contemplation of the four reasons for not killing Duncan, Macbeth recognizes that he has the choice whether to become a traitor, with the consequences of suffering contrapasso damnation. But Macbeth elects to disregard the wisdom passed down in Dante's Commedia, and knowingly commits a heinously immoral act.
Shakespeare uses his predecessor Dante as a tool to advocate for human agency and moral choices in a text that would otherwise be fatalistic. Both then and now, Shakespeare sought to influence his audiences' understanding of their own free will. One first has to believe in possessing free will, in order to use it to make the best possible choices. Dante and Shakespeare reaffirm our possession of free will to help us avoid individual and societal tragedies.
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Cañardo, Marina Berta. "Fabricas de Tango : industria discografica temprana y musica popular argentina (1919-1930)." Paris, EHESS, 2011. http://www.theses.fr/2011EHES0062.
Full textAbstract:
Cette thèse analyse plusieurs aspects de la relation entre l'industrie discographique et le tango dans les années 1920. Si la question de l'identité est étudiée à partir des discours de l'époque tels que publicités, catalogues et articles de presse, la dimension interprétative du tango est également analysée et placée par rapport à cette nouvelle forme de production, circulation et consommation de la musique qu'est le disque. On considère d'une part que l'industrie discographique contribua à la construction conflictuelle de l'identité nationale de l'Argentine ce qui rend évidente la dimension politique de l'activité. En même temps, la commercialisation des disques de tango en France anticipa un modèle de circulation de biens culturelles hors leur contexte originaire que le dispositif de disque favorisa et dont l'expression ultime est la world music. On analyse l'impact des changements technologiques dans l'exécution musicale en étudiant la relation entre l'apparition du microphone et la pratique de l' «estribillista » dans l'orchestre typique. Aussi les interprétations de tango sont placées dans le contexte du monde de la mode de la danse qui permet de comprendre l'influence que pourrait avoir l'impératif d'enregistrer des versions plus facilement dansantes pour la consommation promue à cet effet. On enquête sur les nouvelles conditions de travail des musiciens de tango émergés avec la massification du disque, à la fois par la concurrence entre la musique live et celle mécaniquement reproduite comme pour les nouvelles liens de travail et la logique du star-system qui commença avec l'industrie du disque et qui eut dans Carlos Gardel un des principaux représentantsThis thesis analyzes several aspects of the relationship between the recording industry and the tango in the 1920s. If the question of identity is studied from the discourses of that time such as advertising, catalogs and newspaper articles, the interpretive dimension of tango is also analyzed and placed in relation to this new form of production, circulation and consumption of music that involve the record. We consider that the music industry contributed to the construction of national identity in conflict in Argentina which makes clear the political dimension of the activity. At the same time, the marketing of tango's record in France anticipates a circulation's model of cultural goods outside their original context that the record device favored and whose ultimate expression is the world music. We analyze the impact of technological changes in music performance by studying the relationship between the appearance of the microphone and the practice of "estribillista" in the typical orchestra. Also the tango's interpretations are placed in the context of the fashion world of dance for understanding the influence that may have the need to record versions more easily to dance for consumption promoted for this purpose. We investigate the new working conditions of tango musicians emerged with the mass of the records, both by the competition between live music and the mechanically reproduced as for new working relationships and the logic of the star system that began with the recording industry and has in Carlos Gardel one of the main representatives
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Jeffrey, Johnson Kirstin Elizabeth. "Rooted in all its story, more is meant than meets the ear : a study of the relational and revelational nature of George MacDonald's mythopoeic art." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1887.
Full textAbstract:
Scholars and storytellers alike have deemed George MacDonald a great mythopoeic writer, an exemplar of the art. Examination of this accolade by those who first applied it to him proves it profoundly theological: for them a mythopoeic tale was a relational medium through which transformation might occur, transcending boundaries of time and space. The implications challenge much contemporary critical study of MacDonald, for they demand that his literary life and his theological life cannot be divorced if either is to be adequately assessed. Yet they prove consistent with the critical methodology MacDonald himself models and promotes. Utilizing MacDonald’s relational methodology evinces his intentional facilitating of Mythopoesis. It also reveals how oversights have impeded critical readings both of MacDonald’s writing and of his character. It evokes a redressing of MacDonald’s relationship with his Scottish cultural, theological, and familial environment – of how his writing is a response that rises out of these, rather than, as has so often been asserted, a mere reaction against them. Consequently it becomes evident that key relationships, both literary and personal, have been neglected in MacDonald scholarship – relationships that confirm MacDonald’s convictions and inform his writing, and the examination of which restores his identity as a literature scholar. Of particular relational import in this reassessment is A.J. Scott, a Scottish visionary intentionally chosen by MacDonald to mentor him in a holistic Weltanschauung. Little has been written on Scott, yet not only was he MacDonald’s prime influence in adulthood, but he forged the literary vocation that became MacDonald’s own. Previously unexamined personal and textual engagement with John Ruskin enables entirely new readings of standard MacDonald texts, as does the textual engagement with Matthew Arnold and F.D. Maurice. These close readings, informed by the established context, demonstrate MacDonald’s emergence, practice, and intent as a mythopoeic writer.
