Relevant bibliographies by topics / Dances of Innocence

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Academic literature on the topic 'Dances of Innocence'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Dances of Innocence"

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ZHU, YING, and DANIEL BELGRAD. "“This Cockeyed City Is THEIRS”: Youth at Play in the Dances of West Side Story." Journal of American Studies 51, no. 1 (2016): 67–91. http://dx.doi.org/10.1017/s002187581600061x.

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While ethnic rivalry between the Jets and the Sharks in the film West Side Story has long figured as a point of scholarly concern, we argue the musical's main conflict is not between the two gangs, but rather that of youth versus adult authority. Engaging in a close analysis of the dances choreographed by Jerome Robbins, we contend that the gangs' enmity against each other is subsumed by their collective struggle to reject the socially prescribed roles of adults and children in Cold War America, which fetishized childhood innocence. Robbins's complex representations of youthful play participat
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Martin, Randy. "Dancing Machines: Choreographies in the Age of Mechanical Reproduction. By Felicia McCarren. Palo Alto: Stanford University Press, 2003; pp. 254. $49.50 cloth." Theatre Survey 46, no. 1 (2005): 155–57. http://dx.doi.org/10.1017/s0040557405340099.

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Dancers, dance theorists, and dance historians have long confronted a double marginality—a life in dance is fragile not simply because dance is ephemeral, but its professional opportunities are scarce. Within the academy, dance is notoriously treated as a minor literature, and dance studies seldom enjoy influence outside their specialized readerships. These predicaments for dance studies can attach to more general concerns about contemporary culture. A consumer society is oriented to mass media with little value for interpersonal encounter that live performance offers. The body has been eclips
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McQuillan, Martin. "Derrida in Prague: Poussin, Adami, Stoppard and the innocence of deconstruction." Derrida Today 10, no. 2 (2017): 197–215. http://dx.doi.org/10.3366/drt.2017.0156.

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This paper attends to the curious affair of Jacques Derrida in Prague when he was arrested by the Czechoslovakian police on charges of drug smuggling. It reads two images by Valerio Adami and Nicolas Poussin, entitled, ‘The Massacre of the Innocents’, Tom Stoppard's play, Professional Foul about dissident philosophers in Prague, and a section from Ken McMullen's film Ghost Dance on Kafka. It turns around the question of what ‘innocence’ might mean in politics and reading.
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Russell, Angela, George Schaefer, and Erin Reilly. "Sexualization of Prepubescent Girls in Dance Competition: Innocent Fun or ‘Sexploitation’?" Strategies 31, no. 5 (2018): 3–7. http://dx.doi.org/10.1080/08924562.2018.1490229.

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Elmessiri, Abdelwahab M. "THE DANCE OF THE PEN, THE PLAY OF THE SIGN." American Journal of Islam and Society 14, no. 1 (1997): 1–12. http://dx.doi.org/10.35632/ajis.v14i1.2265.

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According to the Islamic tawhidi paradigm, God, after creating theworld- both humanity and nature- ex nihilo, did not dwell in either ofthem or abandon them completely. God cares for the world but maintainsa distance, a gap that separates Creator from created. This has resulted ina fundamental humanity-nature duality, which is echoed in many otherdualities (e.g., body-soul, male-female). Humanity’s existence isrestricted by this gap’s parameters, but it is also a human space in whichthe individual has the freedom to fulfill a human space and either to fulfillor abort hisher essence and potenti
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Greif, Hans-Jürgen. "Peindre sa mort et celle des autres." Article 19, no. 2 (2008): 12–18. http://dx.doi.org/10.7202/017491ar.

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Résumé Qu’un peintre représente la mort des autres, voilà rien d’inhabituel, surtout s’il s’agit d’une des nombreuses danses macabres au Nord des Alpes, à la fin du Moyen Âge, et dont la plus célèbre fut sans doute celle du monastère des Innocents à Paris (1424/1425, détruite en 1529 ; gravures de Guy Marchant en 1485). Mais la présence du peintre dans la suite de ceux que la Mort emmène est bien plus rare. Les questions auxquelles l’article tente de donner une réponse sont les suivantes : pourquoi ce peintre suisse du début du XVIe siècle s’est-il joint à la danse macabre ? Quelle place occup
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Skillen, Anthony. "Rousseau and the Fall of Social Man." Philosophy 60, no. 231 (1985): 105–21. http://dx.doi.org/10.1017/s0031819100068212.

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As ideas and feelings succeeded one another, and heart and head were brought into play, men continued to lay aside their natural wildness; their private connections became ever more intimate as their limits extended. They accustomed themselves to assemble before their huts round a large tree; singing and dancing, the true offspring of love and leisure, became the amusement, or rather the occupation, of men and women thus assembled together with nothing else to do. Each one began to consider the rest, and to wish to be considered in turn; and thus a value came to be attached to public esteem. W
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Edmondson, Laura. "Tanzanian Theatre and the Mapping of Home." Theatre Research International 27, no. 2 (2002): 164–77. http://dx.doi.org/10.1017/s030788330200024x.

