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Journal articles on the topic 'Dancing in literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Hollenberg, Donna. ""Dancing Edgeways"." Renascence 58, no. 1 (2005): 5–16. http://dx.doi.org/10.5840/renascence200558112.

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2

Rosenblum, Brian, Sándor Kányádi, and Paul Sohar. "Dancing Embers." World Literature Today 77, no. 1 (2003): 117. http://dx.doi.org/10.2307/40157870.

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3

Pratt, William, and Éilís Ní Dhuibhne. "The Dancers Dancing." World Literature Today 74, no. 3 (2000): 596. http://dx.doi.org/10.2307/40155882.

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4

King, Bruce, and Mike Phillips. "The Dancing Face." World Literature Today 72, no. 2 (1998): 372. http://dx.doi.org/10.2307/40153844.

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5

Oldham, Gerda, and Glenda Adams. "Dancing on Coral." Antioch Review 46, no. 3 (1988): 395. http://dx.doi.org/10.2307/4611935.

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6

McQUADE, MOLLY. "DANCING THROUGH PAIN." Yale Review 87, no. 3 (2010): 153–57. http://dx.doi.org/10.1111/j.1467-9736.1999.tb00048.x.

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7

Bartholomew, Robert. "Dancing with Myths: The Misogynist Construction of Dancing Mania." Feminism & Psychology 8, no. 2 (1998): 173–83. http://dx.doi.org/10.1177/095935359800800204.

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The European ‘dancing manias’ represent the first recorded episodes of ‘epidemic hysteria’. These behaviours are typified within the psychiatric literature as spontaneous, stress-induced outbursts of psychological disturbance that primarily affected females. This depiction is typically founded on secondary sources or the selective use of period quotations by medical historians George Rosen and Henry Sigerist. However, based on a series of translations of medieval European chronicles describing these events, typically firsthand, it is evident that contemporary depictions of ‘dancing manias’ hav

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8

Gould, Rebecca Ruth, and Kayvan Tahmasebian. "Dancing in Chains." Wasafiri 34, no. 3 (2019): 64–68. http://dx.doi.org/10.1080/02690055.2019.1613017.

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9

Glaser, Michael S. "My Daughter, Dancing." Anthropology Humanism 29, no. 1 (2004): 82–85. http://dx.doi.org/10.1525/ahu.2004.29.1.82.

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10

Glaser, Michael S. "My Daughter, Dancing." Anthropology and Humanism 29, no. 1 (2004): 82–85. http://dx.doi.org/10.1525/anhu.2004.29.1.82.

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11

Grubb, David H. W. "Dancing with Chagall." Critical Quarterly 39, no. 2 (1997): 93. http://dx.doi.org/10.1111/1467-8705.00091.

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12

Skloot, Floyd. "Glinka Dancing." Hudson Review 49, no. 2 (1996): 275. http://dx.doi.org/10.2307/3852459.

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13

Kramer, Prapassaree. "Dancing at Lughnasa:Unexcused Absence." Modern Drama 43, no. 2 (2000): 171–81. http://dx.doi.org/10.3138/md.43.2.171.

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14

Bruce, Heather E. "Hoop Dancing: Literature Circles and Native American Storytelling." English Journal 93, no. 1 (2003): 54. http://dx.doi.org/10.2307/3650571.

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15

AMES, MARGARET. "Dancing Place/Disability." Theatre Research International 40, no. 2 (2015): 170–85. http://dx.doi.org/10.1017/s0307883315000048.

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This article is developed from a paper presented at IFTR as part of the Performance and Disability Working Group in summer 2013. The work considered is a practice-as-research contribution by Welsh dance theatre company Cyrff Ystwyth towards a large Arts and Humanities Research Council-funded enquiry into performance, place, dislocation and vulnerability. The article uses contrasting concepts drawn from the work of critical theorists and dance scholars André Lepecki and Carrie Noland to think about the implications of Cyrff Ystwyth's site-specific performance authored by choreographer Adrian Jo

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16

Dox, Donnalee. "Dancing Around Orientalism." TDR/The Drama Review 50, no. 4 (2006): 52–71. http://dx.doi.org/10.1162/dram.2006.50.4.52.