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CHEN, JUI-YI, and 陳睿怡. "The Study of Role interpretation of Dance Production“Romantic Fantasy”." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/742c59.
Full textAbstract:
碩士國立臺灣藝術大學
舞蹈學系
107
This study explores the graduation project of Jui-Yi Chen (researcher) in the creation and interpretation of the role of "Romantic·Fantasy" in 2019. The project consists of two dances, the first half is the ballet "Les Sylphides" selection by Michel Fokine(1880-1942), the second half is the modern dance "2014 in the name of poetry - a flowering tree" by Ting-Ting Chang.The idea of graduation project is that the researcher hopes to create the link between the theme of the first and second half through the role "Poet", who expresses inner feelings in words, on the other hand, the dancers use body as a medium to convey their inner thoughts to the audience.The explanation of this thesis is presented in two different styles of dance, and continues to explore the analysis of works and role interpretation from the development of ballet to modern dance. Through the rehearsal process of the ballet "Les Sylphides" and the sentiments toward life in "2014 in the name of poetry - a flowering tree" by Tingting Zhang. The researcher self-examined the learning difficulties from the very beginning time she learnt how to dance, and realized that the reason why dance performance can be promoted is that the art is full of vitality because the dancers have always had the spirit of accepting challenges. In the graduation project, the researcher tried her best to achieve the goals set at the beginning, hoping to break through the self-restrictions in performance style and interpretation, and also gain the proper experience in administrative coordination. At last, the performance of the graduation project "Romantic·Fantasy" was recorded in words, with the integration of ballet, modern dance, performance and role interpretation theory, summarizing the emotional expression and role interpretation in the graduation project. Through continuous reflection and feedback, and the valuable opinions provided by the teachers, the results of the performance can be shared with the peers, and the researcher is expected to improve in the field of dance performance in the future.
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Lai, Yi-Chun, and 賴苡鈞. "The Analysis and Interpretation of the Bamboo Flute Concerto“Whirling Dance”." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/83731057886214438405.
Full textAbstract:
碩士國立臺南藝術大學
民族音樂學研究所
99
The study is focus on the “Whirling Dance” by Chung Yiu-Kwong (b. 1956). Written in 2007, Whirling Dance is a flute concerto dedicated to the Sweden flutist Sharon Bezaly. In 2009, the “Whirling Dance” is adapted for bamboo flute by the bamboo flutists Chen Chung-Sen and Dai Ya respectively, and the two different versions for bamboo flute are the subjects of the study. In the author’s viewpoint, a correct access to ponder on how to perform and interpret one piece should be grounded on the sufficient background understanding concerning the composer, style and background of the very subject, on the thorough analyses of the rhythm, tone, harmony, texture and structure, and lastly on the deliberate probe into the content, With the comprehensive survey and understanding towards one piece, we can further discuss the interpretation and performance. The study starts with analyzing the composer’s biography as well as background to discuss his composing methods and composition features, then probing into the “Sufi Dancing” materials applied into the piece, and further interpreting this piece after particular analyses on the musical form and the composing motive. As for the interpretation, it begins with analyzing the usage of instruments to see the influences of hole-added bamboo flutes on performing the “Whirling Dance.” Next, make a comparison between the original version and the two adapted versions to discuss the differences. Last but not least, sum up the former analyses and further conclude the aspect of interpretation of performing the “Whirling Dance.” Recording traits of the modern pieces of bamboo flute by analyzing in different layers, the study is looking forwards to providing future performers with a comprehensive knowledge of “Whirling Dance” and further arousing much more ideas on the interpretation.
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Chun, Lu Min, and 盧敏淳. "Show Production Of Dance Interpretation And Analysis"Spatial And Temporal Intersection"." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/76348161181049993094.