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Tanzanian popular theatre consists of a dizzying variety of ‘traditional’ dances, plays, acrobatics, and musical acts that freely borrow from traditions across the globe. In a stark contrast to the fluidity of these performances, however, the plays maintain a rigid division between representations of the urban city and rural home. This demarcation operates along the gendered lines described by Anne McClintock, in which the village is coded as the feminized model of tradition in contrast to the ‘male’, modern world of the city, leading to stereotypical roles of the innocent rural girl and the l
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Schmitt, Juliana. "Studying the medieval Dance of Death: between the visible, the hidden and the destroyed." Revista ARA, no. 3 (October 6, 2017): 233. http://dx.doi.org/10.11606/issn.2525-8354.v0i3p233-253.

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Gênero iconográfico e literário da Baixa Idade Média, a Dança Macabra apresenta certas dificuldades para seu estudo, sendo a principal delas a existência instável das obras, notadamente das imagéticas. Em muitos casos, sabe-se delas apenas por registros escritos de época. Muitas já foram destruídas, outras tantas, cobertas. As que se mantiveram visíveis possuem problemas importantes, como seu estado atual de intensa deterioração ou mesmo intervenções feitas durante o século XX que, apesar de realizadas com o intuito de conservá-las, podem tê-las descaracterizado. Para elucidar essa problemátic
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Bendtsen, Marcus. "The P Value Line Dance: When Does the Music Stop?" Journal of Medical Internet Research 22, no. 8 (2020): e21345. http://dx.doi.org/10.2196/21345.

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When should a trial stop? Such a seemingly innocent question evokes concerns of type I and II errors among those who believe that certainty can be the product of uncertainty and among researchers who have been told that they need to carefully calculate sample sizes, consider multiplicity, and not spend P values on interim analyses. However, the endeavor to dichotomize evidence into significant and nonsignificant has led to the basic driving force of science, namely uncertainty, to take a back seat. In this viewpoint we discuss that if testing the null hypothesis is the ultimate goal of science
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Dissertations / Theses on the topic "Dances of Innocence"

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Seago, Erica. "A report in instrumental conducting including an analysis of Dances of Innocence by Jan van der Roost and Air for Band by Frank Erickson." Kansas State University, 2016. http://hdl.handle.net/2097/32654.

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Master of Music<br>Department of Music, Theatre, and Dance<br>Frank C. Tracz<br>Three essential components of wind band conducting are as follows: music selection, score study, and rehearsal planning. This report contains an analysis and rehearsal plan for two band works and a discussion on quality literature selection for band as well as a personal philosophy of music education and student learning. The two works presented are Dances of Innocence by Jan van der Roost and Air for Band by Frank Erickson.
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Dujakovic, Maja. "Dancing with the Dance of the Dead : cemetery of the Innocents and the ramifications of the Macabre." Thesis, 2004. http://hdl.handle.net/2429/16305.

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The following thesis discusses the very first depiction of the "Danse Macabre" (Dance of the Dead) at the Paris cemetery of the Holy Innocents. The mural, now known only through prints and literary descriptions, was painted in 1424-5 on the cloister wall of this prominent medieval burial ground, and depicted fifteen pairs of dancing partners arranged according to their station in late medieval secular or ecclesiastic society. The pairs, composed of one dead and one living partner, are framed by a scholarly figure, known as the Author, who introduces and concludes the dance. The mural was accom
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Books on the topic "Dances of Innocence"

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Champe, Flavia Waters. Innocents on broadway. Media Pub. & Marketing, 1987.

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Dunham, Katherine. A touch of innocence: Memoirs of childhood. University of Chicago Press, 1994.

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Kosstrin, Hannah. Dances of All Nations. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199396924.003.0002.

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This chapter argues that Anna Sokolow’s 1930s proletarian and anti-fascist choreographies contributed to an increasingly vibrant conversation with the transnational Left through shared ideologies of egalitarianism and antiracism as they made space for women in these conversations. The chapter discusses a catalog of her work, including Histrionics (1933), Speaker (1935), Four Little Salon Pieces (1936), Strange American Funeral (1935), Case History No.— (1937), Excerpts from a War Poem (F. T. Marinetti) (1937), Façade—Exposizione Italiana (1937), Slaughter of the Innocents (1937), “Filibuster”
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Burney, Frances, and Vivien Jones. Evelina. Edited by Edward A. Bloom. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199536931.001.0001.

