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Books on the topic 'Dantec'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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1

Dantec, Denise Le. Les campagnes heureuses: Entretiens avec Claude Roy, Pierre Oster Soussouev, Gilbert Lascault, Jean-Pierre Le Dantec, Thierry Renard. Vénissieux [France]: Paroles d'Aube, 1996.

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2

Slaveni o Danteu: Dante u slavenskoj književnoj kritici XX vijeka. Sarajevo: Svjetlost, 1991.

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Slaveni o Danteu: Dante u slavenskoj Književnoj kritici XX vijeka. Sarajevo: "Svjetlost", 1991.

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4

Slaveni o Danteu: Dante u slavenskoj književnoj kritici XX stoljeća. 2nd ed. Sarajevo: Connectum, 2008.

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5

Nach dem Poststrukturalismus: Französische Fragen der 1990er und 2000er Jahre : Essays zu Olivier Rolin, Gilles Châtelet, Maurice G. Dantec, Mara Goyet, Claude Lefort, Alain Supiot, Pierre Legendre. Vienna, Austria: Verlag Turia + Kant, 2014.

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6

The basse dance handbook: Text and context : seventeen original sources. Hillsdale, NY: Pendragon Press, 2011.

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7

Lombardo, Luca, Diego Parisi, and Anna Pegoretti. Theologus Dantes. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-298-7.

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I contributi raccolti in questi Atti offrono una rappresentazione varia e articolata dei rapporti tra l’opera di Dante Alighieri e la cultura teologica tardomedievale, osservata in alcuni suoi aspetti fondamentali e con un’attenzione particolare all’esegesi antica della Commedia. I temi trattati coprono uno spettro ampio di problemi: la presenza dell’eresia nel poema; la presunta eterodossia dello stesso Dante; i riferimenti alla Croce e alla Passione, esaminati alla luce delle dottrine teologiche e delle pratiche devozionali del tempo; l’influsso esercitato dalla cosiddetta ‘mistica affettiva’ sulla riflessione poetologica dantesca; il problema della creazione e resurrezione dei corpi; l’apparentamento tra teologia e cielo Empireo proposto nel Convivio; l’arduo tema della visione profetica, indagato a partire dall’Epistola a Cangrande. A episodi ancora poco noti della ricezione del poema dantesco sono dedicati gli ultimi due contributi: le chiose dell’Anonimo Teologo al Paradiso e la presenza di Dante nei sermoni quattrocenteschi di Gabriele Barletta e Paolo Attavanti.
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8

Lüddecke, Dirk. Das politische Denken Dantes: Überlegungen zur Argumentation der Monarchia Dante Alighieris. Neuried: Ars una, 1999.

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9

Pastina, Giuseppe. Interpretazione di Dante: Dante spiegato da Dante. Roma: Armando, 2005.

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10

Interpretazione di Dante: Dante spiegato da Dante. Roma: Armando, 2005.

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11

Brunner, Michael. Die Illustrierung von Dantes Divina Commedia in der Zeit der Dante-Debatte (1570-1600). München: Deutscher Kunstverlag, 1999.

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12

Ildefonso, Miguel. Dantes. [Peru]: Lustra Editores, 2010.

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13

Canteins, Jean. Dante. Milano: Archè, 2003.

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14

Dossena, Giampaolo. Dante. Milano: Longanesi, 1995.

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15

Ivy, Alexandra. Dante. Paris: Milady, 2011.

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16

Lewis, R. W. B. Dante. New York: Penguin USA, Inc., 2009.

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17

Canteins, Jean. Dante. Milano: Archè, 2003.

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18

Malato, Enrico. Dante. Roma: Salerno, 1999.

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19

Dante. New York, NY: Lipper/Viking, 2001.

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20

Dante. London: Weidenfeld & Nicolson, 2001.

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21

Crespo, Angel. Dante. Barcelona: Barcanova, 1985.

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22

Lewis, R. W. B. Dante. Waterville, Me: Thorndike Press, 2001.

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23

Havely, Nick, ed. Dante. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470690123.

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24

Prill, Ulrich. Dante. Stuttgart: J.B. Metzler, 1999. http://dx.doi.org/10.1007/978-3-476-05061-8.

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25

Balaci, Alexandru. Dante. București: Editura 100+1 Gramar, 1995.

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26

Lewis, R. W. B. Dante. New York: Lipper/Viking, 2001.

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27

Caesar, Michael. Dante. London: Routledge and K. Paul, 1989.

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28

Spalding, Susan Eike. Mr. Perry’s Sweet Shop and a New Old Time Dance. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038549.003.0005.