Full textAbstract:
碩士國立臺灣藝術大學
舞蹈學系
100
Abstract ‘The intersection of space-time’ 2012, is a taste of vision which through the body presentation and soul embodiment; moreover, encourages the audiences travel back to enjoy the space-time in the past and present, with body language from the performers. From the starting point, manufacture, format and contents of the performance, all planned together by Lu, Min-Chun and Hung, Sheng-Hua as their graduation project performance. The project contains five pieces. To be explored, discussed and analysed, ‘Ho chi’ , as if a new born transmigration to appreciate life; ‘Shiang Tsain’ choreographed by teacher Hsiao, Chun-Lin, with the idea of praying and hope commitment; ‘Riding horse’ inspired by a legend story, illustrates the loneliness and pain of a heartless man hit by a stick; ’Love song of flower pattern shirt’ presents the fact that everything goes to be better, the future that supported by each other; ’Everlasting love’ represents the relationship between people meet and part is hardly to be clear which last for ages. The explorers overtake themselves and embody the emotions through these five choreographies, improving their performing strengths. Expecting within this project, it can be a reference for performance in the future. Key words: Space-time, presenting, Chinese folk dance
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PAN, YI-CHEN, and 潘伊貞. "THE RODCTION AND DANCE INTERPRETATION ANALYSIS OF “JOURNEY OF REFLECTIVE BEHOLDING”." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/67fegq.
Full textAbstract:
碩士國立臺灣體育運動大學
舞蹈學系碩士班
107
“Journey of Reflective Beholding” was the graduation show which was performed by Pan Yi-Chen, Wu Yu-Ting and Wu Hao-De at the National Taichung Theater on July 22 , 2018. This show was based on Chinese dance, and it was trying to inspire different body languages by fusing Chinese dance、Modern dance、Chinese Opera and Sacrificial dance. Also, it was produced by different artists which made it so unique and distinctive. This article is mainly discussing the practical experience of production, the body language and emotional expression and the interpretation of four dances ”The Persist Plum ”, ” Presence”, ”The Ritual of Water” and “Fire” which were played by the author. This article has five chapters. The first chapter "Introduction" explains the author's experience and dreams from childhood, and the motives of this show. The second chapter "Literature Review" focuses on the cultural connotation, style and interpretation of dance which author had involved in. The third chapter"Production History and Show Content" explains the practical work process and execution of the show. The show content and the introduction of the invited choreographer are also in this chapter as well. The fourth chapter "Performance Analysis and Interpretation History" explains the difficulties and challenges encountered during the construction of the show and the interpretation of the dance,also sharing the problem-solving skills and the experience during rehearses.The final chapter "conclusion" is the author's reflection and feedback,through the high touches and the accumulated experience from the show,as nutrients and motivations of future work, so that the author can continue to observe and evolve herself in the field of arts. I hope that this beautiful memory “Journey of Reflective Beholding” can be shared with others through this article.
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Yang, Man-Chun, and 楊曼君. "The Analysis and Interpretation of Chen Yi’ s Chinese Ancient Dance." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/346b99.
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ZHANG, DACE, and 張大策. "Taiwan Contemporary New Media Dance Works of Interpretation in Multiple Borders Aesthetic." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/6z2cw6.
Full textAbstract:
博士國立臺灣藝術大學
表演藝術學院表演藝術博士班
107
Interdisciplinary dance has become the mainstream art form of creation and performance in the world today. From the perspective of development trends, it will gradually replace the early general public's stereotype of dance as a comprehensive art. With the transformation of social structure and the development of science and technology, choreographers have no longer do creation in the traditional way, but cooperate with artists in other fields such as new media, sound, film, and television to conduct experimental dance cross-border cooperation. The land has realized a variety of forms of dance art innovation. Although we say that the cross-border dance has greatly subverted the creation and performance of traditional dance art, we have lost the way and standard of aesthetics. Then, in order to explore the creation and performance of cross-border of dance, in this paper, the researcher will use Taiwan's new media dance as a case study, and proceed from deconstruction theory and literature collection, artist interviews, work analysis and triangular cross-examination, exploring the historical context of the cross-border formation of dance and the roots of the influence of Taiwanese society on the cross-border movement of local dance, exploring the differences between the aesthetics of dance cross-border and traditional dance art, and the function and orientation of the aesthetic characteristics of dance cross-border, in order to be a choreographer creation, as well as the general public and even art critics open a new form of dance aesthetics.
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SHIH, CHIA-LING, and 石佳靈. "The Production and dance Interpretation Analysis of “Dancing with Wind and Shadows”." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/78244956107935388140.
