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1
Sittig, Jennifer M. "Zora Neale Hurston and the Narrative Aesthetics of Dance Performance." FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/2303.
Full textAbstract:
Zora Neale Hurston’s literature involves dance and performance. What makes this a viable topic of inquiry is her texts often exhibit the performative, whether portraying culture or using dance and associated folk rituals to create complex meaning. Hurston’s use of black vernacular and storytelling evokes lyrical expression in "Their Eyes Were Watching God." African and Caribbean Diasporas in Hurston’s literature reflects primitive dance performances and folklore. This novel requires lyrical analysis. The storytelling feature of performance arts and reclamations of the body are present in Hurston’s text. In recent academic settings, the body has come to occupy a crucial place in literary and cultural texts and criticism. Hurston’s versatile material and anthropology techniques are instrumental in reshaping dance history. A new archetype for theorizing the body has surfaced, where the body of text is performance and lyrical expression.
2
Neville, Sarah Louise. "Choreographing newmedia dance through the creation of the dance project, Ada." Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/15820/1/Sarah_Neville_Thesis.pdf.
Full textAbstract:
As a choreographer working with new media technologies, I recognised a need to develop choreography informed by the digital age. This study was framed by the development of the dance project Ada, over three stages through a qualitative, interdisciplinary process. Artistic practice as research grounded in task based
choreographic processes led to the following areas of significance in the study, those
being; enacting a narrative, physicalising interactivity, performing virtual dance, and
choreographing through a digital perspective. Findings that enunciated the evolution
of newmedia choreographic forms and structures arose from reflective practice, dialogue with participants and feedback from a live audience.
3
Neville, Sarah Louise. "Choreographing newmedia dance through the creation of the dance project,Ada." Queensland University of Technology, 2003. http://eprints.qut.edu.au/15820/.
Full textAbstract:
As a choreographer working with new media technologies, I recognised a need to develop choreography informed by the digital age. This study was framed by the development of the dance project Ada, over three stages through a qualitative, interdisciplinary process. Artistic practice as research grounded in task based choreographic processes led to the following areas of significance in the study, those being; enacting a narrative, physicalising interactivity, performing virtual dance, and choreographing through a digital perspective. Findings that enunciated the evolution of newmedia choreographic forms and structures arose from reflective practice, dialogue with participants and feedback from a live audience.
4
Conner, William. "Less Lost: No Touchdown Dance." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5919.
Full textAbstract:
Less Lost is a feature-length film by William Chase Conner, made as part of the requirements for earning a Master of Fine Arts in Film & Digital Media from the University of Central Florida.<br>M.F.A.<br>Masters<br>Visual Arts and Design<br>Arts and Humanities<br>Film; Entrepreneurial Digital Cinema
5
Beckett, Judith Rosalyn. ""Things real and imagined" : the narrator-reader in Anthony Powell’s A dance to the music of time." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25344.
Full textAbstract:
Anthony Powell's A Dance to the Music of Time is a "fictional memoir" in which the narrator, Nick Jenkins, describes the events and characters he has observed throughout his life. As such, the primary focus of the novel would seem to be those characters and events, but the way in which Nick relates his story has a considerable impact on the narrative, and, therefore, on that primary focus. Powell has not only chosen to employ a first-person narrator, thereby establishing a specific, and individual, narrative voice, or point of view, but he also has that narrator consume much of novel by describing his perceptions of the world he observes, and this brings into focus the nature of that perspective. Hence, this paper examines the nature of Nick's role in the novel, both as character and narrator, and attempts to delineate the effect that that role has on the novel as a whole.
Essentially, Nick can be characterized as a "reader" who, in effect, "interprets" the characters and events he describes, thereby contributing his imagination to their "construction". Whether he reads actual texts or observes human behaviour, Nick engages in an interpretative process which is analogous to that in which a reader interprets a text: interpreting "signs", constructing "causes", translating texts into images and "meaning-bearing" ideas, and subjecting his own "reading" to scrutiny, thereby effectively "rereading" previous "interpretations". As a "reader", Nick is interested in more than mere description: he not only desires to understand the nature of the people with whom he is involved, but also to appreciate the significance of the events he witnesses, so as to form a kind of pattern which would reveal the central themes of an age. In so doing, he does not merely relate "what happens", thereby "putting up a mirror" to his past; he also describes his experience of that past, so that the narrative does not so much present "reality", as it presents Nick’s perception of reality.
Nick's characterization as a "reader" is founded on specific theories regarding the nature of the reading process, especially as they apply to the relationship between reader and text, and, therefore, the products of his "interpretations" are considered in relation to the creation of fiction. In essence, Nick's "reading" results in the construction of the characters and events he observes, so that ultimately he creates "fictions". In other words, because he does not present "reality", nor even a "reconstruction" of reality, but a "reconstruction" of his perception of that reality, Nick, in fact, "creates" his narrative, thereby constructing fiction. Hence, just as a reader creates the fiction of a novel by interpreting its text, so too does Nick produce fiction by "interpreting" the world he is portraying. Thus, in his "search for knowledge", in his efforts to understand the world around him, Nick "creates" that world, so that knowledge would seem to be the product of the observer's, or "reader's", construction - in essence; a fiction.<br>Arts, Faculty of<br>English, Department of<br>Graduate
6
Lussier-Ley, Chantale. "Towards an Enhanced Understanding of Dance Education and the Creative Experience." Thesis, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/30354.
Full textAbstract:
The purpose of this study was to understand the significance of emotions and the body in the lived creative experience in dance. Using a phenomenological approach, I was interested in gaining a deepened understanding of the creative experiences of members of Canada’s contemporary dance community. Currently, dance is taught in multiple contexts of education including K-12 arts education and physical education, recreational studios, university settings such as in faculties of education, kinesiology, and fine arts, and in conservatory-style pre-professional training programs. As a result, there appears to be little evidence of a holistic pedagogical approach. Coming from a predominantly ballet-oriented dance training background, I wanted to learn what it’s like to create dance; specifically how contemporary dancers use their bodies and emotions as part of their creative process.
I had the pleasure of being an invited guest, writer, speaker, and researcher at the 2008 Canada Dance Festival (CDF), a biennial dance festival that takes place in Ottawa, Ontario, Canada. Results shed light on rarely discussed facets of the creative experience in dance. This study explores the way dancers optimally want to feel, how they prepare to feel the way they want to feel, what obstacles they encounter, and what strategies allow them to revisit their optimal feel within their creative experience in dance. Doing so, the role of the body and the emotions in dance are better understood. A description of the 2008 Canada Dance Festival as a transactional space also surfaced. There, the CDF is understood as a place where the art of dance’s perceived meaning and values are discussed, and ultimately negotiated. Finally, results also contributed to an enriched understanding of artistic identity in dance as an ongoing process of becoming. With an enhanced pedagogical understanding of dance education, a final discussion unearths implications of this work and shines a spotlight on future research in dance scholarship.
7
Parker, Alan Charles. "Corporeal tales : an investigation into narrative form in contemporary South African dance and choreography." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1007658.
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In the years following the fall of Apartheid in South Africa, dance and choreography have undergone considerable transformation. This investigation stems from one observation relative to this change that has been articulated by two of South Africa's most respected dance critics, Adrienne Sichel and Matthew Krouse. Both critics have noted a growing concern for narrative in South African contemporary choreography, coupled with an apparent propensity for narratives of a distinctly personal and 'autobiographical' nature. In Part One: 'Just after the beginning', the proposed preoccupation with narrative in South African contemporary choreography is discussed in light of the relationship between narrative and the notion of personal identity. The use of the performed narrative as a medium to explore questions about identity is offered as one explanation underpinning this increased proclivity, where the interrogation of the form of the danced narrative provides a site for exploration of personal identity. Part Two: 'Somewhere in the middle' interrogates the notion of form through an in-depth discussion of the experimentation with form within theatrical and antitheatrical dance traditions over the last fifty years. Specific works by three selected South African choreographers (Ginslov, Maqoma and Sabbagha) are discussed in terms of their general approach to narrative form. This provides an illustration of some of the approaches to narrative form emergent in contemporary South African choreographic practices. Part Three: 'Nearing the end' offers Acty Tang's Chaste (2007) as a case study to illustrate the practical application of the dance narrative as a means to interrogate questions relating to personal identity. A detailed analysis of Tang's particular approach to forming the narrative of Chaste is conducted, exposing the intertextual, multimedia and multidisciplinary approach to creating the danced narrative.
8
Thomson, Alexis 1863-1924. "Voyeurism and reading : narrative strategy in Anthony Powell's A Dance to the music to time." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60579.
Full textAbstract:
This thesis will argue that Anthony Powell's A Dance to the Music of Time is a work that can tell us much about our reading process. Powell uses a homodiegetic narrator to tell the stories of a vast array of characters over a large span of time. This narrator, Nicholas Jenkins, is, in the non-sexual sense of the word, voyeuristic. He watches and remembers the actions of others while only participating minimally. Widmerpool, the only other character to appear in all twelve volumes, is a voyeur in the sexual sense of the word. The defining feature of voyeurism is its fundamental asymmetry: the voyeur watches whilst remaining hidden and unseen. It will be argued that the reader is also involved in acts of voyeurism due to his/her asymmetrical relationship with the text. Although this equation of voyeurism and reading may seem to contradict recent reader-response critics, it will be argued that voyeurism is an apt description for the primary stage of reading.
9
Wang, Chu-Yun. "Mind the gaps : a narrative inquiry into conceptualizations of Taiwanese dance specialist schoolteachers' professional identity." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/14291.
Full textAbstract:
This study brings together many of the concerns elaborated by other educational researchers: teachers’ voice, teachers’ professional identities, teachers’ lives and work, and teaching professionalism in research in dance education. It aims to study the life stories of school teachers who were initially trained to be dance performers. Using a biographical approach, the life stories of nine Taiwanese secondary school teachers are collected to investigate the influences of their previous experiences, such as dance learning experience, initial teacher training experience, teacher role models, significant people and critical moments, in relation to their notions of professional identity. As this research is based on teachers’ accounts, it brings together nine individual life stories and allows us to compare the existing literature to contribute to educational research and research in dance education in a number of ways. First, the study takes a particular methodological approach, the narrative approach, to conduct a small scale study in a new area, research in dance education. Second, this study carries out empirical work, exploring the professional identity of dance specialist teachers, something not done before. Third, this study applies the existing knowledge from educational research to research in dance in education. Fourth, this study applies an already well-known theory, Wenger’s theories of identity in communities of practice and boundary encounters, but with a new interpretation to investigate the process of identity conceptualization. Fifth, this study tests an old issue – teachers’ professional identity – by exploring teachers’ notions of self that draw upon their previous experiences. Previous relevant studies, however, have been in a Western context; this study is within a Taiwanese context. The complexity of dance in education in the Taiwanese curriculum is highlighted, and the findings offer a picture of a developing sense of dance-trained teachers’ artist-self and teacher-self, and details of the different degrees of influences of previous experiences to the identity conceptualization. Importantly, the connections between the conceptions of the professional identity teachers have and their concepts of the teaching profession are explored. In particular, their voices on professional development are shown throughout the changes to their personal concepts of teacher professionalism, which leads to an argument for professional sharing as a key to supporting teachers in the profession.