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This chapter examines the role of of cultural exchange in the evolution of old time dancing and the creation of a new style in dance in the coal town of Dante in Russell County, Virginia. It begins with a historical background on the Cumberland Plateau and the town of Dante as well as the community's transition from farming to coal mining. It then discusses the impact of social and economic factors, including the interaction among local residents, African American southerners, and European immigrants, on Dante's dance traditions. It also looks at the exchange of dance ideas that took place in venues like Mr. Perry's Sweet Shop, along with the ways that dancing forged connections among African American communities in the coalfields. Finally, it explores changes in the old time dancing in Dante, citing the role played by the values embedded in the movement of the old and new dances and to people's beliefs about community, change, and the individual's relationship to it.
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29

Shay, Anthony. The Spectacularization of Soviet/Russian Folk Dance. Edited by Anthony Shay and Barbara Sellers-Young. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199754281.013.010.

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In the early 20th century, folk dance had been used to show symbolic support for several nation states by transporting masses of peasants to major urban centers to perform in festival settings. Igor Moiseyev, a well-known dancer and choreographer with the Boshoi Ballet, was appointed by the government of the former USSR in 1936 to found a professional dance ensemble, to be named the State Ensemble of Folk Dance of the Peoples of the USSR, but called the Moiseyev Dance Company in the West. Following state directives, he prominently featured the dances of the Russian ethnic majority in his repertoire. In this essay Shay suggests that, in fact, Moiseyev spectacularized folk dance by creating choreographies with spectacular movements in what was essentially an invented tradition based on classical ballet rather than using authentic folk dances.
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30

1911-, Buck August, Sandkühler Bruno, and Felten Hans, eds. Dantes Commedia und die Dante-Rezeption des 14. und 15. Jahrhunderts. Heidelberg: C. Winter, 1987.

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31

Rudman, Jack. Dantes Subject Standardized Tests (Dantes (Dantes Subject Standardized Tests (Dantes).). Natl Learning Corp, 1997.

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32

Barba, Fabian. Quito-Brussels. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.30.

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This text is grounded in Barba’s lived experience as a dancer trained in Quito and Brussels. He begins by examining an instance in which a dance is said to look old-fashioned even though it has been recently created. When this judgment occurs across continental boundaries, Barba notes that from a Eurocentric and historicist perspective, working outside the parameters of the so-called centers for contemporary dance can be perceived as traveling back in time. This dismissal of a particular dance, or even of an entire dance tradition, as not really contemporary when identified from within the borders of European modernity is examined and questioned. To navigate through the varied hetero-temporalities enacted in and through different geo-cultural locations, the concepts of historicism (Dipesh Chakrabarty), denial of coevalness (Johannes Fabian), and temporal discrimination (Rolando Vázquez) are applied to this situation of dance and danced reenactment.
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33

1961-, Kiefer Nicoletta, Hardt Petra Christina, and Hardt Manfred, eds. Begegnungen mit Dante: Untersuchungen und Interpretationen zum Werk Dantes und zu seinen Lesern. Göttingen: Wallstein, 2001.

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34

Chaganti, Seeta. The Time of Reenactment in Basse Danse and Bassadanza. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.44.

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Fifteenth-century dance manuals reveal an important distinction between the work of historical reconstruction and that of theoretical reenactment. Basse danse and bassadanza manuals clarify that the difference between reenactment and reconstruction is a difference in temporal experience. When we use these documents simply to reconstruct—to piece together and attempt to replicate a past step pattern—we discern in the manuals and in their dances an anticipatory temporality that privileges looking toward the future. When, however, we approach these texts through the theoretical discourse of reenactment, we discover a different kind of time. It is recursive, multidirectional, and far more layered than the anticipatory model that the dance instructions appear on the surface to adopt. When this more complex temporal structure becomes visible, this chapter argues, we recognize how these early dances and their instruction manuals theorize their own uses of time and thus their own reenactment.
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35

Gragnolati, Manuele, Elena Lombardi, and Francesca Southerden, eds. The Oxford Handbook of Dante. Oxford University Press, 2021. http://dx.doi.org/10.1093/oxfordhb/9780198820741.001.0001.

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This publication contains forty-four specially written chapters providing a thorough and creative reading of Dante’s oeuvre. It gathers an intergenerational and international team of scholars encompassing diverse approaches from the fields of Anglo-American, Italian, and continental scholarship and spanning several disciplines: philology, material culture, history, religion, art history, visual studies, theory from the classical to the contemporary, queer, post- and de-colonial, and feminist studies. The Handbook combines a rigorous reassessment of Dante’s formation, themes, and sources, with a theoretically up-to-date focus on textuality, thereby offering a new critical Dante. The volume is divided into seven sections: ‘Texts and Textuality’; ‘Dialogues’; ‘Transforming Knowledge’; ‘Space(s) and Places’; ‘A Passionate Selfhood’; ‘A Non-Linear Dante’; and ‘Nachleben’. It seeks to challenge the Commedia-centric approach (the conviction that notwithstanding its many contradictions, Dante’s works move towards the great reservoir of poetry and ideas that is the Commedia), in order to bring to light a non-teleological way in which these works relate amongst themselves. Plurality and the openness of interpretation appear as Dante’s very mark, coexisting with the attempt to create an all-encompassing mastership. The Handbook suggests what is exciting about Dante now and indicates where Dante scholarship is going, or can go, in a global context.
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36

Gotman, Kélina. Madness after Foucault. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190840419.003.0003.