Full textAbstract:
碩士國立臺灣體育運動大學
舞蹈學系碩士班
105
With the exception of skills, physical strength and performance interpretation, a producer and a performer still has to learn administration and other matters relating to the production, including the selection of venue, plan submission, dance code set, rehearsal itinerary, shooting stills arrangement, oral arrangement, propaganda production, publicity and integrated ticket application, and performance staff allocation and other related matters. This research utilized the aspects of performing ideas and analyses and explored the use of physical and emotional transition. I shared how the author implemented physical and mental training to create a clear focus and get the most benefits, to reflect his own exposure to various sensory communicated to the body of the message, to transform a complete and vivid characters on the stage, and to show the true meaning of the content. Based on double exhibition“Dancing with Wind and Shadows”as an example, this research was divided into five chapters. The first chapter contained study motivation, research methods, research restrictions and glossary. The second chapter was to explore the physical and emotional vocabulary transition. The third chapter and the fourth chapter analyzed dance performances of the author’s concept of participation, with the use of personal experience and expression of emotions, interpretation of the mentality of different styles of dance works. The fifth chapter was the conclusion. I finally attached the text description of the“Dancing with Wind and Shadows”in order to share practical experience, emotional journey into the art of dance.
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Chiu, Shu-Ling, and 邱淑鈴. "The Study of Using Cultural Codes Interpretation of Dance Works "Flower of Formosa"." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/97529228499965756680.
Full textAbstract:
碩士國立臺灣藝術大學
舞蹈學系
104
Roland Barthes has pointed out that "culture is a language". Culture always organized by symbols, its structure itself is the same as the language. Taiwan owns richness and diversities of ethnic cultures. That’s the sufficient nutritious to offer creators develop their creativities. And the way of two orders of signification from Roland Barthes would help the implements to obtain local cultural code of everyday life to transform into the dance works. This study try to exam the semiotic transformation of dance works "Flower of Formosa" to interpret how cultural codes transformed from everyday life. The serial works choreographed by Sonia Dance Studio, had performed 32 dances of nearly eight years would be the samples of this study. After literature reviewed, researcher develop a four stages framework to confirm the design innovation of dance choreography: (1) to discover the symbol; (2) to explore the semantics; (3) the context analysis; (4) the conversion application of movements. And measured by qualitative approach of discussed records, generated charts, works practices, add with a semantic scale for data collection. Multi-ways of the methods utilize in this study to improve the validity. Finally, the researcher propose three dimensions of achievements, reflections and suggestions: (1) how to acquire the elements of cultural codes from every days life to translate into dance works; (2) how to translate the cultural codes of the flowers of Formosa as dance elements;(3) how to extend the innovations and discoveries of “Flower of Formosa”.
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Mei, Hui-min, and 梅慧敏. "The life world of terminal stage patientwith colostomy: The dance of interpretation with recurrednarrative." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/40391873853789342303.
Full textAbstract:
碩士南華大學
生死學研究所
91
The purpose of this study is to explore the world of patients with colostomy. A tape recorder was used during interviews with patients and their monologues. By so doing, it is expected to investigate the body-image, disease adaptation, reshaping process of life and volunteer supporting networks of those patients. The use of a tape recorder is to record patient-oriented narratives as a self-descriptive of life history, and present the process of physical, psychological and social adaptation and transformation. In addition, a tape recorder served as a communication tool among the subject, her family members and hospital staff. The research presents not only the physical and psychological pain of the subject, but also her acceptance of illness and the death to come in a phenomenological perspective. Multiple viewpoints represented by the subject and teachers in the text were interpreted to infer the underlying meanings of body, time and space. In a conventional qualitative research, the contents of interviews are recorded in a limited time. Yet, this study broke through this limitation by focusing on the patient-oriented narratives, so the patient’s voice can be heard. It also helps to create a communication channel among the subject and nursing staff, which may improve the quality of medical care and decrease communication problems because of time and space limitation. Due to the limitation of time and space, there is only one subject, a patient with colostomy at terminal stage, in this research. Therefore, this qualitative study presents narratives of this single subject, and it may not be applicable to studies in other fields.
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LIAO, ZIH-LING, and 廖紫伶. "The Interpretation and Analysis of the Yangqin Compositions “Girl From Kroran ” and “ Tujia Dance Music”." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/975pm4.
Full textAbstract:
碩士國立臺灣藝術大學
中國音樂學系
106
There are two subjects Girl from Kroran and Tujia Dance Music in the study. The analysis explored not only Kroran history and culture, santur music but also Tujiatribe life and labor as well as music works. Further the study examined creation backgrounds of the two songs, musical elements and melody interpretation. Specifically, the first focus is how Chung Yiu-Kwong used santur features and mixed with Chinese Yangqin after describing Kroran history. The second focus is how Tujia Dance Music composers- Wang Zih and Kuei Xi-li -employed Tujia folk song characteristics and its hand waving dance to make the song that highlights Tujia rhythm and Chinese Yangqin tune in line with Tujia history context. Finally the resultant discussion is presented and elaborates the playing interpretation.
