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Artículos de revistas sobre el tema "Isadora"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 12 de febrero de 2022

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1

Duffy, Katherine. "Isadora." Comhar 59, no. 11 (1999): 22. http://dx.doi.org/10.2307/25573912.

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2

Vendrell, Luis Larios, and Joaquín Pérez Azaústre. "Carta a Isadora." World Literature Today 76, no. 3/4 (2002): 151. http://dx.doi.org/10.2307/40157749.

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3

Needham, Maureen. "Who is Isadora?" Dance Chronicle 19, no. 3 (1996): 331–40. http://dx.doi.org/10.1080/01472529608569254.

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4

Ocampo, Victoria. "The Untranslatable Isadora." Review: Literature and Arts of the Americas 53, no. 1 (2020): 80–83. http://dx.doi.org/10.1080/08905762.2020.1748462.

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5

West, Martha Ullman. "Aspects of Isadora." Dance Chronicle 26, no. 1 (2003): 117–23. http://dx.doi.org/10.1081/dnc-120018855.

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6

Jansen, G., and F. Mertzlufft. "Isadora-Duncan-Syndrom." Der Anaesthesist 65, no. 5 (2016): 359–62. http://dx.doi.org/10.1007/s00101-016-0165-4.

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7

Daly, Ann, and Lillian Loewenthal. "The Search for Isadora: The Legend and Legacy of Isadora Duncan." Dance Research Journal 26, no. 1 (1994): 30. http://dx.doi.org/10.2307/1477711.

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8

Horwitz, Dawn Lille, Nadia Chilkovsky Nahumck, and Nicholas Nahumck. "Isadora Duncan: The Dances." Dance Research Journal 28, no. 2 (1996): 99. http://dx.doi.org/10.2307/1478598.

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9

Daly, Ann. "Isadora Duncan's Dance Theory." Dance Research Journal 26, no. 2 (1994): 24. http://dx.doi.org/10.2307/1477914.

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10

Preston, Carrie J. "Isadora. .. No Apologies (review)." Theatre Journal 55, no. 3 (2003): 511–13. http://dx.doi.org/10.1353/tj.2003.0095.

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11

Ejecutivo, Editor. "Errata: Evangelista et al., "Uma análise do discurso sobre a temática acesso aberto nos anais do EDICIC Ibérico no período de 2013 a 2017"." Biblios: Journal of Librarianship and Information Science, no. 79 (September 1, 2021): 73–74. http://dx.doi.org/10.5195/biblios.2020.986.

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En el artículo científico "Uma análise do discurso sobre a temática acesso aberto nos anais do EDIC Ibérico no período de 2013 a 2017" de Isadora Victorino Evangelista, y Thiago Henrique Bragato Barros, con número DOI 10.5195/biblios.2020.800, publicado en la revista Biblios, número 78, 2020; pág. 17-34; en la página 17 está mal escrita la afiliación institucional de los autores:Donde decía: Isadora Victorino Evangelista. Universidade Federal de Rural de Amazônia, Belém, Pará, BrasilDebe decir: Isadora Victorino Evangelista. Universidad Federal de São Carlos, São Carlos, São Paulo, BrasilDonde
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12

Farfan, Penny. "Isadora: A Sensational Life (review)." Theatre Journal 56, no. 4 (2004): 720–22. http://dx.doi.org/10.1353/tj.2004.0161.

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13

Purvis, Denise. "Isadora Duncan in the 21st Century." Journal of Dance Education 17, no. 1 (2017): 37. http://dx.doi.org/10.1080/15290824.2016.1177786.

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14

Morgenroth, Joyce, Andrea Mantell-Seidel, and Julia Levien. "Isadora Duncan Dance: Technique and Repertory." Notes 54, no. 4 (1998): 975. http://dx.doi.org/10.2307/900093.

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15

Morrison, Hope. "Jake at Gymnastics by Rachel Isadora." Bulletin of the Center for Children's Books 68, no. 2 (2014): 110. http://dx.doi.org/10.1353/bcc.2014.0826.

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16

Stevenson, Deborah. "My Dog Laughs by Rachel Isadora." Bulletin of the Center for Children's Books 72, no. 1 (2018): 26. http://dx.doi.org/10.1353/bcc.2018.0588.

