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Books on the topic 'Daniel Gendre'

Author: Grafiati

Published: 26 July 2024

Last updated: 31 July 2025

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1

Gendre, Daniel. Daniel Gendre: UdSSR. Offizin Zürich, 2008.

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2

Housted, Erik. Fattig-Holm: Tre guldalderskæbner : guldsmeden Michael Holm 1774-1860, kobberstikkeren Jens Holm 1776-1859, maleren Heinrich Gustav Ferdinand Holm 1803-1861. Rhodos, 1994.

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3

Jensen, Jørgen Bonde. H.C. Andersen og genrebilledet. Babette, 1993.

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4

Madsen, Preben Juul. Danske genremalere: Fortællende billeder i 1800-tallet. P. Fogtdal, 1988.

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5

1947-, Thomas Helen, ed. Dance, gender, and culture. St. Martin's Press, 1993.

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6

editor, Svenningsen Jesper, Villumsen Anne-Mette editor, Fuglsang kunstmuseum, Nivaagaards malerisamling, Ribe kunstmuseum (Denmark), and Skovgaardmuseet i. Viborg, eds. Wilhelm Marstrand: En store fortæller. Nivaagaards Malerisamling, 2020.

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7

Maryono. Pragmatik genre tari pasihan gaya Surakarta. ISI Press Solo, 2010.

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8

Tomko, Linda J. Dancing class: Gender, ethnicity, and social divides in American Dance, 1890-1920. Indiana University Press, 1999.

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9

Hanna, Judith Lynne. Dance, sex and gender: Signs of identity, dominance, defiance, and desire. University of Chicago Press, 1988.

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10

Wivel, Mikael. Lysets tøven: Niels Larsen Stevns og de store fortællinger. Christian Ejlers f̓orlag, 1994.

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11

Saikin, Magali. Tango y género: Identidades y roles sexuales en el tango argentino. Abrazos Books, 2004.

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12

Lázár, Imre. Dance of the avatar: Embodying gender and culture through dance. Nova Science Publishers, Inc., 2015.

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13

Tomizawa, Yutaka. Onna no mae de gōkyū suru otokotachi: Jirei chōsa, gendai Nihon jendākō. Bajiriko, 2008.

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14

John, Mercer. Melodrama: Genre, style, sensibility. Wallflower, 2004.

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15

Pandey, Shashi Ranjan. Gender at the grassroots Vietnam: Swedish-Danish Fund for the Promotion of Gender Equality in Vietnam. Women's Action and Research Initiative, 2001.

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16

Daniel, Daniela. Pfeiffer, 1986.

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17

Daniel – Daniela: Aus dem Tagebuch eines Kreuzträgers. Concordia, 2016.

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18

Krayenbuhl, Pamela. White Screens, Black Dance. Oxford University PressNew York, NY, 2025. https://doi.org/10.1093/9780197699119.001.0001.

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Abstract White Screens, Black Dance analyzes the film and television dances of male screen stars in the United States during the mid-twentieth century. Unpacking the complex physical and visual codes performed by four case studies—the Nicholas Brothers, Gene Kelly, Elvis Presley, and Sammy Davis, Jr.—it argues that each employs Black (Africanist) dance and movement vocabularies in distinct ways, all using them to construct shifting models of masculinity over the course of their careers. In so doing, this book theorizes a practice of appropriation called blackbodying, whereby nonblack performer

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19

Preston, Carrie J. Modernism's Mythic Pose: Gender, Genre, Solo Performance. Oxford University Press, 2014.

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20

Preston, Carrie J. Modernism's Mythic Pose: Gender, Genre, Solo Performance. Oxford University Press, 2012.

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21

Preston, Carrie J. Modernism's Mythic Pose: Gender, Genre, Solo Performance. Oxford University Press, Incorporated, 2011.

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22

Portier-Young, Anathea E. Daniel and Apocalyptic Imagination. Edited by Carolyn J. Sharp. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199859559.013.13.

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The book of Daniel forms a bridge between Israel’s classical prophetic literature and the genre apocalypse. Daniel has often been classified among the prophets, but also stands apart. An examination of revealed knowledge and textual authority in Daniel clarifies the relationship among Daniel, earlier prophets, and Mesopotamian divinatory wisdom. Daniel’s apocalyptic imagination combines prophetic language and imagery with new visionary experience, offering readers powerful new language, symbols, and models for embodied practice. Cross-disciplinary studies of imagination suggest ways that Danie

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23

Daniel, Yvonne. Igniting Diaspora Citizenship. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036538.003.0010.