10
Quinlan, Margaret M. "Narrating Lives and Raising Consciousness Through Dance: The Performance of (Dis)Ability at Dancing Wheels." View abstract, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3371581.
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Herdman, Jessica. "The Cape Breton fiddling narrative : innovation, preservation, dancing." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/1562.
Full textAbstract:
With the fear of decline of the Cape Breton fiddling tradition after the airing of The Vanishing Cape Breton Fiddler by the CBC in 1971, both the Cape Breton community and ethnographers clamored to preserve and maintain the extant practices and discourse. While this allowed for performance contexts and practices to burgeon, it also solidified certain perspectives about the “diasporic preservation” and resultant “authenticity.”
This work aims to trace the seeds and developments of the beliefs surrounding the Cape Breton fiddling tradition, from the idealizations of Enlightenment Scotland to the manipulation and commercialization of the folklore and Celticism of twentieth-century Nova Scotia. These contexts romanticized older practices as “authentic,” a construct that deeply impacted the narrative about the Cape Breton fiddling tradition.
One of the most rooted and complex concepts in this narrative is that of “old style,” a term that came to represent the idealized performance practice in post-1971 Cape Breton fiddling. As models were sought for younger players to emulate, pre-1971 “master” fiddlers with innovative stylistic approaches began to be identified as “old style” players. The interstices of the tradition allowed more extreme stylistic experimentation to be accepted as “traditional,” while the symbiotic social practice of dancing necessitated relative conservatism. Analysis will show that “listening” tunes fell into the interstices of allowable innovation, while dance (particularly step-dance) tunes demanded certain “old style” techniques. A more holistic view of the complexities of the Cape Breton fiddling tradition follows from a perspective not only of the socio-musical elements that shaped the historical narrative, but also of the musical elements of this dance-oriented “old style.”
12
Brandão, Ana Carolina de Laurentiis. "Shall we dance? Colaboração e histórias do processo de busca por parceiros de tandem." Universidade Federal de Uberlândia, 2011. https://repositorio.ufu.br/handle/123456789/15396.
Full textAbstract:
This dissertation aims at narrating and describing the searching process of tandem partners
experienced by Language Graduation students from a university in the state of Mato Grosso,
and by me, as monitor of this process. More specifically, this research aims at discussing the
collaboration in this process. These students participated in an extension project related to
Portuguese teaching and English or Spanish learning in-tandem via MSN Messenger. Among
the participants of this study, were the students who chose to learn English in the project. This
dissertation had as theoretical references, studies about computer assisted language learning
(BAX, 2003; LEFFA, 2006; PAIVA, 1999, 2001; WARSCHAUER, 1996, 1997, 2000), the
sociointeractionist perspective (VYGOSTKY, 1998), conceptions about collaborative and
cooperative learning (CELANI, 2002; DILLENBOURG, 1999; ESHET-ALKALAI, 2004;
FIGUEIREDO, 2006; JOHNSON; JOHNSON, 1998; MAGALHÃES, 2004; PANITZ, 1995;
SMITH; MACGREGOR, 1992; TINZMANN et al., 1990; WIERSEMA, 2000), as well as
studies about tandem context (BRAMMERTS, 1996; BRAMMERTS; CALVERT, 2003;
CALVERT, 1992; TELLES; VASSALLO, 2006, 2009). The theoretical-methodological
approach adopted was the Narrative Inquiry, according to Clandinin and Connelly (2000;
2005). The field texts were composed of introductory texts that were part of the profile
created in sites of linguistic exchange, messages sent by the students to members in sites of
linguistic exchange, interactions between these students and the members via theses sites or
via MSN Messenger, and narratives written by them and by me during the project meetings.
The analysis of this material was based on Meaning Composing, according to Ely, Vinz,
Downing and Anzul (2001). Using a metaphorical language, tandem as ballroom dancing, it
was possible to realize through this study that the attempts made by the participants to invite
people to dance tandem were not collaborative invitations, that is, they were not like a shall
we dance? , but like an imposition, a Dance with me! . The lack of collaboration in the
invitations is associated here to tandem principles (reciprocity and autonomy), and to
language learning and teaching conceptions that the participants brought to this experience.<br>Este trabalho tem como objetivo narrar e descrever o processo de busca por parceiros de
tandem, vivenciado por alunas do curso de Letras de uma universidade do estado de Mato
Grosso, e por mim, enquanto monitora desse processo. Mais especificamente, esta pesquisa se
propõe a problematizar a colaboração nesse processo. As alunas em questão estavam
engajadas em um projeto de extensão, envolvendo o ensino de língua portuguesa e a
aprendizagem de língua inglesa ou espanhola via MSN Messenger. Participaram desse estudo
apenas as alunas que optaram por aprender a língua inglesa no projeto. Este trabalho teve
como aporte teórico, estudos sobre aprendizagem de língua mediada por computador (BAX,
2003; LEFFA, 2006; PAIVA, 1999, 2001; WARSCHAUER, 1996, 1997, 2000), a perspectiva
sóciointeracionista (VYGOSTKY, 1998), concepções sobre aprendizagem colaborativa e
cooperativa (CELANI, 2002; DILLENBOURG, 1999; ESHET-ALKALAI, 2004;
FIGUEIREDO, 2006; JOHNSON; JOHNSON, 1998; MAGALHÃES, 2004; PANITZ, 1995;
SMITH; MACGREGOR, 1992; TINZMANN et al., 1990; WIERSEMA, 2000), e estudos
sobre aprendizagem em contexto de tandem (BRAMMERTS, 1996; BRAMMERTS;
CALVERT, 2003; CALVERT, 1992; TELLES; VASSALLO, 2006, 2009). A abordagem
teórico-metodológica adotada foi a Pesquisa Narrativa, segundo Clandinin e Connelly (2000,
2005). A composição do material documentário se deu por meio de textos introdutórios
postados nos perfis de sites de intercambio linguístico, mensagens de convite enviadas pelas
alunas-participantes a membros de sites de intercâmbio linguístico, interações entre essas
alunas e os membros nos próprios sites e no MSN Messenger, além de narrativas escritas por
elas e por mim ao longo do projeto de extensão. Esse material foi analisado com base na
Composição de Sentidos, conforme Ely, Vinz, Downing e Anzul (2001). Lançando mão de
uma linguagem metafórica, o tandem como uma dança de salão, foi possível perceber através
desta pesquisa que as tentativas de tirar pessoas para dançar tandem, feitas pelas alunasparticipantes,
não se constituíram como convites colaborativos, isto é, não foram um shall we
dance?, mas uma imposição, um dance with me!. A não colaboração dos convites foi
relacionada aqui aos princípios norteadores do contexto de tandem (reciprocidade e
autonomia), e a concepções de ensinoaprendizagem de língua que as participantes traziam
consigo.<br>Mestre em Estudos Linguísticos
13
Jae, Hwan Jung. "DANCING AMBIVALENCE: A CRITICAL ANALYSIS OF MARK MORRIS' CHOREOGRAPHY IN DIDO AND AENEAS (1989), THE HARD NUT (1991), AND ROMEO AND JULIET, ON MOTIFS OF SHAKESPEARE (2008)." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/167997.
Full textAbstract:
Dance<br>Ph.D.<br>Mark Morris is deeply engaged with dance traditions and the classics, but he transforms them into modern, eclectic pieces. He often dissolves the distinctions between reality and fantasy, and good and evil, emphasizing reconciliation and love. Morris sculpts his own story and characters from musical elements within the overarching musical structure, portraying the characters and their emotions through detailed variations of movement quality. Characterizing Morris' dual attitudes as ambivalence, this study aims to highlight the dynamic structure and complexity of meaning in his works. I suggest that Morris' ambivalence is related to his perspective, the way he sees the world.<br>Temple University--Theses
14
Souza, Andrea Bittencourt de. "Narrativas sobre o ensino da dança : caminhos tramados e traçados em escolas do Rio Grande do Sul." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/131888.
Full textAbstract:
A presente tese, Narrativas sobre o ensino da dança: caminhos tramados e traçados em escolas do Rio Grande do Sul, investiga como se constitui as identidades do professor de Arte/ Dança na escola diante do recente processo de curricularização dessa prática. A Dança contemporaneamente assume o status de área de conhecimento e saber disciplinar na escola, processo esse, desencadeado no Rio Grande do Sul, pela emergência de várias graduações em Dança nos últimos anos, assim como um conjunto de práticas que possibilitaram a realização de concursos públicos para o professor licenciado em Arte/ Dança. Dessa forma, selecionei a entrevista como a principal ferramenta para obtenção das narrativas das professoras que atuam ou atuaram em escolas de diferentes redes de ensino do Rio Grande do Sul. O material analítico consistiu nas narrativas de 9 professoras entrevistadas presencialmente e 1 através de email, entre 2012 e 2014; outros materiais como editais de concursos, acompanhamentos de nomeações, legislações e documentos foram também entremeados ao texto no sentido de atender a questão principal do estudo. A pesquisa situada no campo teórico dos Estudos Culturais em Educação na vertente pós-estruturalista, articulou-se com alguns referenciais da Dança e da formação de professores, e a partir de alguns conceitos chaves como identidades, narrativas e discursos procuramos realizar uma análise cultural, a qual nos possibilitou evidenciar que: uma nova posição identitária, - o professor de Arte/ Dança -, emerge no contexto sul-rio-grandense, a partir das práticas discursivas que posicionam a Dança como uma área de conhecimento e disciplina escolar. Essa identidade não é fixa, nem estável, é constituída por múltiplas experiências advindas de suas formações como bailarinos/ dançarinos, como acadêmicos da Dança e, principalmente, pelo exercício da profissão no cotidiano da escola, o que lhes permite construir uma “outra” dança decorrente do processo de curricularização dessa prática. Essa outra dança não é algo classificável em um estilo ou outro, carrega traços dos discursos contemporâneos acerca da dança, mas é forjada no dia a dia da escola, delimitada por suas paredes substantivas e subjetivas do disciplinamento da modernidade, assim como pelos sujeitos contemporâneos que nela transitam. Essa intensa relação tensiona o professor de Arte/ Dança a criar modos de ensinar particulares adequados às diferentes realidades que podemos nomear escola, a qual cobra continuamente certezas em termos metodológicos. Emerge então nesse contexto não somente outra dança, mas também outro professor de Dança advindo dessa experiência singular na escola.<br>The thesis Narratives about dance teaching: paths woven and designed in schools in Rio Grande do Sul investigates how Art/Dance teacher’s identities are shaped in the school amidst the process of curricularisation of this practice. Today dance assumes the status of field of knowledge and disciplinary knowledge in school, this process being unfolded in the state of Rio Grande do Sul through the emergence of many degrees in dance in recent years, as well as a set of practices enabling art/dance teachers to public selection exams. Therefore I selected the interview as the main tool to draw narratives by female teachers working in different kinds of schools in the state. Nine female teachers’ presential narratives, one through email between 2012 and 2014 made up the analytic material; and other materials, such as public selection exam announcements, assistance in appointments, legislations and documents were interspersed in the text to see the key question in the study. The research is located in the theoretical field of poststructuralist Cultural Studies in Education, and was articulated with some referentials of dance and teachers’ formation. Based on some key concepts such as identities, narratives and discourses, we have sought to conduct cultural analysis to show that with a new identity position the art/dance teacher emerges in Rio Grande do Sul context from discursive practices positioning dance as a field of knowledge and school discipline. This identity is not stable; it is shaped with multiples experiences resulting from their dancing formation, dance academic courses and, chiefly, by the exercise of the profession in the everyday school, which allows them to construct ‘another’ dance from the process of curricularisation of this practice. This another dance cannot be categorised in one or other style, it has traces of contemporary discourses about dance, but is forged in the daily school restricted by substantive subjective walls of modernity disciplining, and by contemporary subjects circulating there. This intense relation urges the art/dance teacher to create particular ways of teaching for different realities we can call school, which demands continuous certainties in methodological terms. In this context, not only another dance, but also another dance teacher comes out of this unique experience at school.