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The performance of belly dancing in the West embodies a central paradox: while invoking Orientalist tropes in its appropriation of Middle Eastern dances, it is cast as a celebratory form of women's empowerment that destabilizes Western patriarchy. Exploring these contradictory claims, the author situates the predicaments of gender and interculturalism that surface in discourses about Western belly dance.

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17

Larlham, Daniel. "Dancing Pina Bausch." TDR/The Drama Review 54, no. 1 (2010): 150–60. http://dx.doi.org/10.1162/dram.2010.54.1.150.

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The Tanztheater Wuppertal Pina Bausch performed Nefés in Wrocław, Poland, only hours after receiving news of their director's sudden death on 30 June 2009. The unique empathic dynamics of the performance offer a window onto the evolution of Bausch's artistic vision and working process over the past three decades.

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18

Felton-Dansky, M. "Dancing by Themselves." Theater 41, no. 1 (2011): 3–5. http://dx.doi.org/10.1215/01610775-2010-016.

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19

Theisen, Bianca. "Dancing With Words." MLN 121, no. 3 (2006): 522–29. http://dx.doi.org/10.1353/mln.2006.0079.

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20

Gough, Kathleen. "PolymorphousPlayboys: Irish–Caribbean Shadow Dancing." Modern Drama 48, no. 4 (2005): 777–99. http://dx.doi.org/10.3138/md.48.4.777.

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21

Baliozian, Ara, and Leonardo Alishan. "Dancing Barefoot on Broken Glass." World Literature Today 66, no. 2 (1992): 401. http://dx.doi.org/10.2307/40148332.

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22

Bradley, Rizvana. "Dancing the Return." Callaloo 40, no. 2 (2017): 142–56. http://dx.doi.org/10.1353/cal.2017.0105.

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23

Wheeler, Ann, and Joe Champion. "Dancing Dinosaurs: An Interdisciplinary Mathematics Lesson." Mathematics Teaching in the Middle School 23, no. 3 (2017): e1-e5. http://dx.doi.org/10.5951/mathteacmiddscho.23.3.00e1.

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24

Galipeau, Steven. "Dancing with Wolves." Jung Journal 7, no. 1 (2013): 34–47. http://dx.doi.org/10.1080/19342039.2013.759061.

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25

Liddell-King, Jane. "Dancing for His Country." Women: A Cultural Review 30, no. 1 (2019): 114–17. http://dx.doi.org/10.1080/09574042.2018.1561046.

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26

Sperry-Garcia, Christen. "Dancing with the Zapatistas." TDR/The Drama Review 62, no. 1 (2018): 213–15. http://dx.doi.org/10.1162/dram_r_00737.

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27

Кравчук, Т. М., and К. М. Голівець. "Peculiarities of Use of Dancing Exercises in Physical Education of Female High Schoolers." Teorìâ ta Metodika Fìzičnogo Vihovannâ, no. 4 (December 25, 2015): 11–16. http://dx.doi.org/10.17309/tmfv.2015.4.1151.

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The purpose of the research is to ground and develop the methods of the use of dancing exercises at physical training classes in high school and to experimentally verify their effectiveness. Research methods. Theoretical ones: study and analysis of pedagogical, scientific and methodological literature on the problems under research; a complex of empirical research methods: research and experimental work, observations, questionnaires, testing; statistical methods of research and data reduction. Research results. The paper reveals the peculiarities of the use of dancing exercises at

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28

Doobay, Ravi, Lili Sun, Amish Shah, Pardeep Masuta, and Zachary Shepherd. "SSRI Facilitated Crack Dancing." Case Reports in Neurological Medicine 2017 (2017): 1–2. http://dx.doi.org/10.1155/2017/4318450.

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Choreoathetoid movement secondary to cocaine use is a well-documented phenomenon better known as “crack dancing.” It consists of uncontrolled writhing movements secondary to excess dopamine from cocaine use. We present a 32-year-old male who had been using cocaine for many years and was recently started on paroxetine, a selective serotonin reuptake inhibitor (SSRI) for worsening depression four weeks before presentation. He had been doing cocaine every 2 weeks for the last three years and had never “crack danced” before this episode. The authors have conducted a thorough literature review and

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29

Wylie, Hal. "The Dancing Masks of Sylvain Bemba." World Literature Today 64, no. 1 (1990): 20. http://dx.doi.org/10.2307/40145787.