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KUAN, YING-YEN, and 官楹晏. "The Interpretation and Analysis of Xinjiang Yangqin “Dance Style” and “The Love of Eagle Di”." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/wg9u4f.
Full textAbstract:
碩士國立臺灣藝術大學
中國音樂學系
108
Xinjiang Yangqin's composition "Dance Style" and " The Love of Eagle Di ", was composed by Wu Jun and two composers. They use the musical materials based on historical context of both Xinjiang Uygur and Tajik as their motives. This study analyses the whole structure of the works and explores content of all subjects used in two pieces. Moreover, the interpretation of artistic conception and skills used in the performance are discussed in the study. With all these efforts, it hopes to present the core imagery of two artworks. In chapter two, it not only discusses about the music development and history background of Xinjiang, but also sorts out the reformation of Xinjiang yangqin “Chang”. After that, it compares with 402 yangqin and hammer. In chapter three, it separately discusses about music characteristic of Uyghur and Tajik. First, it looks at the background of people and culture, and then further into music form. In chapter four and five, both analyze and interpret these two pieces. By interviewing the composer, the writer got a further understanding of creative motivation from him and effects hoped to present. Based on these information, it begins the analysis of the pieces. In addition, this paper presents personal aspect by combing the composers’ opinion and personal performing experiences. The result of research shows that, the composer Wu Jun, who focuses on the using of rhythm and the phrases present, adds more sense of dancing to the song. Wu Jun knows how to display the characteristic of yangqin by changing rhythm and melody logically many times. He changes the position of accent, bravely using vibrato, fanju,pressure skills, and other creative ways, which not only varies the song but also increases difficulty.In artistic conception, “Dance Style” uses musical way to present its style, which leads the audience deeply into strong atmosphere and enthusiastic dancing culture of Xinjiang. “The Love of Eagle Di” develops with the legend of Tajik. It musically, smoothly and passionately elaborates the imagination to mythology in Tajik. Both two songs not only presents the features of yangqin, but also hides a great amounts of national music components. The composers delicately describe the atmosphere in music by combining yangqin skills and Xingjiang music. By this way, it presents the beauty of yangqin in Xingjiang style with a brand new way we’ve never seen.
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WU, SHIH-CHIEH, and 吳偲婕. "The Analysis and Interpretation of Zhongruan Composition “Dao Lang Dance” transplanted to Liuqin by LoLung Wang." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/a23x7p.
Full textAbstract:
碩士國立臺灣藝術大學
中國音樂學系
107
“The Dance of Daolang” is composed by Wang Lo Lung, a composer who is commissioned by Wu Ru Ching, a young Chinese performer in 2016. Wang Lo Lung turned his artistic conception into an image with his own imagination of Xinjiang Daolang Dance, and wrote an ideal composer’s music. The music structure breaks away from the traditional rules of Sonata form, using the Sonata-form frame to add or subtract the writing techniques belonging to the composer himself. The use of Xinjiang’s image of brave and fierce warriors, coupled with the Sonata form with the composer’s ideas, all of which led to the author’s motivation. The author interviewed the composer, Wang Lo Lung, to understand the mood and background of the song in the most direct way. For the analysis and interpretation, there was the first-hand information from the composer, and made a detailed analysis of Wang Lo Lung’s learning history and composition experience. From the literature, the author summed up the artistic value and significance of the transplanted compositions of Chinese musical instruments, and explored the similarities and the possibilities from the transplant relationship between Zhongruan and Liuqin. “The Dance of Daolang” was originally a work of Zhongruan. The author transplanted it to Liuqin. Based on the interview of Wang Lo Lung, through analysis of the transplanted composition, and exploring the musical aesthetics of performance for Chinese musical instruments, the author learned about the mood and thoughts of “The Dance of Daolang” from the composer. The author clearly understood the use of Daolang dance materials and the changes of Western Sonata structure, and carried out detailed analysis and interpretation analysis of the music, and established the experience of the song for the actual performance of the Liuqin performers.
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HUANG, YUN-CHIH, and 黃筠芝. "The Analysis and Interpretation of Han Li’s Zheng Solo Pieces “Shuangjiang Dance Music” , “Late Twilight” and “Bronze”." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/r6xvh3.
