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Books on the topic 'Darc, Daniel'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Bertrand, Dicale, ed. Tout est permis, mais tout n'est pas utile: Entretiens avec Bertrand Dicale. [Paris]: Fayard, 2013.

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2

Dare to be a Daniel: Then and now. London: Hutchinson, 2004.

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3

Kussudiardjo, Bagong. Dari klasik hingga kontemorer. Yogyakarta: Padepokan Press, 1992.

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4

Writing in the dark, dancing in The New Yorker. New York: Farrar, Straus and Giroux, 2000.

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5

Writing in the dark, dancing in The New Yorker. Gainesville: University Press of Florida, 2005.

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6

Mille, Agnes De. Leaps in the dark: Art and the world. Gainesville: University Press of Florida, 2011.

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7

Sunaryadi. Dwi naga rasa tunggal: Dari sengkalan memet ke seni pertunjukan. [Yogyakarta]: Pondok Edukasi, 2007.

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8

Narawati, Tati. Wajah tari Sunda dari masa ke masa. Bandung, Indonesia: P4ST UPI, 2003.

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9

Layton, Edith. His Dark and Dangerous Ways. New York: HarperCollins, 2008.

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10

Dark wood to white rose: Journey and transformation in Dante's Divine comedy. New York: Parabola Books, 1989.

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11

Darf sich der Staat erpressen lassen?: Zur Problematik des rechtfertigenden Nötigungsnotstandes. Heidelberg: C.F. Müller, 1986.

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12

Gottschild, Brenda Dixon. Waltzing in the dark: African American vaudeville and race politics in the swing era. New York: St. Martin's Press, 2000.

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13

Gottschild, Brenda Dixon. Waltzing in the dark: African American vaudeville and race politics in the swing era. New York: Palgrave, 2002.

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14

McCartney, Wilf. Dare to be a Daniel!: A history of one of Britains [sic] earliest syndicalist unions : 38 strikes fought, 38 won! : the life and struggles of an agitator and the fight to free the catering slaves of the West End of London (1910-1914). London: Kate Sharpley Library, 1992.

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15

Lipkowitz, Daniel. LEGO Knights' Kingdom: Lost Kingdom. New York, USA: Scholastic Inc., 2005.

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16

Mcdermott, Leeanne. GamePro Presents: Sega Genesis Games Secrets: Greatest Tips. Rocklin: Prima Publishing, 1992.

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17

Inc, Game Counselor. Game Counselor's Answer Book for Nintendo Players. Redmond, USA: Microsoft Pr, 1991.

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18

White, Ellen Gould Harmon. Dare to Be a Daniel. TEACH Services, Inc., 2004.

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19

Dare to Have a Daniel. Inspirational Pub, 1989.

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20

Daniel and the Dark Arts. Scripture Union Publishing, 2002.

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21

Dare to be a Daniel. Random House Audiobooks, 2004.

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22

Hocking, David. Dare To Be A Daniel. Promise Publishing Company, 1992.

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23

Daniell, Tina. Dark heart /Tina Daniell. 1992.

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24

Benn, Tony. Dare to Be a Daniel CD. Audiobooks, 2004.

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25

Dare to Be a Daniel Audio. Audiobooks, 2004.

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26

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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27

Benn, Tony. Dare To Be a Daniel: Then and Now. Arrow, 2005.

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28

Olyott, Stuart. Dare to Stand Alone (Daniel) (Welwyn Commentary Series). Evangelical Press, 1993.

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29

Benn, Tony. Dare To Be a Daniel: Then and Now. Arrow, 2005.

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30

Thomas, Mark. Jazz Dancing (Let's Danc). Children's Press (CT), 2000.

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31

Mccartney, Wilf. Dare To Be Daniel: A History of One of Britain's Earliest Syndicalist Unions. Kate Sharpley Library, 2002.

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32

Luke, Helen M. Dark Wood to White Rose. Parabola, 1992.

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33

Ethan, Hoffman, and Holborn Mark 1949-, eds. Butoh: Dance of the dark soul. New York, N.Y: Aperture, 1987.

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34

(Editor), Mark Holborn, and Ethan Hoffman (Editor), eds. Butoh: Dance of the Dark Soul. Aperture, 1987.

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35

The Dance (Dark Chronicles, No 1). Flare, 1995.

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36

Dark Tangos A Novel. Subterranean Press, 2011.

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37

Layton, Edith. His Dark and Dangerous Ways. Avon, 2008.

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38

Writing in the Dark, Dancing in the New Yorker: An Arlene Croce Reader. Farrar, Straus and Giroux, 2003.

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39

Croce, Arlene. Writing in the Dark, Dancing in The New Yorker: An Arlene Croce Reader. Farrar, Straus and Giroux, 2000.

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40

King, Kat Valentine. After Dark: Nightlife in Denver. Fulcrum Publishing, 2006.

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41

Dark Wood to White Rose: Journey and Transformation in Dante's Divine Comedy. Morning Light Press, 1993.

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42

Jeffords, Susan, and Fahed Al-Sumait. After Bin Laden. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038860.003.0012.