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30

Nash, Susan Smith, and Anne Stevenson. "Four and a Half Dancing Men." World Literature Today 68, no. 4 (1994): 821. http://dx.doi.org/10.2307/40150709.

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31

Siegel, Marcia B. "Dancing in the Dust." Hudson Review 54, no. 3 (2001): 455. http://dx.doi.org/10.2307/3853387.

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32

Stratton, Jon. "Disco Before Disco." Journal of Popular Music Studies 33, no. 1 (2021): 50–69. http://dx.doi.org/10.1525/jpms.2021.33.1.50.

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Dancing has been a central component of the experience of popular music, yet with the exceptions of disco and electronic dance music, it is rarely discussed in the academic literature. This article focuses on a pivotal moment in the transformation of dancing to popular music in England. The second half of the 1960s saw the gradual move from dancing to live groups to dancing to records in clubs. Just before this dancing itself had changed from something done by couples to something done by individuals albeit usually in pairs, though often girls might dance together in a group. Young people in E

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33

Waxman, Barbara Frey. "Dancing out of Form, Dancing into Self: Genre and Metaphor in Marshall, Shange, and Walker." MELUS 19, no. 3 (1994): 91. http://dx.doi.org/10.2307/467874.

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34

Visočnik Gerželj, Nataša. "Dancing with the Fan." Asian Studies 9, no. 3 (2021): 199–221. http://dx.doi.org/10.4312/as.2021.9.3.199-221.

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The article addresses several issues concerning a Japanese fan and the kimonos found in the collection of Ivan Skušek from Slovene Ethnographic Museum. They belonged to Ivan Skušek’s Japanese wife Marija Tsuneko Skušek, and were after her death donated to the museum together with other objects from the Skušek collection. With analysing these items and researching the life of Marija Tsuneko Skušek the article discusses the roles these objects had in transmitting Japanese culture to Slovene audience with a focus on the Japanese dances as one way of transmission. During her life in Ljubljana, Mar

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35

Stożek, Joanna, Urszula Pustułka-Piwnik, and Marta Curyło. "Argentine tango in the rehabilitation of patients with Parkinson’s disease." Rehabilitacja Medyczna 20, no. 1 (2016): 33–38. http://dx.doi.org/10.5604/01.3001.0009.2794.

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Parkinson’s disease (PD) is a progressive, neurodegenerative disease leading to disability. Parkinson’s disease causes the occurrence of movement disorders, such as bradykinesia, hipokinesia, rigidity, tremor, postural instability, gait disorders and falls as well as non-motor symptoms. Rehabilitation is an important part of treatment in Parkinson’s disease and the Argentine tango is one of the suggested, more attractive forms of physical activity. The aim of the study is to present the effects and possibilities of using the Argentine tango in the rehabilitation of patients with Parkinson’s di

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36

Keogh, Justin W. L., Andrew Kilding, Philippa Pidgeon, Linda Ashley, and Dawn Gillis. "Physical Benefits of Dancing for Healthy Older Adults: A Review." Journal of Aging and Physical Activity 17, no. 4 (2009): 479–500. http://dx.doi.org/10.1123/japa.17.4.479.

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Dancing is a mode of physical activity that may allow older adults to improve their physical function, health, and well-being. However, no reviews on the physical benefits of dancing for healthy older adults have been published in the scientific literature. Using relevant databases and keywords, 15 training and 3 cross-sectional studies that met the inclusion criteria were reviewed. Grade B–level evidence indicated that older adults can significantly improve their aerobic power, lower body muscle endurance, strength and flexibility, balance, agility, and gait through dancing. Grade C evidence

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37

Lee, Pearl-Angelika, Bohumil Hrabal, Michael Heim, and Vladimir Suchanek. "Dancing Lessons for the Advanced in Age." World Literature Today 74, no. 2 (2000): 437. http://dx.doi.org/10.2307/40155766.

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38

Farah, Laila. "Dancing on the Hyphen: Performing Diasporic Subjectivity." Modern Drama 48, no. 2 (2005): 316–43. http://dx.doi.org/10.3138/md.48.2.316.