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‘Lord Orville did me the honour to hand me to the coach, talking all the way of the honour I had done him! O these fashionable people!’ Frances Burney's first and most enduringly popular novel is a vivid, satirical, and seductive account of the pleasures and dangers of fashionable life in late eighteenth-century London. As she describes her heroine's entry into society, womanhood and, inevitably, love, Burney exposes the vulnerability of female innocence in an image-conscious and often cruel world where social snobbery and sexual aggression are played out in the public arenas of pleasure-garde
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The modern pleasure dance: Is it an innocent and an appropriate amusement? : outline of a sermon. s.n.], 1994.

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Belser, Julia Watts. Conquered Bodies in the Roman Bedroom. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190600471.003.0003.

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This chapter examines tales of beautiful Jewish men and women taken captive by Rome. In these stories, beauty performs potent cultural work. Through sexualized narratives that portray the captive Jew as victim of Roman greed, Bavli Gittin makes use of a common Roman moral trope—concern for luxuria, an insatiable desire for luxury that is also expressed in lust and licentiousness—to critique elite Roman decadence and moral degradation. These stories also reveal a striking departure from the conventional beauty politics of rabbinic culture. Elsewhere, the Babylonian Talmud frequently portrays wo
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Fay, Jessica. Pastoral Reclusion and The Excursion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198816201.003.0005.

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In light of the knowledge of monastic history he developed in the years preceding publication of The Excursion (1814), this chapter considers the implications of Wordsworth’s presentation of himself—in that poem’s Preface—as a recluse in retirement at work on a poetic ‘gothic Church’. It also offers a new interpretation of The Excursion as a generic experiment in the pastoral mode. Given the poem’s focus on the relative virtues and dangers of reclusion, this chapter suggests that monasticism provided the framework for Wordsworth’s critique of certain pastoral conceits that had become outworn i
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Book chapters on the topic "Dances of Innocence"

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Nolte-Odhiambo, Carmen. "Through the Black Mirror: Innocence, Abuse, and Justice in “Shut Up and Dance”." In Children: Global Posthumanist Perspectives and Materialist Theories. Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-6210-1_5.

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Renfro, Paul M. "Trouble in the Heartland." In Stranger Danger. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190913984.003.0004.

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Chapter 3 centers on the disappearances of Des Moines Register paperboys Johnny Gosch and Eugene Wade Martin in 1982 and 1984, respectively. These incidents challenged white Midwestern ideas about childhood and regional innocence, as locals took the paperboy cases as signs of regional and national decline. White Iowans responded by demanding state protection for their children, who supposedly faced new threats from strangers emboldened by moral relativism and sexual liberation and impervious to the symbolic power of an innocent and secure Midwest. Many of the legal and cultural mechanisms adopted in the service of protecting young Iowans—including the iconic milk carton campaign—were replicated in the construction of the national child safety regime.
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Dusenbury, David Lloyd. "“Pilate Defended”." In The Innocence of Pontius Pilate. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197602799.003.0020.

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The question of Pilate’s innocence is debated with greater sophistication at the end of the seventeenth century than ever before. A liberal professor of law in the city of Halle, Christian Thomasius, is now remembered as one of the master-thinkers of ‘secularization’ in the early Westphalian era. Yet Thomasius is rarely if ever remembered as the author of a highly interesting 1675 text On the Unjust Judgement of Pontius Pilate. Thomasius’ juridical text on Pilate is likely the high point of European legal reasoning on the innocence (or guilt) of Jesus’ Roman judge. However, Thomasius’ 1675 text is written in reply to two other forgotten texts: Pilate Defended, by Johann Steller; and A Refutation of the Defence of Pontius Pilate, by Daniel Hartnaccius. This chapter offers a reading of, and a reflection upon, this collection of early Enlightenment texts on the Roman trial of Jesus.
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Dumas, Alexandre. "Number 34 and Number 27." In The Count of Monte Cristo. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199219650.003.0016.

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DantÈs passed through all the degrees of wretchedness that prisoners, forgotten in their dungeon, suffer. He began with pride, a natural consequence of hope, and a clear conscience; then he began to doubt his own innocence, which justified in some measure the governor’s belief...
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Bussels, Stijn, and Bram Van Oostveldt. "The Massacre of the Innocents: infanticide and solace in the seventeenth-century Low Countries." In The Hurt(ful) Body. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784995164.003.0003.