Full textAbstract:
碩士國立臺灣藝術大學
中國音樂學系
106
This study took Han Li’s three zheng compositions “Shuangjiang Dance Music”, “Late Twilight”, and “Bronze” as the main subject. Through different research methods like interviewing, musical analysis and performing interpretation, it probed into the composer’s composing ideas and habitual composing methods, and examined musical contents and technical presentations of these works. The study result revealed that Han Li has preference to the mode Yu（羽調式）, all the three pieces are based on the mode Yu; for the musical form, Li has applied ternary form and multiple section from to present musical theme and undergo further development; for the rhythm, the cross-using of different short and long rhythms brings vivid and lively effects to these pieces; besides, he pays high attention to designs of techniques and interpretation, fully expressing a viewpoint of a zheng performer, giving his pieces a broader room for displaying performing skills, for example, the lun skill （輪） with both hands in the “Shuangjiang Dance Music” , the five-fingers lun in the “ Late Twilight” both belong to difficult techniques with challenges in zheng music. From an aspect of a zheng performer, Han Li devotes himself in development and innovation. The applying in-tuning sounds from the left side of the bridge in “Late Twilight” is an expectation of new zheng compositions, the technical development on the Yao zi搖指 (tremolo) with both hands in “Shuangjiang Dance Music” is based on the idea of technical innovation, and the “Bronze” is rather applied both hands to develop different melodies to form a dialogue between two voices. Han Li composes from the aspect of performance, paving a way to efficient composing based on his delicate performing experiences, embodying his performing innovations within works, and thus brings diverse zheng compositions with technical challenges to zheng music.
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CHUO, CHUEH, and 卓玨. "Revived from Historical Relics and Contemporary Interpretation: The Han-Tang Chinese Classical Dance “Tongque Platform” and “Spring Excursion”." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/b3t9t9.
Full textAbstract:
碩士國立臺灣體育運動大學
舞蹈學系碩士班
105
Ying Sun created the Han-Tang Chinese Classical Dance through his investigations on historical materials, such as masonry painting from Han dynasty and pottery figurines, to reconstruct ancient culture and art. Ying Sun’s most famous dance drama“Tongque Platform” was choreographed in 1986. His dance work“Spring Excursion”, which Ying Sun created in 1993 and formally staged in 1999, was regarded as a classical dance work of Han-Tang Chinese Classical Dance. This research penetrates from viewpoints of historical interpretation and globalization. Conducting in-depth interviews, historical analysis of Sun’s two dance works, this research investigates historical remains and literatures and analyzes the development of dance movements which “Tongque Platform”and“Spring Excursion” use in order to explore how Ying Sun converted historical information and images into body performance in his contemporary creations of Han-Tang Chinese Classical Dance. This research also intends to understand how Sun constructed the distinct dance style and characteristics of Han-Tang Chinese Classical Dance that are different from previous Chinese Classical Dance. In conclusion, Sun’s dance drama“Tongque Platform”and dance work“Spring Excursion”highly relied on his collections and research on the relative historical materials and relics to remodel and construct the dancing bodies, characteristics of characters and scripts in his dance works. Furthermore, through his individual thoughts and choreographic talent, he interpreted and imagined these historical materials to make historical dances and events alive. His choreographic approaches established the unique style of Han-Tang Chinese Classical Dance and promoted it as one of Chinese cultural representatives on global stages.
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Lu, Chiawei, and 呂家瑋. "An Analysis and Interpretation of Liu Tian Hua’s Three Pipa Songs: “Dance Prelude," “Improve Étude," and “Sound of Emptiness"." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/66460613558279612270.
Full textAbstract:
碩士中國文化大學
音樂學系碩士班中國音樂組
100
Abstract During the first half of the 20th century, Chinese music have been confronted with tremendous impact coming from Western world. During that time, Liu Tian Hua proposed to reform classical Chinese music with the idea of “Chinese music supplement with Western music.” With this thought, Liu made several attempt in his three Pipa solo songs, “Dance Prelude (Gē Wǔ Yǐn),” “Improved Étude (Gǎi Jìn Cāo),” and “Sound of Emptiness (Xū Lài),” trying to infuse Western music elements into Chinese traditional music. This study first introduces Liu’s life and his creation backdrop and ideals; and then respectively analyzes the track structure of the aforementioned three Pipa solo songs and the auther’s experiences of interpretation. Hoping through this music research, Pipa lovers could further identify with the hidden thoughts behind Liu’s creations and have deeper understandings when playing or appreciating these songs in the future.
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Croswell, Kimberly Dawn. "Stella Bloch and the politics of art and dance." Thesis, 2006. http://hdl.handle.net/1828/2565.
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This thesis examines the early career and art criticism of Stella Bloch, an artist. dancer and writer who was active in New York City during the World War One era. I focus on Bloch's most important essays from this period: -'Intuitions" (I 919) and Dancing and the Drama, East &. West (1922). In "Intuitions" Bloch developed a theory of aesthetics based on her study of Nietzsche and Buddhism. Dancing and the Drama, East & West incorporated this theory into the concept of an "ideal drama," which I have analysed as "orientalist." Linking Bloch's anti-colonial "orientalism" to that of her mentor, Ananda Coomaraswamy, I demonstrate that though Bloch's "ideal drama" was an ambitious critique of the social and artistic values of Western culture, it was still caught up in the "orientalist" discourses of the period.