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This book concludes by discussing the transcendence, resilience, and citizenship that have come to define Diaspora dance. It first explains the transcendent tendencies of Diaspora dance, emphasizing how its several genres have spread through migration, transnational connections, and communication technologies to Caribbean niches in other parts of the world. It then considers the resilience of both Diaspora dance and Diaspora dancers in response to change, able to recover spirit and energy in a quick but cool fashion as they deal with a variety of challenges. It also examines how citizenzhip is

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24

Positioning Daniel Defoe's non-fiction: Form, function, genre. Cambridge Scholars, 2011.

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25

Gray, Laurel Victoria. Women's Dance Traditions of Uzbekistan. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350249509.

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The first comprehensive work in English on the three major regional styles of Uzbek women’s dance –Ferghana, Khiva and Bukhara – and their broader Silk Road cultural connections, from folklore roots to contemporary stage dance. The book surveys the remarkable development from the earliest manifestations in ancient civilizations to a sequestered existence under Islam; from patronage under Soviet power to a place of pride for Uzbek nationhood. It considers the role that immigration had to play on the development of the dances; how women boldly challenged societal gender roles to perform in publi

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26

DeFrantz, Thomas F. Switch. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.44.

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Moving from the political margins toward a black mainstream, many African American social dances often emerge in queer communities of color. This chapter explores politically embodied consequences and affects of queer social dances that enjoy concentrated attention outside their originary communities. J-setting, voguing, and hand-dancing—a form of queer dance popular in the 1970s–1980s—offer sites to consider the materialization of queer black aesthetic gesture, in dances that redefine gender identities and confirm fluid political economies of social dance and motion. These queer dances simult

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27

Sunardi, Christina. Constructing Gender and Tradition through Senses of History. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038952.003.0004.

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This chapter looks at how performers constructed senses of gender—including boundaries of femaleness and maleness—as they established what comprised tradition through their senses of history. It emphasizes that the ways performers connected femaleness, the female style dance Beskalan Putri, the past, spiritual power, and Malang indicates ways of thinking that in effect maintain cultural space for the magnetic power of femaleness and connect female power to Malangan identity. The senses of femaleness and its power that performers associated with Beskalan Putri were so strong that they shaped th

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28

Sunardi, Christina. Where Tradition, Power, and Gender Intersect. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038952.003.0006.

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This chapter analyzes performer interactions, bringing together many of the themes and issues discussed in previous chapters to demonstrate some of the ways that micro-moments of interaction on- and offstage are critical moments of complex cultural and ideological work. Building on Benjamin Brinner's attention to the importance of competence and authority in shaping interactions between performers as well as the ways such interactions affect what is performed, this chapter focuses on the relationship between the dancer and the drummer. It argues that contradictions between dominant ideologies

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29

Thomas, Helen. Dance, Gender and Culture. Palgrave Macmillan, 2016.

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30

Thomas, Helen. Dance, Gender and Culture. Palgrave Macmillan, 1993.

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31

Bosse, Joanna. Performing Race, Remaking Whiteness. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039010.003.0007.

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This chapter explores the intersection between race and ballroom dance by focusing on the racial stereotypes encoded within Standard and Latin genres. More specifically, it considers more tacit aspects of ballroom dance, race, whiteness, and exoticism, and how they are encoded as different aspects of beauty in American expressive forms. The chapter first considers the performance of Standard and Latin dances before discussing the competition dances of both genres. It also examines a third category employed at the Regent Ballroom and Banquet Center, the Nightclub/street dances, and proceeds by

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32

Silverman, Carol. Diasporic Ethnicity, Gender, and Dance. Edited by Anthony Shay and Barbara Sellers-Young. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199754281.013.015.

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Focusing on Muslim Macedonian Roma in New York, this article analyzes dance as a gendered expressive behavior embedded in community ritual events. Dance expresses social relationships, status, and familial alliances; it is a dynamic interactive behavior that can transform and build relationships, foster communication in the community, or enact conflict. Because solo female dance may be interpreted as sexualized, its dynamics are carefully monitored; women thus performatively negotiate their display of dance in varied contexts. Two generations of Roma are compared in terms of attitudes, style,

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33

Kartomi, Margaret. Sumatra’s Performing Arts, Groups, and Subgroups. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036712.003.0001.

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This book examines the traditional musical arts of Sumatra, with particular emphasis on the ethnographic, cultural, and historical contexts of the performing arts that contain music as well as some of the changes in their style, content, and reception from 1971 when the author began her field travels. The musical arts, or performing arts containing music, include the vocal, instrumental, and body percussive music, the dance and other body movement, the art of self-defense, the bardic arts, and the musical theater performed at domestic ceremonies. The book considers the musico-lingual groups an

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34

Vallas, Sophie. Daniel Mendelsohn’s Memoir-Writing. The Rowman & Littlefield Publishing Group, Inc., 2021. https://doi.org/10.5040/9781666989748.