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The nineteenth-century imagination of the Middle Ages—specifically the St. John’s Day dances that intensified in the wake of the bubonic plague, or ‘Black Death’—emphasized bacchanalian raucousness. Yet the medicalization of post-plague dances overlooks an important history of pilgrimage, processions, and pre-Christian festivities. This chapter examines the recuperation of medieval histories of dance—barely legible in Latin chronicles and annals—into a history of epidemic madness. This contributes to rewriting Foucault’s history of madness by emphasizing collective exuberance and the emergence of choreomania in the nineteenth century as a figure of ecological reverberation, benignly excessive inarticulacy, and passage, rather than confinement, difference, or danger. Further reading Friedrich Nietzsche’s recuperation of the St. John’s and St. Vitus’s dances into a critique of asceticism, the chapter suggests that the ‘genealogy’ of choreomania is found in the fantasy of a dark and orgiastic medievalism.
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37

Daniel, Yvonne. Creole Dances in National Rhythms. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036538.003.0004.

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This chapter examines social dances that display national dance formation and how they rise to national status in one country, while other nations identify only one dance for hundreds of years. It first considers examples of Creole dances that have become synonymous with island identity, such as Jamaican reggae, Trinidadian calypso, Dominican merengue, and French Caribbean zouk. It then explores the Cuban dance matrix and its various segments, including Native American dance, Spanish dance, African dance, and Haitian dance. It also traces the development of Cuba's national dances, focusing on danzón, son, and rumba and suggests that national dance depends on relevance to historical conditions, which class/group is in power, and the pertinent cultural values that are encapsulated within dance movement. The chapter concludes by noting how Caribbean dances surface toward the national level, match national concerns, and become attached to the national imagination.
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38

Oliver, Cynthia. Epiphanic Moments. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.23.

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In the form of a lyric essay, this chapter offers perspectives of artists across the field coping with the messages delivered, received, and absorbed in the dance world. From the atmosphere in the studio that primes the young dancer with particular ideas around his or her training, to the complicated and sometimes confusing conditions and processes of creating dances, this work discusses artists’ challenges with garnering support, with the steps toward and negotiations around being presented, as well as relationships with peers, the receipt and offering (or lack thereof) of criticism in both informal and formal arenas, and ultimately survival in their complicated, beloved field of dance. This chapter questions the psychological, material, and political conditions of practitioners in the field, offering its content as a means to consider the layered, complicated nature of choosing dance as a way of life in contemporary North America.
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39

DSST Physics (DANTES series) (Dantes Subject Standardized Tests (Dantes).). National Learning Corp, 2005.

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40

Rudman, Jack. DSST Auditing (DANTES series) (Dantes Subject Standardized Tests (Dantes).). National Learning Corp, 2004.

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41

Xie, Chang. Ren ti wen hua: Gu dian wu shi jie li di Zhongguo yu xi fang (Zou xiang wei lai cong shu). Sichuan sheng xin hua shu dian fa xing, 1987.

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42

Rudman, Jack. DSST Organizational Behavior (DANTES series) (Dantes Subject Standardized Tests (Dantes).). Natl Learning Corp, 2004.

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43

Rudman, Jack. DSST College Chemistry (DANTES series) (Dantes Subject Standardized Tests (Dantes).). Natl Learning Corp, 2001.

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44

DSST Financial Accounting (DANTES series) (Dantes Subject Standardized Tests (Dantes).). National Learning Corp, 2001.

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45

DSST Linear Algebra (DANTES series) (Dantes Subject Standardized Tests (Dantes).). National Learning Corp, 2004.

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46

DSST Money & Banking (DANTES series) (Dantes Subject Standardized Tests (Dantes).). National Learning Corp, 2004.

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47

DSST General Geophysics (DANTES series) (Dantes Subject Standardized Tests (Dantes).). National Learning Corp, 2005.

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48

DSST Personal Finance (DANTES series) (Dantes Subject Standardized Tests (Dantes)). National Learning Corp, 2002.

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49

Rudman, Jack. DSST Financial Accounting (DANTES series) (Dantes Subject Standardized Tests (Dantes).). Natl Learning Corp, 2001.

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50

Pouillaude, Frédéric. A Space with No Place (Straus and Ecstasy). Translated by Anna Pakes. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199314645.003.0003.

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This chapter argues that Erwin Straus assigns dance very definitely to the domain of smooth space. Music is dance’s condition of possibility because it establishes the only space that could be adequate to dancing: an acoustic space, both homogeneous and nebulous, in which the directionality of praxis is obliterated. This acoustic space of dance contrasts with the optical space of directed and purposeful movement. The optical space, Straus tells us, is “historical”; the acoustic space, meanwhile, is “presentic.” Dance, as an extension of music, enables this “presentic” relation to space, which Straus calls “ecstasy” or “becoming one.” But ecstasy is only really apparent in dances “which are not yet dances” such as children’s dances, social dances, or primitive dances.
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