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Quispe, Diaz Nicole Brenda. "El baile como elemento narrativo de la película Lalaland." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653581.
Full textAbstract:
El género de cine musical siempre se ha caracterizado por tener escenas llenas de emociones acompañadas con bailes coreográficos de un grupo de personas o de parejas, conjunto de una canción cantada por los propios protagonistas o acompañadas de coristas y de la música que se acopla de acuerdo a la trama o la época. Sin lugar a dudas, este género merece una exhaustiva investigación de cada elemento que lo compone y caracteriza, sobre todo el baile. Aquellos movimientos coreográficos llevan consigo no solo el compás de la música o la letra de la canción, sino, también, connotan cierto comportamiento de los personajes que lo bailan como si se tratara de demostrar algo más que unos simples pasos. La presente investigación se centra en demostrar que el baile no solo es más que un elemento del género musical, sino que es parte de la narrativa de este género, sobre todo, de una de las grandes películas del género musical actual que es Lalaland dirigido por Damien Chazelle.<br>The genre of musical cinema has always been characterized by having scenes full of emotions accompanied by choreographic dances of a group of people or couples, set of a song sung by the protagonists themselves or accompanied by choristers and the music that is coupled according to the plot or the time. Undoubtedly, this genre deserves an exhaustive investigation of each element that composes and characterizes it, especially dance. Those choreographic movements carry not only the beat of the music or the lyrics of the song, but also connote certain behavior of the characters that dance as if it were to demonstrate something more than a few simple steps. The present investigation focuses on demonstrating that dance is not only an element of the musical genre, but it is part of the narrative of this genre, especially one of the great films of the current musical genre that is Lalaland directed by Damien Chazelle.<br>Trabajo de investigación
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Gauthier, Céline. "Une voix au chapitre : Paroles, discours et récits de gestes dans les écrits de danseurs." Electronic Thesis or Diss., Université Côte d'Azur, 2023. https://intranet-theses.unice.fr/2023COAZ2005.
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Cette recherche s'intéresse aux pratiques d'écritures des danseurs contemporains, à travers l'étude d'un corpus constitué de quatre ouvrages récemment publiés par Dominique Dupuy (2011), Enora Rivière (2013), Myriam Lefkowitz (2015), et Noé Soulier (2016). Leur parution manifeste autant qu'il participe d'un contexte perceptif et esthétique, mais aussi institutionnel et éditorial qui donne place à la voix des artistes chorégraphiques. En effet, ces textes ont pour point commun d'être élaborés à partir de la parole des danseurs, qu'elle soit recueillie lors d'entretiens, puisée dans une conférence performée ou qu'elle soit le motif par lequel s'éprouve l'imaginaire d'une instantanéité chorégraphique. Ainsi, l'élaboration de ces ouvrages engage pour leurs auteurs une réflexion sur les valeurs acquises par la verbalisation comme par la scription dans les pratiques de danse. Parce que l'écriture est envisagée comme un processus transversal, non spécifiquement textuel, qui introduit des effets d'écart dans la relation que le danseur entretient à l'acte de danse, nous convoquons pour analyser ce corpus la pensée de Derrida ; ceci nous conduit à qualifier les phénomènes d'enchâssement et de "différance" manifestés par ce corpus comme relevant des « écrits de danseurs ». Ceci permet d'interroger la fonction de ces discours, considérés comme des prises de parole face à la doxa d'un mutisme inhérent à la figure scénique du danseur : d'une part, l'écriture témoigne des expériences propres au métier de danseur, et contribue à alimenter voire à renouveler les représentations afférentes à leur statut artistique et professionnel. D'autre part, la publication d'un objet livresque requalifie l'auctorialité du danseur au regard du chorégraphe comme des œuvres qu'il interprète : ceci participe à circonscrire un régime discursif spécifique, que nous désignons, à la suite de Foucault, comme une « fonction-danseur » active dans l'écriture. Finalement, notre analyse considère les interactions entre énonciation du geste et imaginaire langagier, lorsque morphologie lexicale et corporelle viennent à se confondre. À la suite de trois propositions théoriques (Godfroy, Louppe, Bernard) qui postulent la réversibilité des expériences kinésiques et sémiotiques, nous interrogeons l'activité de réception de ces ouvrages, lorsque les analyses cherchent à y déceler l'empreinte d'une « gestualité du dire ». Notre hypothèse considère que celle-ci relève d'un mécanisme fictionnaire, déployé tant dans le processus sensoriel par lequel les danseurs élaborent une parole sur leur danse que dans l'activité de lecture. Ceci souligne le fonctionnement empathique qui soutient notre fréquentation des textualités en danse ; au regard de la place occupée par les imaginaires littéraires et scripturaires dans l'élaboration des récits de gestes, tout comme dans l'émergence de dynamiques métaphoriques. Celles-ci soutiennent l'élaboration de logiques corporelles (Bolens) qui façonnent la corporéité du danseur qui s'énonce autant que les modalités narratives par lesquelles elle s'écrit. Cette étude prend place à la croisée de préoccupations portées par des analyses kinésiques comme linguistiques, selon une approche poïétique qui s'insère dans des interactions disciplinaires, artistiques et méthodologiques nombreuses entre études en danse et études littéraires<br>This research focuses on the writing practices of contemporary dancers, through the study of a corpus made up of four works recently published by Dominique Dupuy (2011), Enora Rivière (2013), Myriam Lefkowitz (2015), and Noé Soulier (2016). Their publication manifests as much as it participates in a perceptual and aesthetic context, but also an institutional and editorial one which gives place to the voice of the artists. Indeed, these texts have in common to be elaborated from the words of the dancers, whether it is collected during interviews, drawn from a lecture performed or whether it is the reason by which the feeling is experienced. imaginary of a choreographic immediacy. Thus, the elaboration of these works engages for their authors a reflection on the values acquired by the verbalization as by the scription in the practices of dance. Because writing is respected as a transversal process, not judged textual, which introduced effects of gap in the relationship that the dancer maintains to the act of dance, we summon to analyze this corpus the thought of Derrida; this leads us to qualify the phenomena of embeddedness and differance affected by this corpus as relevant to “dancers' writings”. This makes it possible to question the function of these discourses, translated as speaking out against the doxa of a silence inherent in the scenic figure of the dancer: on the one hand, the writing bears witness to the experiences specific to the profession of dancer, and contributes to nourishing or even renewing the representations relating to their artistic and professional status. On the other hand, the publication of a bookish object requalifies the authorship of the dancer with regard to the choreographer as the works he interprets : this contributes to circumscribing a specific discursive regime, which we designate, following Foucault, as a “dancer-function” active in writing. Finally, our analysis considers the interactions between the enunciation of the gesture and the linguistic imagination, when the lexical and body morphology come to merge. Following three theoretical propositions (Godfroy, Louppe, Bernard) which postulate the reversibility of kinesic and semiotic experiences, we question the activity of reception of these works, when the analyzes seek to decelerate the imprint of a "gestuality to say”. Our hypothesis considers that this stems from a fictional mechanism, deployed both in the sensory process by which the dancers adopt a word about their dance and in the reading activity. This underlines the empathic functioning that supports our frequentation of textualities in dance; about the place occupied by literary and scriptural imaginaries in the elaboration of narratives of gestures, as well as in the emergence of metaphorical dynamics. These require the development of bodily logics (Bolens) that shape the corporeality of the dancer who is expressed as much as the narrative modalities by requiring it to be written. This study takes place at the crossroads of concerns carried by kinesic and linguistic analyses, according to a poietic approach which fits into numerous disciplinary, artistic and methodological interactions between dance studies and literary studies
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Rego, Renata Marques. "Dan?ar o adolescer: estudo fenomenol?gico com um grupo de dan?a de rua em uma escola." Pontif?cia Universidade Cat?lica de Campinas, 2008. http://tede.bibliotecadigital.puc-campinas.edu.br:8080/jspui/handle/tede/219.