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In this chapter a specific body will take centre-stage: the body of the child. Focusing on both theatre and visual arts in the Dutch Republic this contribution will discuss the most cruel and loathsome form of violence, i.e. violence inflicted on innocent children. For this, one passage from the Bible was often used, the massacre of the Innocents in Bethlehem from the Gospel of Matthew. This contribution concentrates on the popularity of this biblical passage in the visual arts of the early modern Netherlands and will clarify how diverse the solace can be. Therefore, this chapter will focus on the thirties of the seventeenth century, when the Dutch Republic had consolidated itself as a crucial economic and cultural player and when the Spanish Netherlands were dominated by counter-reformational discourses. Daniel Heinsius’s Latin tragedy Herodes infanticida (1632), an illustration from Jacob Cats’ Trov-ringh (1637), Rubens’ Massacre of the Innocents (1637) and Joost van de Vondel’s history play Gysbrecht van Aemstel (1638) will be discussed. A detailed comparative analysis of these examples will reveal how artists, writers, painters and actors, used hurt bodies on stage, page or canvas as a means to feature the most profound fears and doubts of an era.
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Renfro, Paul M. "“He Was Beautiful”." In Stranger Danger. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190913984.003.0002.

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Chapter 1 concentrates on the disappearance of six-year-old Etan Patz in Manhattan in May 1979. It shows how pictures of Patz—taken by his father, a professional photographer, and disseminated around New York City and beyond—inaugurated a new cultural form called the image of endangered childhood. This form foregrounded white childhood innocence and assumed sexual overtones, which shaped the ascendant child safety movement and the news media’s coverage of it. Specifically, observers more readily assigned sexual motives to missing child cases beginning in the late twentieth century. In the Patz case, the racialized and sexualized image of endangered childhood led investigators, activists, and the news media to (wrongly) implicate the North American Man/Boy Love Association in Etan’s abduction. The case thus revealed key fault lines in the LGBTQ and feminist movements, and in late twentieth-century American politics more broadly, while setting the foundation for the child safety regime.
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Renfro, Paul M. "“Save Them or Perish”." In Stranger Danger. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190913984.003.0003.

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The second chapter focuses on the 1979–1981 kidnappings and murders of twenty-nine black youths in Atlanta. These abductions and killings, which primarily targeted young males from Atlanta’s poor and working-class neighborhoods, exacerbated African American anxieties about racial violence and raised the specters of Southern racism and the myth of gay pedophilia. Some responses to these murders emphasized the victims’ “street smarts,” “hustling,” and even their alleged same-sex sex work, thereby depriving them of the individualized innocence so readily lavished upon Etan Patz and other missing or murdered white youth. Moreover, in an effort to preserve Atlanta’s reputation as progressive and business-friendly, the city’s biracial political and economic establishment sought to downplay the racial and class dimensions of the abductions and slayings. The Atlanta tragedies thus exposed the racial and class limitations of the image of endangered childhood and illustrated how notions of white child-victimhood grounded the child safety regime.
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Kim, Hee-sun. "Mainstreaming Dance Music and Articulating Femininity." In Vamping the Stage. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824869861.003.0014.

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Korean pop music, or K-pop, has emerged and taken its dominant place since the turn of this century, but its girl groups can trace their lineage back to the 1990s, while the dance music so characteristic of K-pop began in the dance music boom of the 1980s. This chapter examines the music, image, and performance styles of female dance divas from the 1980s into the 2000s. Its purpose is threefold: first, to properly historicize the female dance singers of Korean pop music within their socio-cultural contexts and trace how the image of sexuality has evolved from those early dance divas to the K-pop girl groups of today; second, to examine the ways in which multi-dimensional cultural meanings and voices are constructed through the music, performance styles, and images, atop discourses of body, gender, and sexuality; and third, to dispute earlier assumptions about Korean female dance singers as being merely innocent victims of the globalized commercial entertainment industry and patriarchal systems. This study seeks to reveal the female dance singers as major subjectivities in shaping modern Korean popular music, a role inevitably overshadowed by the strong critical discourse on K-pop girls that emphasizes their sexuality.
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Renfro, Paul M. "Kids in Custody." In Stranger Danger. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190913984.003.0006.

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The fifth chapter shows how the child safety issue further splintered federal juvenile justice and youth policy along racial fault lines. Tracing the movements of rightwing luminary Alfred S. Regnery, chapter 5 illustrates how public fears about stranger danger served to lengthen the punitive, policing arm of the federal welfare state, to undercut the children’s rights gains of the 1960s and 1970s, and to bolster the politics of “family values.” As OJJDP director, Regnery used the child safety scare to “toughen” juvenile justice policies targeting working-class, nonwhite youth, while simultaneously embellishing the severity of moral threats facing “innocent” children (coded as white and middle-class). To that end, Regnery employed racialized language that cast virtually all juvenile offenders as nonwhite. The “typical candidate for juvenile arrest,” he claimed, was “most likely black, possibly Hispanic.” Such rhetoric prefigured the “superpredator” discourse that crystallized in the 1990s and helped exacerbate racialized mass incarceration.
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"On the Dangers of Innocents – or, Whose Suffering Shall we Value?" In At War for Peace. BRILL, 2010. http://dx.doi.org/10.1163/9781848880351_007.

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