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39

Schenk, Leslie, Robert Friend, and Edward Field. "Dancing with a Tiger: Poems, 1941-1998." World Literature Today 78, no. 3/4 (2004): 98. http://dx.doi.org/10.2307/40158542.

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40

Bringhurst, Robert. "Everywhere Being Is Dancing, Knowing Is Known." Chicago Review 39, no. 3/4 (1993): 138. http://dx.doi.org/10.2307/25305732.

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41

Perry, John Oliver, and Devinder Mohan. "The Dancing Bear and the Ambling Bear." World Literature Today 62, no. 3 (1988): 509. http://dx.doi.org/10.2307/40144478.

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42

Foster, S. L. "DANCING BODIES: An Addendum, 2009." Theater 40, no. 1 (2010): 25–29. http://dx.doi.org/10.1215/01610775-2009-016.

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43

WALSH, FINTAN. "Senior Editor's Note: Academics Dancing." Theatre Research International 46, no. 2 (2021): 107. http://dx.doi.org/10.1017/s0307883321000031.

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44

Turley, Brent M., Mitsuru Saito, and Samuel E. Sherman. "Dancing Diamonds in Highway Work Zones: Evaluation of Arrow-Panel Caution Displays." Transportation Research Record: Journal of the Transportation Research Board 1844, no. 1 (2003): 1–10. http://dx.doi.org/10.3141/1844-01.

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Arrow panels, consisting of a matrix of lights, symbolically convey additional warning to motorists. Nondirectional arrow-panel displays are designated as caution displays. Before 2001, literature lacked significant statistical support for any one type of caution display. A 2001 Oregon Department of Transportation (ODOT) study suggested that the “dancing diamonds” display performs in the field as well as, if not better than, other caution displays. ODOT also found that local citizens preferred the dancing diamonds to other caution displays. However, additional research was needed to confirm th

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45

Кравчук, Т. М., and О. С. Роганіна. "Health-Improving Potential of Dancing Exercises in Physical Education of Students of Higher Educational Institutions." Teorìâ ta Metodika Fìzičnogo Vihovannâ, no. 2 (June 30, 2015): 41. http://dx.doi.org/10.17309/tmfv.2015.2.1141.

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Research objective: to determine the health-improving potential of dancing exercises used in physical education of female students of higher educational institutions. Research methods: study and analysis of pedagogical, scientific and methodological literature on the subject matter of the research; observations, questionnaires, functional tests; statistical methods of data reduction.Conclusions. As part of the study, the use of dancing exercises in the physical education of female students of higher educational institutions proved contributing to a significant increase in the level of their ph

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46

Wilkinson, Greg. "Epidemics: dancing manias (reassuringly rare in Great Britain) – psychiatry in literature." British Journal of Psychiatry 218, no. 2 (2021): 94. http://dx.doi.org/10.1192/bjp.2020.205.

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47

Brissenden, Alan. "Dancing Shakespeare in Australia." Multicultural Shakespeare: Translation, Appropriation and Performance 8, no. 23 (2011): 56–70. http://dx.doi.org/10.2478/v10224-011-0005-6.

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48

Hirsch, Peter Buell. "Follow the dancing meme: intergenerational relations in the workplace." Journal of Business Strategy 41, no. 3 (2020): 67–71. http://dx.doi.org/10.1108/jbs-02-2020-0034.

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Purpose This paper aims to examine whether the stereotypes about intergenerational conflict in the workplace have any validity. Design/methodology/approach This paper is a review of the available academic literature and popular reactions to it. Findings The perception of intergenerational conflict has created its own negative dynamic that is in itself the main source of tension. Research limitations/implications By definition, the review of the literature was selective not comprehensive. Practical implications If companies can begin to understand this dynamic at work they can follow steps to e

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49

Lofgren, Erik R., Yasunari Kawabata, and J. Martin Holman. "The Dancing Girl of lzu and Other Stories." World Literature Today 72, no. 2 (1998): 461. http://dx.doi.org/10.2307/40153987.

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50

Howard, Skiles. "Rival Discourses of Dancing in Early Modern England." Studies in English Literature, 1500-1900 36, no. 1 (1996): 31. http://dx.doi.org/10.2307/450926.

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