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CHEN, NAI-CHI, and 陳乃綺. "An Investigation of Chen Nai-Chi’s Role Interpretation and Production Process for her individual dance exhibition "The Beauties" in 2017." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/3w9v43.
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碩士國立臺灣藝術大學
舞蹈學系
106
The master’s thesis is a research about an investigation of Chen Nai-Chi’s Role interpretation and production process for her individual dance exhibition "The Beauties" in 2017. The author of this thesis is also the main dancer and administrator of this show. The show was named of “The Beauties”, and it had been separated in four parts that named with 4 classic beauties in the Chinese history. As a professional of Chinese dance, the author made the legends of these four Chinese classic beauties came alive on the stage, author fused the unparalleled beauty and Chinese dancing elements, and presented it with different tools. The author recorded the show with texts, from the reason why author joined in the show to literature researching, show producing, characters annotating, and in the final author reflected the result of the show, to expect self to have better performance, improved administration, and refreshed the mind.
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Yu, Wan-Ting, and 余琬婷. "WAN-TING YU VIOLIN RECITAL WITH A SUPPORTING PAPAER ANALYSIS AND INTERPRETATION OF PABLO DE SARASATE’S SPANISH DANCE OP.22." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/81065572873782862755.
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碩士國立交通大學
音樂研究所
101
Born in Pamplona, Spain, Sarasate was one of the most admired violinists among his age. After finishing his studies in Paris, he toured the world. Many of his tour repertoires were arrangements of tunes from famous operas. The best known among them was his Concert Fantasies on Carmen, and some came from his homeland melody. His four books of Spanish dances which makes use of folk tunes, rhythmic pattern and imitation to the traditional instruments elegantly. Sarasate successfully recreated and transformed these Spanish dances into violin compositions with innovative violin techniques. Through his compositions, all these works remains popular until today’s violin playing repertoire. In my study, I have researched Sarasate’s work op.22: Romanza Andaluza and Jota Navarra. The intended result of this study is to help the performer give an stylistically accurate and informed performance of these dazzling piece and to let the piece be loved by more audience. First, I will discuss Sarasate’s performance style based on the contemporary critics such as Carl Flesch and others, and then explore the compositional historical background and the characteristics of each piece. In the end, I will give my personal interpretation on the performance aspects through the analysis of music structure.
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CHANG, YA-HAN, and 張雅涵. "An Analysis and Interpretation of Yang Jing’s pipa composition-Example of “Dance Along the old Silk Road” and “Severed Dream of Dunhuang”." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/ha5n3g.
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碩士國立臺灣藝術大學
中國音樂學系
107
The purpose of the study was drawing on the phonological data of Dunhuang literature, reflecting the unique charm of the music with the thousand years of history and culture in-depth research. Yang Jing's two pieces of pipa Dance Along the old Silk Road and Severed Dream of Dunhuang contained a special regional music style and the most creation of Yang Jing was based on inheritance. It is her exploration of higher artistic ideals after she has learned a lot of traditional playing techniques. This article compares the ancient literature of Dunhuang and the modern works of the pipa, and through the analysis of the scores, it makes progress in rethinking and seeking exploration, and hopes to find a suitable interpretation method.
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Hung, Hsuan-Ping, and 洪瑄苹. "A STUDY ON THE INTERPRETATION OF PERFORMANCE AND THE PROCESS OF PRODUCTION IN THE DANCE GRADUATE CONCERT “DANCING WITH WIND AND SHADOWS”." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/55942590120532275795.
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碩士國立臺灣體育運動大學
體育舞蹈學系碩士班
103
This study aims to investigate the interpretation of role-playing and the process of production for the graduation performance “Flowing with Wind and Shadow” in 2015 which designed and performed by Hsuan-Ping Hung and Chia-Ling,Shih. The researcher was a producer and performer in this performance; hence, she would expand on both administration part and practice part. Moreover, analysis and reflection of the change during processing of role interpretation, and the challenges what the researcher faced and overcame.The thesis consists of five chapters: Chapter one describes the researcher's experience of dance which involves the development of dance learning. In addition, the researcher elaborated the purpose and motivation of this performance. Chapter two discusses the theory and records which related to the researcher's performance in order to enhancing the researcher's understanding and comprehension. Chapter three not only introduces the content and progress of production, but also illustrates the framework of production through both administration and practice parts. Chapter four analyzes the researcher's performance through four dances, and organizes the difficulties what the researcher overcame during interpretation of role-playing through her dance dairy. Chapter five describes the researcher's review and reflection from both character of producer and performer, and shares her feedback of the production. In conclusion, this study would distribute other performer based on the reflection and feedback of this performance.