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17

Yushkova, Elena. "New Insights into Isadora Duncan's Dance." Dance Chronicle 39, no. 3 (2016): 360–64. http://dx.doi.org/10.1080/01472526.2016.1220793.

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18

Manning, Susan, and Ann Daly. "Done into Dance: Isadora Duncan in America." Dance Research: The Journal of the Society for Dance Research 15, no. 1 (1997): 115. http://dx.doi.org/10.2307/1290963.

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19

Daly, Ann, and Millicent Dillon. "After Egypt: Isadora Duncan & Mary Cassatt." Dance Research Journal 23, no. 1 (1991): 41. http://dx.doi.org/10.2307/1478702.

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20

Miller, Raphael F., and Ann Daly. "Done into Dance: Isadora Duncan in America." Dance Research Journal 30, no. 2 (1998): 85. http://dx.doi.org/10.2307/1478844.

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21

Jowitt, Deborah. "Images of Isadora: The Search for Motion." Dance Research Journal 17, no. 2 (1985): 21. http://dx.doi.org/10.2307/1478076.

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22

Jankowski, Harmony. "Writing Bodies: Isadora Duncan, Movement, and Metaphor." Congress on Research in Dance Conference Proceedings 2015 (2015): 83–88. http://dx.doi.org/10.1017/cor.2015.15.

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Building on the work of interdisciplinary literary and dance scholars from Frank Kermode to Carrie Preston, this paper attends to depictions of Isadora Duncan appearing in novels, poems, and portraits by modernist writers such as Max Eastman, John Dos Passos, and Gertrude Stein, among others. These diversely experimental texts hold in common a preoccupation with Duncan's perpetual motion, emphasizing shifts in her personal life, choreography, and performance quality over time. “Writing Bodies” theorizes the different expressive roles her image takes on, arguing that the texts use Duncan's imag
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23

Rudnick, Lois, and Ann Daly. "Done into Dance: Isadora Duncan in America." Journal of American History 83, no. 3 (1996): 1048. http://dx.doi.org/10.2307/2945731.

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24

Wright, Louise E. "Touring Russia with Isadora: Maurice Magnus’ account." Dance Chronicle 23, no. 3 (2000): 233–61. http://dx.doi.org/10.1080/01472520008569390.

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25

Souritz, Elizabeth. "Isadora Duncan's influence on dance in Russia." Dance Chronicle 18, no. 2 (1995): 281–91. http://dx.doi.org/10.1080/01472529508569204.

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26

김신일. "The Relationship between Gordon Craig’s Stage Art Theory and Isadora Duncan’s Stage Art - Focusing on Isadora Duncan’s Stage Art -." Korean Journal of Dance Studies 39, no. 39 (2012): 21–45. http://dx.doi.org/10.16877/kjds.39.39.201211.21.

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27

Manning, Susan, and Fredrika Blair. "Isadora: Portrait of the Artist as a Woman." Dance Research Journal 19, no. 2 (1987): 45. http://dx.doi.org/10.2307/1478174.

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28

Quealy-Gainer, Kate. "Isadora Moon Goes to School by Harriet Muncaster." Bulletin of the Center for Children's Books 70, no. 11 (2017): 507. http://dx.doi.org/10.1353/bcc.2017.0531.

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29

Faber, Rima. "Dance and early childhood cognition: The Isadora Effect." Arts Education Policy Review 118, no. 3 (2016): 172–82. http://dx.doi.org/10.1080/10632913.2016.1245166.

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30

Yagishita, Emi. "Isadora Duncan's Early Career in the United States." Congress on Research in Dance Conference Proceedings 2016 (2016): 436–42. http://dx.doi.org/10.1017/cor.2016.58.

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Isadora Duncan indicates in The Art of the Dance the importance of her childhood experiences in the establishment of her own new dance style. However, her early dance career, before leaving the United States in 1899, is somewhat mysterious. Therefore, this paper examines what kind of dance she studied in her childhood and the process of how she created her own dance style. It discusses her early performances in the United States, especially in New York, by utilizing the unpublished memoir of her brother, Raymond Duncan, as well as newspapers of the time.
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31

Morrison, Hope. "Old Mikamba Had a Farm by Rachel Isadora." Bulletin of the Center for Children's Books 67, no. 3 (2013): 160. http://dx.doi.org/10.1353/bcc.2013.0847.