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Previous issue date: 2008-12-17<br>Pontif?cia Universidade Cat?lica de Campinas<br>This research was carried out to understand the significance of dancing experience of adolescent street dancers within a school context. It was a qualitative study based on exploratory analysis and phenomenological background. The guiding theoretical reference undertaken in this study was the Humanistic Psychology, specifically the Client-Centered Approach, developed by Carl Rogers. This study was conducted on a public school environment employing street dance classes offered to teenagers as an extra curricular project. The researcher attended weekly the dancing classes during six months. Afterwards it was performed private interviews with adolescents. Seven narratives were developed according to the intersubjective relationship developed among the researcher and the students, focusing on personal experience by the adolescents. It was concluded that teenagers experience by taking street dance classes led to a significant learning, as developed by Rogers, since it becomes more spontaneous, self-guided, and toward selffulfilling. The experience offered to the street dancer group provided the students in their growing process with typical elements as follows: spontaneous interest in participate on personal activities which contribute to the physical and psychological growth; physical and emotional experience on their growing body, their losses and potential creativity; complete involvement of affection and intellect, throughout the learning processes; self-recognition assisted by a positive and varied acceptance weaning from parentship; distinction between their parents and themselves; the experience of being part of a group and have their own particularities at the same time; development of personal power and self-reliance as derived from the dancing process; the enthusiasm to the world desiring to change it, rethinking themselves in this process and enduring a smoother balance for integration extending this experience toward adulthood. This study suggests that the school context represents a potential to develop significant interpersonal relationship easing a psychological development.<br>Esta pesquisa prop?s-se a compreender os sentidos atribu?dos ? experi?ncia de dan?ar por adolescentes praticantes da dan?a de rua em um contexto escolar. Trata-se de um estudo qualitativo de car?ter explorat?rio e de inspira??o fenomenol?gica. O referencial te?rico norteador do estudo foi a psicologia de orienta??o humanista, especificamente a Abordagem Centrada na Pessoa (ACP), desenvolvida por Carl Rogers. Realizou-se no contexto de um grupo de dan?a de rua, oferecido a alunos adolescentes em uma escola p?blica da cidade de Campinas, sob a forma de um projeto extracurricular. A pesquisadora acompanhou, semanalmente, durante seis meses as aulas de dan?a e, posteriormente, realizou entrevistas individuais com os alunos que se interessaram em participar da pesquisa. Objetivando focar a experi?ncia vivida pelos participantes da pesquisa sob o prisma da rela??o intersubjetiva estabelecida entre a pesquisadora e os alunos, foram constru?das sete narrativas. Concluiu-se que a experi?ncia dos adolescentes com a dan?a de rua no contexto da escola aproxima-se da proposta de aprendizagem significativa, desenvolvida por Rogers, ao constituir-se em uma aprendizagem auto-iniciada, auto-dirigida e dotada de significa??o pessoal. A experi?ncia vivida no grupo de dan?a de rua proporcionou aos alunos a emerg?ncia de elementos t?picos da experi?ncia de adolescer, como o interesse espont?neo em participar de atividades dotadas de significa??o pessoal e que contribuam para o crescimento; viv?ncia f?sica e subjetiva do corpo em crescimento, suas perdas e potencial criativo; envolvimento integral com a experi?ncia de aprendizagem, envolvendo sentimentos e intelecto; busca por si mesmo facilitada pela aceita??o positiva de outros significativos; diferencia??o em rela??o aos pais; viv?ncia de pertencimento a um grupo que compartilha significados, ao mesmo tempo em que se diferencia da maioria; sentimentos de auto-confian?a e poder pessoal ao dan?ar; abertura para o mundo e interesse em modific?-lo, refazendo-se a si mesmo neste processo; desejo de levar da adolesc?ncia o dan?ar como um brincar e um modo de cuidar de si. Este estudo evidenciou tamb?m que o contexto da escola representa um espa?o potencial para o desenvolvimento de rela??es interpessoais significativas e facilitadoras para o desenvolvimento psicol?gico.
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Kalyvi, Anna. "Médée "illimythée" : du mythe en scène ( théâtre-danse) aux XXe et XXIe siècles." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H315.
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Depuis ses origines, la mythologie grecque est une source illimitée d’inspiration et se situe au carrefour de nombreux domaines qu’elle fait se rencontrer. Que ce soit dans la danse, le théâtre, la peinture ou la poésie, la réappropriation du mythe antique par le langage du corps s’avère une aventure esthétique qui s’impose comme une nécessité, en prenant en compte ses nombreuses reprises artistiques durant les XXe et XXIe siècles. Au cœur de cette réflexion figure un des mythes les plus connus et les plus revisités, à savoir celui de Médée, cette redoutable magicienne qui a tué ses enfants pour se venger de son époux après sa trahison. Analyser Médée par le biais des arts performatifs et des arts plastiques constitue ainsi une observation de l’état actuel du mythe. Quant au personnage, comment pourrait-on l’interpréter aujourd’hui ? La comparaison sur le plan artistique entre les différentes Médée a pour objectif de déterminer leur écart philosophique et esthétique, autrement dit la distorsion du mythe, lorsque le code (le langage) change. De nombreuses questions surgissent au sujet du récit, du symbole et du processus de création. Si mythe et art sont entretenus par un lien organique qui les alimente réciproquement, une telle étude centrée sur le passage du texte à la scène permettra de mettre en évidence cette relation, d’observer où se situe le mythe dans le champ artistique actuel, et quel sens en découle. Repérer le mythe aujourd’hui exige alors un mouvement de recul, qui maintient le dialogue entre tradition et modernité, entre l’étude du passé et la projection dans l’avenir. C’est en effet l’histoire du mythe que nous envisageons de raconter ici, par le biais des corps performatifs grâce auxquels l’existence du mythe se concrétise dans notre existence actuelle. Il s’agit d’une position limite que le corps artistique occupe. Pour qu’une comparaison entre ces narrations hétérogènes soit possible, le schéma des limites interviendra comme moyen et comme support, pour traduire le mouvement et la parole en image et en sensation. Le déplacement du mythe dans le temps sera donc une danse qui vient de commencer<br>Greek mythology has been an unlimited source of inspiration since it’s very beginning and stands at the junction of various artistic disciplines. The re-appropriation of the ancient myth through the body language proves to be an aesthetic adventure which establishes itself as a necessity, taking into account its many artistic versions via dance, theater, painting and poetry throughout the 20th and 21st centuries. In the core of this problematic stands one of the most famous and revisited myths, the myth of Medea, the formidable sorceress who killed her children in order to take revenge on her husband after his betrayal. Analyzing Medea by the means of performing and plastic arts constitutes an observation concerning the current condition of the myth; how could we interpret this character today? In this case, when the code changes, comparing different Medeas on an artistic level aims to determining their philosophical and artistic discrepansies; in other words, the myth’s distortion. Many questions arise regarding the narration, the symbolism and the creative process. If myth and art are sustained by a vital link that nourishes them mutually, such a study focusing on the transition of the text onto the stage, will allow us to highlight this relation: observing where the myth stands nowadays in the performing arts and which is its deriving meaning. So, locating the myth today demands stepping back somewhat, in other words, a backward movement which maintains the dialog between past and future, tradition and modernity. It is in fact the myth’s history that we’re trying to narrate here, by the means of performing bodies attesting to its existence nowadays. During this procedure, the artistic body becomes a limit in itself, whereas the schema of limits intervenes in order to compare two heterogeneous narrations: translating dancing movement and words into image and feeling. In fact, the myth’s journey in time and space is a dance that has only just begun
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Irobunda, Cynthia. "Identity Formation: Exploring Personal and Shared Narratives of a Black Woman Through Movement." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1160.
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The focus of this creative project is on the formation of identity through the lens of a black woman. I will be exploring stereotypes, the black woman’s body, the process of teaching and learning and double consciousness. Through research into the history of African American dance, and through the researcher and choreographer’s personal experience of being a black woman and shared experience of being a woman, I will be studying how movement can mediate resistance, assimilation, and encourage progress and development in a racially, politically charged environment. The choreographic component of this creative project was completed in three parts, The Walk Part I, The Walk Part II and Nneka. Visual records of the three choreographic pieces are available through the Scripps Dance Department.
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Rossini, Antonio. "Dante and Ovid, a comparative study of narrative techniques." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ49917.pdf.
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Patrick, Declan. "Contesting the narratives : identity, representation and performance in Filipino folk dance." Thesis, Manchester Metropolitan University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533143.
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Cooper, Siouxsie. "Walk like an Egyptian : Belly Dance past and present practice in England." Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/3361.
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How Belly Dance practitioners in England construct a sense of self-identity, social-identity and identity-in-practice in a border-crossing Belly Dance ethnoscape is of interest for this research project. What kinds of identities-in-practice do Belly Dancers in England construct in order to authenticate their performance? By applying social theories of education and identity formation, in particular Holland et al’s “figured worlds” (2001), it is possible to critically frame the development of a practitioner’s Belly Dance identity over a period of time. The research presents the case that Belly Dance in England has an identifiable past and present practice, one that continually wrestles with ownership of what is apparently a Middle Eastern cultural export. Drawing from a literature based case study of two pioneering artists in the early 1980s, Hilal and Buonaventura, the research describes a distinctive English Belly Dance tradition and identities. There is an explanation of how the English Belly Dance form has since competed on the global stage. The research also describes how current inheritors of that tradition −Anne White, Caroline Afifi and Siouxsie Cooper are taken as case studies− appropriate and signal Egyptian Belly Dance as the dominant reference point from which to authenticate their dancing practice; whilst at the same time subverting the Orientalist paradigm underpinning the Belly Dance trope. Identifying “narratives of authenticity” enable the current generations of English Belly Dancers to form distinctive Belly Dancing identities-in-practice. Drawing from both social theories of education and identity formation and reflexive ethnographic modes of inquiry, Walk like an Egyptian examines Belly Dance in England as a translocated dance form, and the mechanisms which allow its authenticity are analysed. In answer to the research question it is possible for an English practitioner of Belly Dance to produce an authentic Belly Dance performance through the production of various narratives of authenticity, narratives which both borrow from and resist pre-existing narratives of authenticity.
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Phillips, Dara L. "Dancing Through Film Musicals : Narratives in Motion /." Lynchburg, Va. : Liberty University, 2006. http://digitalcommons.liberty.edu.
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Asay, Timothy. "The Phenomenology of Frames in Chaucer, Dante and Boccaccio." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/18728.
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When an author produces a frame narrative, she simultaneously makes language both a represented object and a representing agent; when we imagine framed speech, we imagine both the scene its words represent and a mouth that speaks those words. Framed language is thus perfectly mimetic: the words we imagine being spoken within the fictional world are the same we use to effect that fiction's representation. Since its first function is to represent itself, the framed word acts both to push us out of the frame into our own temporality and to draw us into fictional times and spaces. This dissertation explores how first Dante and subsequently his successors, Boccaccio and Chaucer, deploy this structural feature of frames to engage difficult philosophical and theological disputes of their age. In the Divine Comedy, framed language allows Dante to approach the perfect presence of God without transgressing into a spatial conception of the divine. Intensifying Dante's procedure in his House of Fame, Chaucer forecloses the possibility of representation; he transforms every speech act into an image of its utterer rather than its referent, thus violently thrusting us back into the time we pass as we read. Boccaccio--first in his Ameto then in the Decameron--eschews this framed temporality in favor of the temporality of the fetish: while his narratives threaten to dissolve into their basic linguistic matters, the erotic energy of the people that populate those narratives forces them to cohere as fully imagined spaces and times. Finally the Chaucer who writes the Canterbury Tales fuses his initial reading of Dante with Boccaccio's response to it; he constructs the Canterbury pilgrims as grotesques who each open up a limited angle of vision on the time and space they collectively inhabit. These angles overlap and stutter over one another, unsettling the easy assignations of identity any given pilgrim would enforce on a tale or agent within the narrative. In doing so, Chaucer makes the temporality within his Tales strange and poignant in a way that fully mimics our own experience of extra-narrative time.