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This chapter considers the question of why Osama bin Laden's death did not seem to have the impact that was expected from the largest and most expensive manhunt in history. It looks at the debate about Zero Dark Thirty (2012), the film that chronicled the hunt and killing of bin Laden. The film's perspective is unmistakably American and Western, with assumptions that audiences would already know the back-story about who bin Laden is, why the U.S. government invested so much in finding him, and why his death should be an event for celebration. What is remarkable about the debates, the reviews, and the discussions about Zero Dark Thirty, however, is that they mimic cultural discourses that arose in the decade since 9/11 in an elusive dance with Osama bin Laden.

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43

Tanasescu, Andreea. Dimensiuni ale gandirii coregrafice. Timp, spatiu, miscare - Volumul 1. Editura Universitara, 2020. http://dx.doi.org/10.5682/9786062812133.

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Dansul - arta vie, complexa - poate fi, cu greu, introdus in cutia limbajului scris ori vorbit; semnul plat (litera) nu poate reda vibratia dansanta a vietii, la fel cum marea n-ar putea fi inchisa intr-o camera. Dansul contemporan este jocul cu spatiul, timpul, emotia, este un domeniu al cercetarii continue, o cercetare libera, un dialog dinamic al fortelor interioare si exterioare ale omului pentru a se descoperi pe sine sau, mai departe - pentru a ajunge in inima universului. Miscarea contine dimensiuni infinite, a le pune in cuvinte inseamna a risca… Dar poate ca, pentru memoria dansului, merita riscul - gestul coregrafic trebuie uneori condensat, descris prin cuvinte pentru a putea sa traiasca mai departe, la fel de liber. In dans, metafora capata trup, emotia devine spatiu, timp. Scenele se succed, iar in urma lor, din miscarea trupurilor, ne ramane visul. Miscarea este gand, elan, zbatere si, adesea, ne aduce in lumina sufletul. Omul in miscare demonstreaza ca este mai mult decat ceea ce pare, iar dansul devine un instrument revelator de meta-realitati.

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44

Barham, Jeremy. The Music of Gustav Mahler in Experimental Film Contexts. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0015.

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The anniversary years of the composer Gustav Mahler (150 years of his birth in 2010, 100 years of his death in 2011) took place in the age of digital media, whose technological possibilities afforded strikingly diverse opportunities to mark the occasion. Various experimental sound and video artists, produced audiovisual translations and interpretations of the composer’s music at this time, including Danish composer Henrik Marstal with VJ Dark Matters, and Austrian experimental composer Fennesz with Berlin-based video artist Lillevan. Building on a tradition which had begun in the 1990s, this repertoire is examined here from the theoretical and historical perspectives of “visual music” and intermediality.

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45

Gottschild, Brenda Dixon. Waltzing in the Dark: African American Vaudeville and Race Politics in the Swing Era. Palgrave Macmillan, 1999.

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46

Winkler, Kevin. Rhythm of Life. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199336791.003.0006.

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This chapter describes Bob Fosse’s film Sweet Charity, which opened at the top of 1966 and was a compendium of then-current styles and sexual attitudes. Fosse conceived this American adaptation of Federico Fellini’s film Nights of Cabiria (1957) as a vehicle for Gwen Verdon, changing the title character from Roman prostitute to New York City dance hall hostess. He wrote several drafts of the show’s book before relinquishing those duties to Neil Simon. Nonetheless, in Sweet Charity, Fosse’s authorial voice was much in evidence. His staging exhibited a new fluidity, as well as a dark, ambivalent view of sexuality. Sweet Charity was also the vehicle by which Fosse would return to movies, this time as a director. Although full of arresting moments, the film was deemed too busy and full of gimmicky, self-conscious camerawork. Sweet Charity was a commercial and critical failure, but it allowed Fosse to explore the camera’s potential in presenting dance on film.

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47

Koepnick, Lutz. Dark Mirror: German Cinema Between Hitler and Hollywood. University of California Press, 2002.

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48

Badley, Linda. Making the Waves. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252035913.003.0001.

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This chapter presents a commentary on Lars von Trier's film career. It argues that unlike auteurs shaped by existing conditions, trends, or movements within or outside the mainstream industry, Trier is self-authorized, his career “a prototype auteurist initiative,” a project “not primarily to make films but to construct Lars von Trier, the auteur filmmaker.” If his films are identified by auteurist trademarks as trilogies and movements, he systematically violates commandments like the lynchpin of continuity editing, the 180-degree rule. More characteristic yet, though, is his propensity for making 180-degree turns, whether between trilogies or within films. The remainder of the chapter focuses on Trier's work, including his student films, his television commercials from the late 1980s, and films such as The Idiots (1998), Breaking the Waves (1996), Dancer in the Dark (2000), and The Boss of It All (2006).

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49

The Dark Mirror: German Cinema between Hitler and Hollywood. University of California Press, 2002.

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50

Koepnick, Lutz. The Dark Mirror: German Cinema between Hitler and Hollywood. University of California Press, 2002.

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