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32

Pennekamp, M. "Leaders in School Social Work: Isadora R. Hare." Children & Schools 20, no. 2 (1998): 90–94. http://dx.doi.org/10.1093/cs/20.2.90.

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33

Voytova, I. A. "“More than in a Costume”: “Barefoot” Dancers and Russian Ballet Costume at the Beginning of the 20th Century." Art & Culture Studies, no. 2 (June 2021): 366–85. http://dx.doi.org/10.51678/2226-0072-2021-2-366-385.

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The beginning of reform in Russian ballet of the 1900s is connected by the most part of researchers with the first performances of Isadora Duncan in Russia (1904–1905). Her great influence on Russian ballet choreography and costume is explored well enough and indisputable. Nevertheless, free dance or “modern dance” became popular in the USA and in Europe because of Duncan’s predecessor, another American dancer Loie Fuller. It was a major tendency included creativity of such different performers as Loie Fuller, Isadora Duncan, Ruth St. Denis, Maud Allan, Mata Hari and many others. The author of
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34

Dorf, Samuel N. "Dancing Greek Antiquity in Private and Public: Isadora Duncan's Early Patronage in Paris." Dance Research Journal 44, no. 1 (2012): 5–27. http://dx.doi.org/10.1017/s0149767711000350.

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In Done into Dance: Isadora Duncan in America, Ann Daly writes that Isadora Duncan defined her dance as high art, and describes how Duncan raised the dance from the bottom of the cultural landscape to the top of American society: Dancing was considered cheap, so she associated herself with the great Greeks, who deemed the art noble, and she associated herself with upper-class audiences by carefully courting her patrons and selecting her performance venues. Dancing was considered mindless, so she invoked a pantheon of great minds, from Darwin to Whitman and Plato to Nietzsche, to prove otherwis
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35

Buckley, Jennifer, and Lori Belilove. "The Revolutionary: On Isadora Duncan and Edward Gordon Craig." Mime Journal 26, no. 1 (2017): 17–25. http://dx.doi.org/10.5642/mimejournal.20172601.04.

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36

Berger, Miriam Roskin. "Isadora Duncan and the creative source of dance therapy." American Journal of Dance Therapy 14, no. 2 (1992): 95–110. http://dx.doi.org/10.1007/bf00843836.

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37

Simonson, Mary. "Dancing the Future, Performing the Past: Isadora Duncan and Wagnerism in the American Imagination." Journal of the American Musicological Society 65, no. 2 (2012): 511–55. http://dx.doi.org/10.1525/jams.2012.65.2.511.

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Abstract During the first two decades of the twentieth century, dancer Isadora Duncan (1877–1927) regularly appeared on concert hall and opera house stages in New York and other American cities. Audiences were taken with her striking persona and nontraditional conception of dance, and impressed by her success in Europe. Duncan's artistic, intellectual, and personal self-association with Richard Wagner—a mythological being in the contemporary American imagination—also captured the attention of many audience members. Duncan danced to excerpts from Tristan und Isolde, Parsifal, and other works wh
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38

Alves, Isadora Ferrante B. de Oliveira. "Kalil Mondadori e Flavia Placeres a serviço da Naturologia." Cadernos de Naturologia e Terapias Complementares 3, no. 4 (2014): 89. http://dx.doi.org/10.19177/cntc.v3e4201489-94.

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Em entrevista realizada por Isadora F. B. O. Alves, em 01 e 02 de junho de 2014, Kalil Mondadori, na função de Presidente da Associação Brasileira de Naturologia – ABRANA – e Flavia Placeres, Presidente da Associação Paulista de Naturologia – APANAT – fazem revelações importantes para a construção da história da inserção da Naturologia no universo das práticas trabalhistas voltadas para a saúde.
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39

Sengupta, Deepmalya, Pranabesh Bharatee, Saikat Saha, and Rajib Prasad. "Isadora Duncan Syndrome: A Case Report of Accidental Ligature Strangulation." Scholars Journal of Applied Medical Sciences 8, no. 8 (2020): 1840–42. http://dx.doi.org/10.36347/sjams.2020.v08i08.009.

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40

Ferrer Sala, Manuel. "Figuraciones de lo pre-moderno: Adolf Loos e Isadora Duncan." Ra. Revista de Arquitectura 18 (December 19, 2016): 97–102. http://dx.doi.org/10.15581/014.18.97-102.