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Anders, Fernanda. "Dançar na aula de música : “dá gosto de vir para o colégio”." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/111890.
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A presente pesquisa se insere na área de Educação Musical, especificamente no âmbito da Escola Básica e buscou compreender, a partir das narrativas das crianças, o significado atribuído à dança nas aulas de música. Participaram desta pesquisa 18 estudantes do quinto ano do Ensino Fundamental I de uma escola da rede privada de uma cidade da grande Porto Alegre/RS, que oferece regularmente Educação Musical do segundo ao quinto ano, sendo a dança um dos componentes da Educação Musical. A base teórica da pesquisa apoia-se no método autobiográfico, adotando-se principalmente Jean Clandinin e Michael Connelly (2008) como orientação metodológica; Dornelles e Bujes (2012) no atendimento às especificidades da pesquisa com crianças. Contribuíram na realização deste trabalho principalmente os autores Strazacappa (2001), Schiller e Meiners (2012), que referenciam teoricamente a aprendizagem através do movimento corporal e da dança; e Maffioletti (2008, 2012), Campbel (2011) e Torres (2003) no que se refere à Educação Musical. As narrativas foram capturadas em sessões de discussões em grupo, sendo uma realizada imediatamente após a experiência corporal e duas imediatamente após a execução da flauta doce, num total de três sessões. As dimensões das análises foram extraídas do próprio material, tendo em vista do seu significado dentro do que é narrado. Os resultados mostram que o contexto escolar, familiar e social estão presentes nas narrativas das crianças, sendo a dança reconhecida nesses espaços como importante forma de interação. O significado de dançar nas aulas de música está relacionado ao prazer vivido com o corpo e às sensações de alegria, satisfação e leveza que o movimento propicia. As crianças consideram que dançando é possível conhecer outras culturas, entender melhor o ritmo das músicas e tocar flauta doce com maior facilidade. A importância desta pesquisa está em tornar visível o significado das experiências das crianças sobre o movimento corporal como instância da aprendizagem musical.<br>This research falls within the field of music education, specifically within the Primary School and sought to understand, from the narratives of children, the meaning assigned to dance in music classes. 18 students from the fifth grade of elementary school I in a private school participated in this research in a big city in great Porto Alegre / RS, which offers regular musical education from the second to fifth grade, being the dance a component of the Music Education. The theoretical basis of the study is based on the autobiographical method, adopting mainly Jean Clandinin and Michael Connelly (2008) as a methodological orientation; Dornelles and Bujes (2012) in addressing the specificities of research with children. Contributed in this work mainly Strazacappa (2001), Schiller and Meiners (2012) authors, which theoretically refer to learning through body movement and dance; and Maffioletti (2008, 2012), Campbell (2011) and Torres (2003) in relation to music education. The narratives were captured in group discussion sessions, one held immediately after the bodily experience and two immediately after the execution of the recorder, a total of three sessions. The dimensions of the analysis were extracted from the material itself, in view of its significance within what is narrated. The results show that the school, family and social context are present in the narratives of children, and dance is being recognized in these spaces as an important form of interaction . The meaning of dance in music classes is related to the pleasure experienced with the body and the feelings of joy, satisfaction and lightness that the movement provides. Children believe that dancing can learn about other cultures and better understand the rhythm of the music and playing the recorder with greater ease. The importance of this research is to make visible the meaning of children's experiences on body movement as an instance of musical learning.
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Hanke, Ramona. "The impact of ballroom dancing on the marriage relationship." Diss., Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-04132007-163833.
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Haydon, Liam David. "'I sing'? : narrative technique in epic poetry." Thesis, University of Manchester, 2012. https://www.research.manchester.ac.uk/portal/en/theses/i-sing-narrative-technique-in-epic-potry(3d7d23da-ade0-424c-93a2-9b183283e30e).html.
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This thesis examines the genre of epic, and particularly Milton’s Paradise Lost. It argues that it is only in attending to the contextual interactions within Paradise Lost that its full meaning can be comprehended. It demonstrates that the poem not only narrates the Fall, but actively performs its consequences in its thematic and linguistic structures, which continually stress the impossibility of approaching perfect (divine) totality. Chapter one outlines the theoretical response to epic, read as a petrified genre in contrast to the newness, openness and linguistic flexibility of the novel. It then challenges these assumptions through a reading of the invocation to book III of Paradise Lost. The chapter closes by examining seventeenth-century writings on epic, demonstrating that Milton’s contemporaries saw the epic as defined by the possibility of didactic intervention into its context. Chapter two examines the forms of the epic metaphor, which serve as a temporal link between the ‘mythic’ past of epic and contemporary events. It then shows that the nationalistic impulse of epic was a method by which the mythic past of a country was deployed as an exemplary narrative for the present. The chapter closes by considering the ways in which shifts in national conception were mapped onto the epic. Chapter three outlines Paradise Lost’s thematic engagement with the concept of representation. It focuses on the twin images of the music of the spheres and the Tower of Babel, used in Paradise Lost to represent man’s relationship with God. It argues that the poem uses these tropes to explore the linguistic effects of the Fall. Both these images are deployed to suggest that postlapsarian expression is too open and ambiguous to properly portray divinity. Chapter four moves that discussion to a linguistic level, arguing that the poem is characterised by indeterminacy. It argues that Paradise Lost calls into question the possibility of expressing perfect truth in fractured, postlapsarian language. It shows that punning is the mark of fallen creatures in the poem, and suggests that the poem’s own puns exploit this category to linguistically question its own status as representation through performances of ambiguity. The conclusion synthesises these local readings of Paradise Lost into a reading of the poem as a whole. It argues that these individual instances demonstrate the poem’s continual reflexive concern over its theodicean project. By continually expressing ambiguity, at the level of imagery and language, Paradise Lost draws attention to its status as postlapsarian art, and the consequent impossibility of approaching the divine perfection exemplified by the celestial music or prelapsarian language.
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Crisafi, Nicolò. "Dante's masterplot and the alternative narrative models in the Commedia." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:a0b2b6df-734d-4c38-97c8-58ddef7cf19a.
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This thesis investigates the narrative models in Dante's Commedia with the aim of opening up the poem to alternatives to the dominant narrative embedded in the text, which it terms Dante's masterplot. This is the teleological trajectory which allows the poet to subjugate earlier works or earlier parts of the poem to the revisionist gaze of its endpoint. The thesis analyses the masterplot's workings in the text and its role in the interpretation of the poem, and documents its overwhelming success in influencing readings of the Commedia. It then explores three competing narrative models that resist and counter its monopoly, which are enacted by (i) paradoxes, (ii) alternative endings and parallel lives; and (iii) the future. Paradoxes are used to neutralise the teleological hierarchy and thus allow Dante to represent contradictory ideas and experiences in the temporal medium of language. Through counterfactuals and twin episodes, Dante establishes in his poem a number of storylines that detour from and run parallel to the main narrative; this allows him to make room for an affective space within the text, which suspends narrative necessity and moral normativity. The future tense poses a problem case for the masterplot in that it indefinitely postpones the endpoint on which teleology relies, and thus exposes the poem, and its author's, vulnerability to time and circumstance. By focusing on non-linear modes of storytelling, the thesis questions interpretations of the Commedia that favour one normative master-truth, and highlights instead the manifold poetic, theological and ethical tensions which, due to the masterplot's influence, are often overlooked. The thesis concludes with a proposal that, alongside the traditional notions of Dante's characteristic plurality of linguistic registers and styles, Dante's narrative pluralism can and should come to play a key role in contemporary and future readings of the Commedia.
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Seelaender, Ana Luisa. "O gesto em dança: descrição da gestualidade em uma narrativa dançada." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-18062013-094649/.
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Este trabalho tem como objetivo descrever e analisar os gestos produzidos em contexto de narrativa dançada, tomando como base os estudos dos gestos que acompanham a fala (Kendon 2004, McNeill 1992, Kita et al. 1998, Mittelberg 2006, Streeck 2009, entre outros). Para esse fim, adapto para o discurso dançado a proposta de estrutura tripartite de Poyatos (2002) para o discurso oral. Poyatos prevê os níveis linguístico (elementos segmentáveis), paralinguístico (elementos supressegmentais), e quinésico (postura e gestualidade). Os três níveis colaboram para a construção de sentido do discurso verbal. Mantenho a estrutura tripartite, propondo, para a dança, os níveis técnico (elementos segmentáveis, incluída a gestualidade convencionada pela técnica de dança), paraquinésico (elementos não-segmentáveis ligados à dinâmica do movimento), e gestual (postura e gestualidade ligada à comunicação cotidiana, incluída a pantomima). Gestos são considerados, então, quaisquer movimentos expressivos do corpo e/ou da face que não pertençam aos níveis técnico e paraquinésico. A interação entre os níveis para a construção do significado também fica mantida. Para poder verificar a pertinência da proposta, observo, entre outras, a cena do balcão e a cena final na versão de Romeu e Julieta, de William Shakespeare, coreografada por Kenneth MacMillan para o The Royal Ballet, e a cena final da versão de Rudolf Nureyev para o Ballet de LOpéra de Paris. O programa ELAN (EUDICO Language Annotator), versão 4.1.1, desenvolvido pelo Instituto Max Planck, e largamente usado na transcrição de línguas de sinais, foi utilizado para a transcrição dos dados em diferentes trilhas. Ele possibilita descrever de maneira mais abrangente os vários aspectos simultâneos dos gestos, como o movimento das mãos, traços de expressão facial (movimento de sobrancelhas, pálpebras, olhar e boca), entre outros. O objetivo do estudo dos gestos que acompanham a dança é corroborar a proposta da relação entre gesto e conceitualização, entendendo a contribuição do elemento gestual para a construção de significado em um discurso, seja ele oralizado, sinalizado ou dançado.<br>This work aims to describe and analyze gestures produced in a danced narrative, following the lines proposed in co-speech gesture studies (Kendon 2004, McNeill 1992, Kita et al. 1998, Mittelberg 2006, Streeck 2009, among others). To accomplish this goal, I adapt to the dance discourse Poyatoss proposal (2002) for verbal discourse. According to Poyatos, the verbal discourse is built upon a tripartite structure comprising a linguistic layer (with segmental elements), a paralinguistic layer (which includes suprasegmental elements) and a kinesic layer (including posture and gesture). He proposes that meaning construction in verbal discourse relies on the interaction of these three layers. My proposal is to maintain the triple structure to analyze dance discourse as well as the interaction between its specific layers: technical (which includes segmental elements of the dance technique), parakinesic (including non-segmental elements related to the dynamics of movement), and gestural (related to the posture of the body and gesture, including pantomime). Gesture will, then, be considered any expressive movement of body and/or face that is not part either of dance technique or of its dynamic elements. To verify the relevance of this proposal, I analyze a part of the balcony scene and the final one, among others, from Kenneth MacMillans version of Romeo and Juliet, by William Shakespeare, created for and performed by The Royal Ballet, and the final scene from Rudolf Nureyevs version for the Ballet de LOpéra de Paris. The Max Planck software, ELAN (EUDICO Language Annotator), version 4.1.1, largely used to transcribe sign languages, was used for the transcription of the data into several different tiers. This allows for a better description of the many simultaneous aspects of the gestures, such as hand movement and facial expressions features (eyebrows, eyelids, gaze and mouth movements), among others. The aim of studying gestures that accompany dance is to reinforce the proposal of correlation between gesture and conceptualization, understanding the contribution of the gestural element to meaning construction in a discourse, being it oral, signed or danced.