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This volume of eight essays written by French scholars analyzes Daniel Mendelsohn's first three volumes of nonfiction (The Elusive Embrace, 1999; The Lost, 2006; and An Odyssey, 2017) and includes an illustrated interview (2019) in which Mendelsohn tackles various aspects of his work as a literary and cultural critic, as a professor of classical literature, as a translator, and as a memoirist. The essay discussing The Elusive Embrace (1999) argues that, in addition to offering a subtle reflection on sexual identity and genres, Mendelsohn’s first volume already broadens his topic and patiently

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35

Thomas, Helen. Dance, Gender and Culture. Palgrave Macmillan, 1995.

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36

Thomas, Helen. Dance, Gender and Culture. MacMillan Press Ltd, 1995.

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37

Dancing Odissi: Paratopic Performances of Gender and State. Seagull Books, Limited, 2019.

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38

Dance, gender and culture. Macmillan, 1993.

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39

Kraut, Anthea. Hollywood Dance-ins and the Reproduction of Bodies. Oxford University PressNew York, 2025. https://doi.org/10.1093/oso/9780197789667.001.0001.

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Abstract This book proposes that a figure who barely registers in film studies or dance studies offers valuable insight into ideas about “the body” and the reproductive labor that gives rise to images of bodies. The book is the first scholarly study of the dance-in, a dancer who executes a star’s choreography as cameras are being focused and lights set. While they share similarities with doubles and stand-ins, dance-ins do not replace stars’ bodies on screen, and they often serve multiple unseen roles, including as choreographers’ assistants and stars’ coaches, making them vital to the creatio

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40

Hoover, Lou Henry. To be a Showboy. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199377329.003.0002.

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Lou Henry Hoover writes about his experience of creating persona-driven performance, performing gender, and using camp to toe the line between comedy and tragedy. As an artist, Lou works at the intersection of drag king-ing, burlesque, and modern dance to create a persona—“Lou Henry Hoover—as a way to draw attention to the artifice of gende sexuality. In the essay, Hoover discusses how the stage offers a platform to borrow from the drag queen performance, the genre of queer performance most often association with play with artifice, and then remix that better known form of camp with other danc

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41

Bleeker, Maaike. Lecture Performance as Contemporary Dance. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036767.003.0015.

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The “lecture performance” is a key genre in the field of Konzepttanz. Prominently present in the early twenty-first-century scene of experimental dance, this genre is not limited to dance only, nor is it exclusively German. Lecture performances give expression to an understanding of dance as a form of knowledge production—knowledge not (or not only) about dance but also dance as a specific form of knowledge that raises questions about the nature of knowledge and about practices of doing research. This chapter situates this trend within a genealogy of bodily knowledge and its academic dissemina

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42

DiPalma, Brian Charles. Masculinities in the Court Tales of Daniel: Advancing Gender Studies in the Hebrew Bible. Taylor & Francis Group, 2018.

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43

Masculinities in the Court Tales of Daniel: Advancing Gender Studies in the Hebrew Bible. Taylor & Francis Group, 2018.

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44

DiPalma, Brian Charles. Masculinities in the Court Tales of Daniel: Advancing Gender Studies in the Hebrew Bible. Taylor & Francis Group, 2018.

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45

DiPalma, Brian Charles. Masculinities in the Court Tales of Daniel: Advancing Gender Studies in the Hebrew Bible. Taylor & Francis Group, 2018.

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46

DiPalma, Brian Charles. Masculinities in the Court Tales of Daniel: Advancing Gender Studies in the Hebrew Bible. Taylor & Francis Group, 2018.

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47

Portræt af et lokalsamfund: Fra amagerdragt til røvgevir. Aarhus Universitetsforlag, 2020.

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48

Oliver, Wendy, and Doug Risner. Dance and Gender: An Evidence-Based Approach. University Press of Florida, 2017.

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49

Dance and Gender: An Evidence-Based Approach. University Press of Florida, 2018.

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50

Sagolla, Lisa Jo. Rock ‘n’ Roll Dances of the 1950s. ABC-CLIO, LLC, 2011. http://dx.doi.org/10.5040/9798216009573.

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This descriptive and analytic study examines how 1950s rock 'n' roll dancing illuminates the larger cultural context out of which the dancing arose. Rock 'n' Roll Dances of the 1950s provides a fresh, highly animated lens through which to observe and understand the cultural climate of 1950s America, examining, not only the steps and aesthetic qualities of rock 'n' roll dances, but also their emblematic meanings. Exploring dance as a reflection and expression of cultural trends, the book takes a sharply analytical look at rock 'n' roll dances from the birth of the genre in the mid-1950s to the

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