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41

Thomas, Helen. "Done into Dance: Isadora Duncan in America by Ann Daly." Body & Society 4, no. 3 (1998): 117–20. http://dx.doi.org/10.1177/1357034x98004003008.

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42

Preston, Carrie J. "The Motor in the Soul: Isadora Duncan and Modernist Performance." Modernism/modernity 12, no. 2 (2005): 273–89. http://dx.doi.org/10.1353/mod.2005.0064.

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43

Benecke, M. "Ungewollte Strangulation durch ein Fahrzeug: Der Tod von Isadora Duncan." Rechtsmedizin 7, no. 1 (1997): 28–29. http://dx.doi.org/10.1007/bf03042339.

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44

Wheeler, Mark. "Nature, Improvisation, and Organic Process in Dance Education: Isadora Redux." Journal of Dance Education 3, no. 4 (2003): 131–38. http://dx.doi.org/10.1080/15290824.2003.10387246.

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45

S. Boaventura, Viviane, Eriko S. Vinhaes, Lislane Dias, Nilvano A. Andrade, Victor H. Bezerra, and Anderson T. de Carvalho. "Infecção pelo Vírus da Zika Pode Causar Perda Auditiva Transitória em Adultos." Revista Científica Hospital Santa Izabel 1, no. 2 (2020): 36–37. http://dx.doi.org/10.35753/rchsi.v1i2.147.

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Artigo original: Transient Hearing Loss in Adults Associated With Zika Virus Infection Eriko S. Vinhaes, Luciane A. Santos, Lislane Dias, Nilvano A. Andrade, Victor H. Bezerra, Anderson T. de Carvalho, Laise de Moraes, Daniele F. Henriques, Sasha R. Azar, Nikos Vasilakis, Albert I. Ko, Bruno B. Andrade, Isadora C. Siqueira, Ricardo Khouri and Viviane S. Boaventura. Clinical Infectious Diseases® 2017; 64(5): 675–7.
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46

Santana do Rosário, Mateus. "Polineuropatia sensitiva reversível durante epidemia de arboviroses em Salvador, Bahia, Brasil." Revista Científica Hospital Santa Izabel 2, no. 3 (2020): 34–35. http://dx.doi.org/10.35753/rchsi.v2i3.108.

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Artigo original: Mateus Santana do Rosário, Pedro Antônio Pereira de Jesus, Daniel Santana Farias, Marco Antônio Caires Novaes, Cleiton Silva Santos, Sasha R. Azar, Nikos Vasilakis, Daniel Lima de Moura, Fernanda Washington de M. Lima, Luis Carlos Júnior Alcântara, Isadora Cristina de Siqueira (2018). Reversible sensory polyneuropathy during an arboviral outbreak in Salvador, Bahia, Brazil. Journal of the Neurological Sciences, 3391, 3–4. https://doi.org/10.1016/j.jns.2018.05.009.
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47

Taxidou, Olga. "The Dancer And The Übermarionette: Isadora Duncan and Edward Gordon Craig." Mime Journal 26, no. 1 (2017): 6–16. http://dx.doi.org/10.5642/mimejournal.20172601.03.

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48

Mugadlimath, Anand B., Mandar Ramchandra Sane, Sunil M. Kallur, and Mallikarjun N. Patil. "Survival of a victim of Isadora Duncan syndrome: A case report." Medicine, Science and the Law 53, no. 4 (2013): 219–22. http://dx.doi.org/10.1177/0025802413484141.

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49

Yushkova, Elena. "Isadora Duncan’s Dance in Russia: First Impressions and Discussions, 1904–1909." Journal of Russian American Studies 2, no. 1 (2018): 15–43. http://dx.doi.org/10.17161/jras.v2i1.7555.

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50

Sirotkina, Irina. "Dance-plyaskain Russia of the Silver Age." Dance Research 28, no. 2 (2010): 135–52. http://dx.doi.org/10.3366/drs.2010.0101.

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The present paper focuses on the semantic and cultural meaning of plyaska as a distinct and influential phenomenon of the Silver Age. In particular, the cult of dance-plyaska was responsible for both the welcome accorded to Isadora Duncan in Russia and the proliferation of groups, studios and theatres of free dance in Russia in the first decades of the twentieth century. The article will trace the rise and fall of the utopia of plyaska into the early Soviet years
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