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Baca, Damian. "Border insurrections How IndoHispano rhetorics revise dominant narratives of assimilation /." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2006. http://proquest.umi.com/login?COPT=REJTPTU0NWQmSU5UPTAmVkVSPTI=&clientId=3739.
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Williams, Deborah. "Finding their dance : a study of the narratives and claims of alterations of belief systems amongst non-professional dancers." Thesis, University of Roehampton, 2018. https://pure.roehampton.ac.uk/portal/en/studentthesis/finding-their-dance(23e09263-b2ea-43d4-b365-6781a5c14d2e).html.
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In the history of dance research, social and recreational dance and dancers have often occupied a lesser status within the field and within the dance canon. Thus, the voices of non-professional or amateur dancers are less represented, and have received limited recognition for their contribution. This thesis focuses on the stories of such individuals whose dance experiences are outside of professional training or ‘art’ dance circumstances. It examines their narratives, to illustrate and illuminate the perceptions of and perspectives about dance and dancers, and the place dance holds within a larger social context. The central focus of the thesis is the claims by individuals who believe their adult lives have been significantly impacted or transformed by their interactions with dancing and dance events. Many of those interviewed stated that their relationship or association to dance practice in childhood and adolescence was limited or non-existent, and included views that were rooted in either negative or preconceived perceptions. Thus, their constructed belief systems about dance and dancers were based upon personal or social interactions or influences. Through a meeting or encounter with dance in adulthood, these convictions were altered, and dance became a prominent activity in their lives; so much so, that it influenced aspects of their identity, social groups, and professional occupations. Transformative learning theory serves as the primary lens through which the stories are examined, and offers an approach that is unique to adult learning and experience. Working from a constructivist perspective, the theory posits that knowledge and belief systems are accumulated throughout a person’s life, resulting in defined ‘points of view’ and fixed ‘habits of mind’ (Mezirow 1991). At times experiences emerge that confront this knowledge in such a way that the prior views are called into question, resulting in an altered perspective. Other contributing approaches include peak experience (Maslow 1943), and flow (Csíkszentmihályi 1998) which work together to analyse the participants’ voices in such a way that their stories of significance experiences and knowledge are highlighted. What the narratives provide are insights into the development of belief systems about dance/dancing/dancers, many of which evolved from social expectations, or unexpected encounters with people and/or events. What is unique is their individual viewpoints and commentary on the subject, that, when analysed, develop into larger patterns for analysis. As such, what is contributed is a greater understanding of the role dance plays in the lives of non-professional dancers.
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Treherne, Matthew James. "Liturgical imaginations : narrative, ritual and time in the religious poetry of Dante and Tasso." Thesis, University of Cambridge, 2007. https://www.repository.cam.ac.uk/handle/1810/284075.
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Regazzoni, Lisa. "Selektion und Katalog : zur narrativen Konstruktion der Vergangenheit bei Homer, Dante und Primo Levi /." Paderborn : Fink, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3174989&prov=M&dok%5Fvar=1&dok%5Fext=htm.
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Powlesland, Katherine Lucy. "First-person participation in Dante's 'Commedia'." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/280274.
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This thesis sets out a case for a mode of reading I term first-person participation in relation to Dante’s 'Commedia', a narrative poem I propose to function as an exceptionally participatory text. That Dante’s poem invites active engagement on the part of its readers is widely accepted in scholarship. My objective is to extend this debate by identifying certain of Dante’s innovations in relation to the mechanisms of narrative transmission through which such active engagement is invited. In so doing, I seek to establish that these mechanisms together constitute a narratological strategy of invitations to the reader to engage with the poem, intermittently and electively, in a mode of first-person participation, mentally simulating on her own account the journey to the desire for the divine. My research transfers and adapts for textual literary theory new notions of embodied simulation from cognitive neuroscience and emerging ideas in videogame critical theory relating to the mechanics of player presence and the function of the avatar, suggesting and evidencing parallels with the deeply personal and embodied modes of interaction with devotional texts associated with medieval practices of affective piety. I identify in the 'Commedia' a comprehensive and systematic programme of invitations to participate facilitating three types of presence in the responsive reader, and underpinning the invitation to first-person participation. Spatial presence (the perceptual illusion of ‘being there’) is invited through a multi-layered strategy I describe as narration through situated body states. Social presence (the illusion of being physically in relation with others) is invited by narration through kinaesthetic empathy. Self-presence (the experience that ‘something is happening to me’) is constituted, I suggest, through a combination of five mechanisms: a model of narrating instances that identifies the existence of four “faces” of the Dantean ‘io’; a strategy I borrow from film theory of narration through mobile camera view; a new reading of the functioning of the direct addresses to the reader; a strategy of narrative training; and a comprehensive strategy of narration through the manifold gaps in the text.
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Braley, Paula J. "Taking Control of the Narrative: Exploring Own Voices in Translation from Dante to ESL Classrooms." University of Dayton / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1588868847166228.
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Floriano, Aline Tosta. "O nascimento da dança dramática: narrativa de uma experiência de teatro-dança com alunos do ensino fundamental." Universidade Presbiteriana Mackenzie, 2010. http://tede.mackenzie.br/jspui/handle/tede/2048.
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Previous issue date: 2010-02-10<br>Fundo Mackenzie de Pesquisa<br>The trajectory covered in this research had as a starting point a previous project developed, by the researcher herself, in a Public School, located in the city of Bertioga, northern coastline of São Paulo state. Taking as the starting point the education through the art, more specifically the theater education , an investigation concerning the developed processes among students including the teenager age (from 10 to 15 years old) was proposed trying to approach the spontaneity in the classroom and the theoretical research. From this point, the awareness of the artistic process took important directions for the involved teachers, especially for the author of the research, as well for the students participants of the project. The object of this research was in construction during all the route of the paper through theories that dialogued among themselves with authors like Augusto Boal, Viola Spolin and my action as an educator based on Paulo Freire‟s purposes. The surprising aspect in this research was given in the daily perception that, gradually, the theater we looked for overcame itself getting to the dance. The dance appeared for the group as a process of freedom into the theater and, to better investigate what has happened. I went deeper into my investigation in theoretical of the area theater dance, giving more emphasis in aspects of theater dance of Pina Bausch . A long time before the investigation, in our spontaneous aspects, we used to call our action of Dramatic Dance, in the context of the group. The dramatic dance intimately related, by affinity, with the theater dance, ended up in choreography, elaborated by me and the involved students. The choreography is entitled metamorphose and it intends to demonstrate through the Theater Dance that the transformations wanted were achieved.<br>O caminho percorrido nesta pesquisa teve como ponto de partida um projeto anterior desenvolvido, pela própria pesquisadora, em uma Escola Estadual, situada na cidade de Bertioga, no litoral Norte do Estado de São Paulo. Tomando como base a educação por meio da arte, mais especificamente o Teatro-Educação, propôs-se uma investigação acerca de processos desenvolvidos entre alunos na faixa etária adolescente (entre 10 a 15 anos) buscando aproximar a espontaneidade dos processos em sala de aula e a pesquisa teórica. A partir daí a tomada de consciência do processo artístico tomou rumos importantes para os professores envolvidos, sobretudo para a autora da pesquisa, bem como os alunos participantes do projeto. O objeto de pesquisa esteve em construção durante todo o percurso do trabalho por meio de teorias que dialogam entre si com autores como Augusto Boal, Viola Spolin e minha ação como educadora balizada nas propostas de Paulo Freire. O aspecto surpreendente desta pesquisa deu-se na percepção cotidiana de que, aos poucos, o teatro que buscávamos transcendia a si mesmo, chegando à dança. A dança apareceu para o grupo como um processo de liberdade dentro do teatro e, para investigar melhor o que acontecia, aprofundei minha investigação em teóricos do campo do teatro-dança, dando maior ênfase a aspectos do teatro-dança de Pina Bausch. Muito antes da investigação, em nossos processos espontâneos, chamávamos nossa ação de Dança Dramática, no contexto do grupo. A Dança Dramática intimamente relacionada, por afinidade, com o Teatro-Dança, culminou em uma coreografia, elaborada por mim e pelos estudantes envolvidos. A coreografia intitula-se Metamorfose e pretende demonstrar por meio do teatro-dança que as transformações almejadas foram alcançadas.
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Regazzoni, Lisa. "Selektion und Katalog zur narrativen Konstruktion der Vergangenheit bei Homer, Dante und Primo Levi." Paderborn München Fink, 2006. http://d-nb.info/991204603/04.
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Holgate, Jane. "Transcultural tango : an ethnographic study of a dance community in the East Midlands." Thesis, De Montfort University, 2015. http://hdl.handle.net/2086/12260.
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This thesis examines the practice of an Argentine Tango dance community in the East Midlands, England. It is an ethnographic study whose objectives are to investigate this instance of a local transcultural dance practice in order to learn about participants’ motivations; their experience of and identification with Argentine Tango; and the meanings produced in the process of their participation. As a social dancer, teacher and insider researcher, I employ embodiment as a key methodological strategy in order to engage with and share the experience of dancing with participants; to gain sensory understanding and bodily knowledge of the practice; and in the process to gain access to further avenues of meaning-making amongst participants. The study considers questions arising directly from my teaching role to do with the transmission and reproduction of the dance, authenticity, the production of meaning, the construction and performance of identity and the imaginative construction of post-modern cultural practices. The nature of space and place is considered, as is Turner’s distinction between liminoid and liminal activity with regard to ritual and communitas in relation to Argentine Tango. Alongside participant discussions, I explore various perspectives on the cosmopolitan appropriation and exoticisation of Argentine Tango; the diffusion, re-territorialisation and globalisation of Argentine Tango since the late 1980s. Data was produced using ethnographic tools, including video recording, shared reviewing and feedback from participants. The thesis analyses findings to show how participants project narratives of the imagination into their dancing, thereby providing frameworks of meaning which crucially underpin and sustain this practice. These imagined narratives are compared to journeys, both literal and of the imagination, enabling the creative construction of new identities, the exploration of self in relation to others and an escape from everyday life in postmodernity.