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Rambau, Lutanani Annah. "Music in the making: a case study of the Caravan Traditional Dance Group." Diss., 2015. http://hdl.handle.net/10500/19625.
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Text in EnglishThis case study of the Caravan Traditional Dance group profiles Musisinyani Mackson Mavunda‘s contribution to Tsonga music and dance performing arts. The lack of documentation of the work of Tsonga local traditional composers and choreographers is well-known in South Africa. This is echoed by Kidula (2006: 109), stating that ‗many studies from the continent have few outlets in the global academy, inasmuch as the work done by foreign researchers is barely known in much of Africa‘. A few years in the future, it will not be known who the composer of a certain song was, and what their intentions were in composing that particular song. Naturally the composers want to send a message to the community and sometimes to entertain the community or compose for a certain ritual. Composers need a considerable amount of planning and carefully chosen words, choreography and so on and this becomes apparent when taking into account the time and effort they put into composing a song. In response to this problem and by placing the composers‘ narratives at the centre, the study examines the role of the founder of the Caravan Traditional Dance group (CTD), Musisinyani Mackson Mavunda, and his contribution to Tsonga music and dance performing arts. This requires a critical examination of all aspects of his CTD professional career: his musical beginnings, teaching career, teaching of Tsonga traditional dances and his social and cultural heritage in the society. The key finding of this study was that Musisinyani distinguishes the humanity of others, which is Ubuntu philosophy. Music is power. It has power from within the composer. This is seen through the composer‘s confidence, assertiveness and motivation when composing songs. Music has the power to do; this is the listeners‘ choice. Through the power of music, people can gain skills; they may be productive and can network and be innovative. Music also has power over people, and the power to influence communities, thereby helping unite community members to work towards a common cause to achieve a common goal. It therefore gives communities strength and cohesion. As the community they have the power to challenge the status quo and to encourage one another.
Art History, Visual Arts and Musicology
M.Mus.
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Bullo, Faith G., and Faith G. Bullo. "An Analysis of the Cultural Importance of Rope Making: A Proposed Dance Pattern Through Interpretation of Rope Making in Sitio Masulog Basak, Lapu-Lapu City, The Philippines." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/g3cnnu.
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碩士樹德科技大學
應用設計研究所
107
The purpose of this study is to compose a dance for the people of Sitio Masulog Basak that will showcase the narrative stories of their livelihood, that is, a culture of rope weaving, into a dance presentation. This thesis seeks to identify the relevance of dance expressionism in the Cebuano culture to the rope making culture. In order to attain this goal the following sub- problems have to be dealt with: 1. Identify the importance of Dance to the Cebuano culture through various sources, 2. explain how rope making has evolved into a market industry in Lapu-Lapu City, 3. create a dance manifestation of the rope making industry utilizing varied sources, 4. exhibit, document and evaluate the said creative dance, and 5. develop a video to showcase the dance interpretation. This study makes a narrative descriptive of design and ethnography; 5 informants were interviewed regarding their rope making process. Dance is a universal activity, and The Philippines is no exception. Dance, religious or carnival, is an important part of Philippine culture. There are various forms and competitions of dance in The Philippines, but this study focuses on traditional dance: the music, costumes, movement, et cetera. Furthermore, this study created a dance using the traditional rope making in Sitio Masulog Basak of Lapu-Lapu City on the Philippine island of Cebu as inspiration and as a template to base the choreography on: the particular movements of the workers as they make the aforementioned rope. This study is comprised of two parts: a study of traditional rope making in Sitio Masulog Basak, as well as a dance composition created based on this activity. The rope making as well as the dance is visually documented with photographs as well as videography. The results of this study is the creation of a dance, picking out the proper rhythm and dance accompaniment, documentation of the dance, and publishing this documentation on a Facebook page. Music was commissioned and composed for the dance. This music can be heard when viewing the dance on the Facebook page. It is recommended that the model for this thesis, that it, taking an everyday Filipino activity and making it into a dance, drama, musical, et cetera, should be attempted by other interested parties, as the benefits in creating activities for the participants and pride for the community as a whole are tremendous, as per the experiences of the performance of this dance.
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Kafarova, Saida. "An introduction to Nikolai Medtner and performance analysis in dialogue form of his works for two pianos - Russian round dance and Knight errant." 2003. http://hdl.handle.net/2152/11980.
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