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Polyniki, Antigoni. "From wedding dance floors to music classrooms : narratives of learning to play traditional music instruments amongst Greek Cypriots (1930-2010)." Thesis, University of Reading, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.558792.
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In recent years there has been a noteworthy revival of traditional instrumental mUSIC III Cyprus with the setting Up of schools and organizing workshops of traditional music, and the emergence of a new generation of Greek Cypriot professional instrumentalists and teachers. This study examines the narratives of learning to play traditional music instruments amongst Greek Cypriot musicians in the period 1930-2010. In doing so this study explores the development of the music learning system from its genesis in wedding celebrations, the influence of western music and training methods on the performance and learning of traditional instruments, and the dissemination of the instrumental tradition in the context of traditional dance ensembles to the systematic institutionalised teaching of traditional music in the early twenty-first century. The findings of this study contribute to an understanding of the various factors that influenced the transmission of the instrumental tradition in Cyprus during the twentieth and twenty-first centuries, the ways in which instrumental skills and knowledge of the repertory were acquired in particular cultural, temporal and spatial contexts and the manner in which teaching is informed by personal circumstances and the requirements of the tradition in contemporary learning environments.
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Higgins, Frances Wolfe Jessica. "Narrative infinity in the encyclopedic novel manipulations of Dante Alighieri's Divina commedia in David Foster Wallace's Infinite jest /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2006. http://dc.lib.unc.edu/u?/etd,218.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2006.<br>Title from electronic title page (viewed Oct. 10, 2007). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Curriculum of Comparative Literature." Discipline: Comparative Literature; Department/School: Comparative Literature.
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Cernea, Fernanda. "Corpo e reconhecimento: narrativas sobre experiencias em um grupo de dança." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/47/47134/tde-04082015-154233/.
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Esta é uma pesquisa na Área da Psicologia Social e tem como principal tema a relação entre reconhecimento e o corpo na contemporaneidade. O movimento de dominação da natureza, considerado primordial para o progresso da humanidade, gerou uma relação do ser humano com seu corpo pautada no controle e na minimização de experiências sensoriais, onde este concebe o corpo cindido da mente, dando maior prioridade e importância às atividades mentais. Esse trabalho teve como objetivo saber como os integrantes da Oficina de Dança e Expressão Corporal relatam as suas experiências corporais obtidas a partir da participação no grupo. Buscamos saber em que grau a experiência de participação pode significar uma ação de luta por relações de reconhecimento recíproco. Para tanto, realizamos uma pesquisa qualitativa de cunho etnográfico, na forma de uma observação participante, com realização de um diário de campo. Também fizemos também entrevistas semi-estruturadas com os participantes do grupo, onde utilizamos fotografias tiradas pela pesquisadora durante os ensaios e apresentações do grupo. O referencial da pesquisa foi a Teoria Crítica da Sociedade. A partir das entrevistas e da pesquisa participante, pudemos perceber que a participação no grupo estimula que cada participante desenvolva uma maior integração entre seus aspectos mentais e corporais, possibilitando um espaço para que possam entrar em contato com suas emoções e expressá-las através de movimentos corporais. Neste sentido, promove um processo de individuação, onde cada um pode vivenciar maneiras de ser e de interagir mais próprias e mais fundadas em sua própria experiência, escapando dos processos que homogeneízam os sujeitos atualmente. Pudemos concluir também que o trabalho do grupo pode ser considerado a busca por formas de reconhecimento em três âmbitos: luta por reconhecimento por amor, por direito e por solidariedade. A ação do grupo, tanto na busca de maior integração entre os aspectos mentais e corporais de seus participantes, quanto na luta por reconhecimento, enfrenta resistências decorrentes da relação institucional com o espaço que ocupa e decorrentes também da mediação da sociedade que repõe a dominação na forma da cisão entre corpo e razão<br>This is a research in Social Psychology and it is about the relation between recognition and body in contemporaneity. The process of the nature´s domination, considered essential for the progress of the humanity, developed a relationship between the human being and their body guided by the control and minimization of sensory experiences, where the human being understand the concept of the body splitted from the mind, giving higher priority and importance to mental activities. This study aimed to find out how the members of Oficina de Dança e Expressão Corporal report their body experiences from the participation in the group. We also tried to find out if the experience of participation in the group can be understood as a fight for reciprocal Recognition of the relationships. We did a qualitative ethnographic research, with participant observation, and a fieldnote diary. We also did semi-structured interviews with members of the group, where we use photographs taken by the researcher during rehearsals and performances of the group. The theoretical framework that led the research was the Critical Theory. The results showed that the participation in the group encourages each participant to develop the integration between their mental and body dimensions, providing a space for them to get in touch with their emotions and express them through body movements. Thus, promotes a process of individuation, where one can experience ways of being and interacting based on their own experience, escaping of the processes that homogenize people nowadays. We also conclude that the group\'s work can be considered the search for Recognition in three areas: the fight for Recognition of love, rights and solidarity. The action of the group, either in the search for greater integration between the mental and physical aspects of its participants, or as in the struggle for Recognition, faces resistance by the institutional relationship with the space it occupies and also caused by the mediation of society that contributes the domination of the body
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Heidelberger, Aurore. "De la mesure à la démesure vers le dionysiaque : une étude de l'excès dans l'oeuvre du chorégraphe et cinéaste flamand Wim Vandekeybus : sous l'angle de l'intermédialité et de l'importance grandissante de la visualité." Phd thesis, Université de Strasbourg, 2012. http://tel.archives-ouvertes.fr/tel-00922987.
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Wim Vandekeybus est l'un des chorégraphes majeurs de la nouvelle danse belge. Nous proposons à travers cette étude d'analyser son Œuvre sous l'angle de la démesure. Nous nous sommes attachés à un corpus limité d'œuvres appartenant à son travail chorégraphique et cinématographique. La fougue chorégraphique de ses débuts transparaît-elle toujours dans ses pièces les plus récentes comme Blush ou Sonic Boom, où la place de la narration est réévaluée ? Tout d'abord, nous nous sommes focalisés sur la violence du propos chorégraphique. Une temporalité de l'urgence ordonne les actions des interprètes. Les rapports humains sont eux-aussi emprunts d'une certaine tension, notamment les rapports hommes/femmes. Puis, nous nous sommes penchés sur les obsessions du chorégraphe, à la recherche d'un corps au comportement instinctif. La mise en scène d'un corps exacerbé, poussé jusque dans ses retranchements prédomine. Outre une recherche chorégraphique, Wim Vandekeybus s'intéresse à la création d'une image scénique, obtenue par les éclairages ou l'intrusion d'un écran de projection cinématographique. Au contact du médium audiovisuel le corps se déchaine et atteint un état dionysiaque. Le corps filmé dans Blush détient la même force, la même énergie excessive, qui caractérise sa scène. Enfin, la réintroduction du verbe, par les diverses collaborations avec des auteurs contemporains, comme Peter Verhelst, P. F. Thomèse ou Jan Decorte exacerbe les passions et ne conduit point à un assagissement du corps, ni même du propos chorégraphique.
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Edmonds, Joanne H. "Memories of things real and imagined : narratives of youth and middle age in Anthony Powell's A dance to the music of time." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/897479.
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This dissertation demonstrates Anthony Powell's skillful adaptation of the traditional Bildunqsroman of youth and his innovative employment of an emerging genre--the Bildunqsroman of middle age--in order to unfold the story of Nicholas Jenkins, his narrator/protagonist, and especially to develop Jenkins as a character who moves through distinct cycles of change that are analyzed in detail. In addition, looking at Powell's work within the traditional and midlife Bildunqsroman and contrasting the characteristics of the second developmental stage with the first allows not only for analysis of the newer genre as practiced by Powell but also for provisional definition of the Bildunqsroman of middle life as written by some other contemporary novelists.Jenkins's youthful cycle of development occurs within the first trilogy or spring "season" of Powell's series; the midlife narrative, in the third trilogy or autumn "season." Although Powell's basic metaphor of the dance through time insists on constant change, these transitional seasons of quickened movement make possible the relatively peaceful productivity of summer, the ripeness of winter. In the first trilogy, Jenkins educates himself from the negative examples of failed mentors. Out of his interest in others, his greatest strength, Jenkins develops compassionate and imaginative powers of observation and discovers his identity and vocation as a writer. In the third trilogy, which begins in loss of vocation, Jenkins is forced onto a more challengingroad of trials than he travelled in youth and into recognition that even one's own identity cannot remain the same. In the process of constructing a new self, Jenkins must discover newways of thinking about what constitutes useful human activity.Among the topics considered also in discussion of the newer genre are contrasting definitions of successful action in youth and in middle age, the more open endings of the midlife narratives, as well as the possibility of differing male and female models for midlife Bildunqsromane. Study ofthe complexity of Jenkins's development, therefore, reveals new complexity in the development of the English novel itself.<br>Department of English
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Stazzone, Alessandra. "La renommée dans la " Divine Comédie " : enjeux et configurations narratives." Grenoble 3, 2004. http://www.theses.fr/2004GRE39025.
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Ce travail est consacré à l'étude du thème de la renommée dans la Divine Comédie. Il propose une analyse des ambigui͏̈tés engendrées par la notion même de renommée en raison de sa double signification au Moyen âge. Tantôt juridique, tantôt sociologique, le mot fama désigne à la fois un élément permettant de définir l'état d'un suspect dans une procédure inquisitoire, ainsi que le bruit colporté déterminant la bonne ou la mauvaise réputation d'une personne. Cette ambigui͏̈té nous a conduite à diviser notre recherche en trois parties. La première analyse la notion de renommée du point de vue lexical, poétique et théologique et a pour but de définir la genèse de la renommée ainsi que les critères d'obtention de celle-ci selon Dante. La deuxième partie consiste en une analyse des deux éléments sur lesquels se fonde la renommée des personnages de la Comédie, à savoir, comme l'affirme le chant XXIII de l'Enfer, le nom ou le fatto (toute action retentissante liée à la biographie d'un personnage). C'est pourquoi nous nous sommes attachée à étudier, dans ce chapitre, la relation entre le nom et la renommée d'une part et le fatto et la renommée d'autre part. Enfin, la troisième partie de ce travail est consacrée à un cas spécifique de renommée, celle que Dante lui-même tente d'obtenir par le biais de la rédaction de la Divine Comédie. Elle analyse plus particulièrement la possibilité entre la recherche de la renommée de la part de Dante et le danger du péché d'Orgueil issu, selon les Ecritures, de toute tentative de parler de soi.
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Cippiciani, Irani da Cruz 1978. "Abhinaya : a construção de um corpo narrativo : o elemento expressivo do teatro e da dança na Índia." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284616.
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Orientador: Marília Vieira Soares<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-26T15:18:37Z (GMT). No. of bitstreams: 1
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Previous issue date: 2014<br>Resumo: Esta dissertação estuda o conceito e a técnica do Abhinaya, elemento expressivo presente nas formas de dança-teatro indianas, investigando suas possíveis contribuições para a formação e treinamento de atores, bailarinos e performers contemporâneos. Para tanto, inicio este texto estudando o tratado mais relevante sobre o assunto: o Natyasastra, cuja autoria remonta ao sábio mítico Bharatamuni. Trata-se de uma compilação produzida entre os séculos IV a.C. e II d.C., na qual estão descritas as regras para a criação artística nas mais variadas linguagens, incluindo a linguagem dramática, cujo alicerce é a técnica do Abhinaya. Este é composto por quatro grandes grupos de treinamento: Angika (aspectos corporais), Vachika (aspectos discursivos), Aharya (aspectos plásticos/visuais) e Saatvika (aspectos psicofísicos).Meu ponto de partida são os capítulos 6, "The distinction between Sentiment and Emotional Fervour", e 7, "Exposition on Bhavas (Emotional Tracts and States)", em que estão descritos os conceitos de Bhava (estados emocionais) e Rasa (sentimento estético), fundamentos da teoria estética hindu e, em decorrência, da referida técnica. Todas essas informações se unem à experiência pessoal da autora com a técnica, delimitando o tripé que sustenta esta pesquisa: fundamentação teórica, treinamento e produção artística<br>Abstract: This dissertation is dedicated to the study of the concept and technique of Abhinaya, the expressive element present in all dramatic Dance forms of India, by investigating its possible contributions to the formation and training of contemporary actors, dancers and performers. These aspects are classified in four large training groups: Angika (physical aspects), Vachika (discursive aspects), Aharya (plastic/visual aspects) and Saatvika (psychophysical aspects). Therefore, I start this text studying the most relevant treatise on the subject: the Natyasastra; whose authorship goes back to the mythical sage Bharatamuni. This is a compilation produced between centuries 4 BC and 2 AC, where many of the rules for artistic creation in all the artistic fields are described, mostly about Dance and Drama. My research focuses on the chapters 6 "The distinction between Sentiment and Emotional Fervour" and 7 "Exposition on Bhavas (emotional tracts and states)", where the concepts of Bhava (emotional states) and Rasa (aesthetic pleasure) are described, composing the central part of the Hindu Aesthetic Theory. Such information allies the personal experience of the author with the technique, delimiting the tripod that supports this research: theoretical basis, training and artistic production<br>Mestrado<br>Teatro, Dança e Performance<br>Mestra em Artes da Cena
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Laplace-Claverie, Hélène. "Écrire pour la danse : les livrets de ballet de Théophile Gautier à Jean Cocteau (1870-1914)." Paris 4, 1999. http://www.theses.fr/1999PA040155.
Full textAbstract:
Ecrire pour la danse est une activité paradoxale, qui consiste à mettre en mots une action qui sera interprétée par des interprètes muets, s'exprimant par le seul truchement d'une gestuelle chorégraphique. Pourtant, d’Isaac de Benserade à Paul Claudel et de Théophile Gautier à Jean Cocteau, de nombreux auteurs se sont intéressés à cette technique scripturaire, liée à la conception occidentale du ballet-pantomime, figuratif et narratif. Entre 1870 et 1914 toutefois, cette conception fut remise en cause. Contesté par les tenants de la danse abstraite, le modèle hérité du XVIIIe siècle traversa une crise profonde, qui faillit lui être fatale. Et le livret de ballet subit d'importantes métamorphoses, propres à mettre en évidence ses carences et ses atouts, ses caractéristiques tant formelles que thématiques. C'est pourquoi nous avons choisi d'étudier l'évolution des libretti au cours de cette période-charnière, située entre l’âge d'or du ballet romantique et l'avènement des célèbres ballets russes. La première partie de l'étude s'attache à définir ces objets singuliers que sont les canevas de danse et à dresser un "état des lieux" de la création chorégraphique en France à la fin du XIXe siècle. Puis, dans un deuxième temps, une analyse morphologique du livret de ballet cherche à éclairer les traits structuraux de cette catégorie textuelle. Enfin, la dernière partie est consacrée aux diverses expériences littéraires menées dans le domaine de l'écriture librettique entre 1870 et 1914.
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SILVA, Andreza Barrroso da. "Dançaeira: a Capoeira como procedimento para a construção de um processo criativo em Dança Contemporânea." Universidade Federal do Pará, 2012. http://repositorio.ufpa.br/jspui/handle/2011/7744.
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Previous issue date: 2012-02-29<br>CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>Esta pesquisa tem como objetivo norteador analisar o diálogo existente entre Capoeira e Dança Contemporânea a partir da construção de um processo criativo em dança por meio da abstração de movimentos próprios e das percepções relativas ao próprio e ao corpo de outros sujeitos, ocorridas no universo da Capoeira. Dentre os seus objetivos específicos destacam-se: analisar a construção corporal no âmbito da Capoeira; verificar a percepção do corpo na Capoeira diante da sua relação com a improvisação e a liberdade criativa, refletindo sobre os seus nexos com a criação em Dança Contemporânea e; identificar a maneira como os impulsos advindos com a experiência com a Capoeira afloram em um processo criativo em Dança Contemporânea. A metodologia compreende a narrativa autobiográfica, diante da hipótese empírica, devido o sujeito-objeto desta pesquisa delimitar-se na experiência da própria pesquisadora atrelada ao trabalho de laboratórios com a improvisação em Dança, visto a pesquisadora ser bailarina intérprete-criadora e capoeirista. Os aportes teóricos utilizados tratam sobre o estado de prontidão e a dilatação do corpo, o corpo enquanto memória, as suas técnicas corporais e, a sua percepção conforme abordagem dos autores Eugenio Barba, Jerzy Grotowski, Marcel Mauss e Merleau Ponty, respectivamente. Diante da concretização desta pesquisa, podem-se verificar elementos indicativos da experiência com a Capoeira no processo criativo em Dança Contemporânea, congregados na criação do conceito Dançaeira, o qual se refere à expressão de elementos em amálgama que aludem às linguagens da Capoeira e da Dança Contemporânea a partir de impulsos, configurando um aparato corporal expressivo e reflexivo singular, sem haver a sobreposição de uma linguagem sobre a outra.<br>This research aims at the survey of common aspects between Capoeira and Contemporary Dance. From the perspective of creative processes in Dance e those that occur in Capoeira, the analysis encompasses some specific objectives. They are: the scrutiny of the body during the improvisation through Capoeira; the perception of capoeirista´s body in relation to other bodies and outside space, during performing; the identification of impulses that may come from Capoeira, by considering its application of them in Contemporary Dance as well. The methodological procedures are based on autobiographic corporeal discourses, which in their turn, starts from empirical hypotheses borned of my own body as capoeirista and dancer. The theoretical perspectives sustain selected concepts such as those of Eugenio Barba, Jerzy Grotowski, Marcel Mauss and Merleau Ponty, in this order. Also, the accomplishment of this research allows connections between Capoeira and creative processes in Contemporary Dance, in a sort of artistic mode baptized as Dançaeira. Finally, such connections struggle for figuring out an expressive and personal artistic body made out of both artistic languages interwoven.
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Acworth, Elaine Elizabeth. "Dan Kelly danced into the shadows : large-scale personas in small-scale stories." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/18342/1/Elaine_Acworth_Thesis.pdf.
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Using an analysis of the creation of the character Dan Kelly in my play, risk, I argue that fairytale characters work as more than personage representations. They function on a big canvas for the audience; they carry large chains of association. Given this, I then propose that the human response is to infer additional meaning, meaning beyond the scope of plot and immediate character interaction - the audience infers symbolic meaning, ‘amplifying’ what is there into more. They enter a ‘generative empty space’ within the play where they infer or ‘unfold’ more meaning. In creating this ‘greater tale’, they are engaged beyond their personal ‘horizon of understanding’, and so, ‘take in’ the work through a heightened perceptual acuity.
Therefore, I pursued the idea of making space for the operation of this process, of leveraging the creation of meaning around a character. My inquiry led me to believe that a powerful way to do this was through absence rather than presence and silence rather than sound; and this had a profound impact on my choice of form for Dan Kelly: he progressed, through a number of stages, from reportage to a digital representation.
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Acworth, Elaine Elizabeth. "Dan Kelly danced into the shadows : large-scale personas in small-scale stories." Queensland University of Technology, 2008. http://eprints.qut.edu.au/18342/.
Full textAbstract:
Using an analysis of the creation of the character Dan Kelly in my play, risk, I argue that fairytale characters work as more than personage representations. They function on a big canvas for the audience; they carry large chains of association. Given this, I then propose that the human response is to infer additional meaning, meaning beyond the scope of plot and immediate character interaction - the audience infers symbolic meaning, ‘amplifying’ what is there into more. They enter a ‘generative empty space’ within the play where they infer or ‘unfold’ more meaning. In creating this ‘greater tale’, they are engaged beyond their personal ‘horizon of understanding’, and so, ‘take in’ the work through a heightened perceptual acuity.
Therefore, I pursued the idea of making space for the operation of this process, of leveraging the creation of meaning around a character. My inquiry led me to believe that a powerful way to do this was through absence rather than presence and silence rather than sound; and this had a profound impact on my choice of form for Dan Kelly: he progressed, through a number of stages, from reportage to a digital representation.
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CAVALCANTE, Acilon Himercírio Baptista. "O inferno dantesco e o inferno digital: jogo, fantasia e realidade." Universidade Federal do Pará, 2011. http://repositorio.ufpa.br/jspui/handle/2011/7836.
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Previous issue date: 2011-06-23<br>CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>Esta dissertação trata dos parâmetros possíveis entre o Inferno de Dante e a Cibercultura, através dos resultados de uma pesquisa desenvolvida por em três pontos: A Imagem do Infeno, legado da narrativa dantiana expressa ao longo dos séculos por artistas em diferentes estilos, mas dotados de elementos singulares propostos pelo autor florentino. A Cibercultura e seus conceitos: o ciberespaço, a imagem digital, a cultura de convergência e as transformações em curso que essa cultura produz na sociedade. E por último, a fantasia possível entre os conceitos e a imagem do inferno medieval com o mundo contemporâneo, através da atualização dos mesmos presentes no Inferno do projeto de hipernarrativa que se desenvolve tendo como base em tais definições.<br>This essay is about possible parameters delined between Dante’s Infero and the Cyberculture,
thru a research developed in three aspects: Hell’ image, a legacy from dantian
narrative and expressed by diferent artists among the centuries, with diferent styles,
but wicht adopted the same elements propouseds by the florentian author. The Cyberculture’s
concepts, as ciberspace, digital image, convergence culture and the recent
transformations in society. At last, the phantasia possible between Medieval Inferno
and the contemporary World, beyond the hypernarrative project for those definitions.