Auswahl der wissenschaftlichen Literatur zum Thema „Danse populaire“
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Zeitschriftenartikel zum Thema "Danse populaire"
Roussillon, René. „La danse raconte une histoire dans un langage corporel“. Enfances & Psy N° 98, Nr. 4 (07.12.2023): 27–37. http://dx.doi.org/10.3917/ep.098.0027.
Der volle Inhalt der QuelleCaserta, Michel, Franz Anton Cramer, Lætitia Doat und Marie Glon. „Autour d'un mouvement de danse populaire“. Repères, cahier de danse 21, Nr. 1 (2008): 29. http://dx.doi.org/10.3917/reper.021.0029.
Der volle Inhalt der QuelleDefrance, Yves, und Jean-Michel Guilcher. „La tradition populaire de danse en Basse-Bretagne“. Cahiers de musiques traditionnelles 9 (1996): 325. http://dx.doi.org/10.2307/40240611.
Der volle Inhalt der QuellePichette, Jean-Pierre. „« Danser sur ses bas ». Rémanence d’une sanction populaire dans le rituel du mariage franco-ontarien“. Cahiers Charlevoix 5 (10.04.2017): 229–311. http://dx.doi.org/10.7202/1039354ar.
Der volle Inhalt der QuelleGuay, Hervé. „Détours dans Téléroman de Larry Tremblay“. Dossier 39, Nr. 1 (24.02.2014): 59–72. http://dx.doi.org/10.7202/1022993ar.
Der volle Inhalt der QuelleLaurent, Donatien. „Le rôle des marges linguistiques dans la transmission des chansons de tradition orale – Quelques remarques sur les versions du « Roi Renaud » en Bretagne“. Port Acadie, Nr. 13-14-15 (27.10.2009): 447–55. http://dx.doi.org/10.7202/038447ar.
Der volle Inhalt der QuellePrimavesi, Patrick, Theresa Jacobs und Michael Wehren. „La danse en République Démocratique Allemande. Politique du corps, art populaire et éducation étatique“. Allemagne d'aujourd'hui 220, Nr. 2 (2017): 154. http://dx.doi.org/10.3917/all.220.0154.
Der volle Inhalt der QuelleLavoie, Gervais. „Identité ethnique et folklorisation : le cas des Mongols de Chine“. Anthropologie et Sociétés 10, Nr. 2 (10.09.2003): 57–74. http://dx.doi.org/10.7202/006349ar.
Der volle Inhalt der QuelleIovita, Cristina. „Le rat est mort ! Ou le jeu de la tradition dans l’Hamlet de William Shakespeare (Notes de mise en scène)“. L’Annuaire théâtral, Nr. 52 (20.10.2014): 25–35. http://dx.doi.org/10.7202/1027009ar.
Der volle Inhalt der QuelleHaine, Malou. „Le magazine américain Vanity Fair (1913-1936) : vitrine de la modernité musicale à Paris et à New York“. Les musiques franco-européennes en Amérique du Nord (1900-1950) : études des transferts culturels 16, Nr. 1-2 (25.04.2017): 23–37. http://dx.doi.org/10.7202/1039610ar.
Der volle Inhalt der QuelleDissertationen zum Thema "Danse populaire"
Guilcher, Yves. „Culture traditionnelle et danse ancienne en France“. Brest, 1994. http://www.theses.fr/1994BRES1004.
Der volle Inhalt der QuelleUntil today, those who undertook to study ancient dances were always either dancers, ill-equipped for historical research, or historians without any dancing experience. Moreover, they all neglected to look into french popular traditions and yet some of these traditions have retained up to the twentieth century some forms of dancing and an experience in singing for dances that still belong to a mediaeval or renaissance logic in dancing and singing. As a dancer and ethnohistorian, Y. Guilcher offers a re-reading of ancient documents in the light of traditional milieux which challenges a number of deceptive certainties. He suggests solutions to many a contradiction so far judged insuperable, notably with regard to the relation between music and movement in fifteenth century "basses-danses" in cantus firmus, to the notion of chorus in the "rondet de carole" and to the apportionment of singing between the lead-singer and the rest of the dancers. Together with his research, Y. Guilcher carries on a methodological reflection including a criticism of his own research methodology
Person, Elise. „Le langage de la salsa : étude culturelle et lexicologique des musiques populaires dans la Caraïbe hispanique“. Brest, 2000. http://www.theses.fr/2000BRES1011.
Der volle Inhalt der QuelleRohner, Fred. „La Guardia Vieja : el vals criollo y la formación de la ciudadanía en las clases populares : estrategias de representación y de negociación en la consolidación del vals popular limeño (1885-‐1930)“. Thesis, Rennes 2, 2016. http://www.theses.fr/2016REN20035/document.
Der volle Inhalt der QuelleThis dissertation examines the practices of self-representation and denial deployed by Lima’s popular classes to challenge, from the musical sphere, their marginal place in late 19th and early 20th-century Peruvian society. It demonstrates how the consolidation of the "vals criollo" allowed this social group to project a new image of the "popularsubject", now integrated into the civilized body of the Nation. For this purpose, I examine the role of the waltz and the generation of musicians known as "la Guarda Vieja" in Lima's cultural universe. To understand the process of inclusion of the waltz in the musical capital of the popular classes in Lima, I study the different musical spaces that allowed the migration of this genre from the elite's salons to the homes of the working class. Finally, the dissertation explores the ways in which these individuals created that new representation of themselves through the adoption and appropriation ofa code, musical objects and images that depicted them as patriots, modern and learned subjects
Esta tesis analiza las formas de autorepresentación y de negociación que pusieron en práctica las clases populares limeñas desde el ámbito musical para remontar el lugar marginal que ocupaban en la sociedad peruana entre fines del siglo XIX y las primeras décadas del siglo XX. A lo largo de este trabajo se demuestra cómo la consolidación del vals criollo limeño entre este sector de la población obedeció a un conjunto de estrategias destinadas a presentar una nueva imagen del sujeto popular que lo mostrara como parte del cuerpo civilizado de la nación. Para ello se examina en primer lugar cuál es el lugar del vals y de aquella generación denominada la Guardia Vieja en el universo cultural limeño. Con la finalidad de comprender el proceso de ingreso del vals como parte del capital sonoro de los limeños de las clases populares se analizan los distintos espacios musicales que permitieron el tránsito de este género musical desde los salones de las élites hasta llegar a las habitaciones del artesano y del obrero. Finalmente se analizan los modos en que estos sujetos crearon esa nueva representación de sí mismos a través de la adopción y de la apropiación de un conjunto de códigos, de objetos musicales y de imágenes sonoras que los mostrasen como patriotas, como modernos y como letrados
Clérivet, Marc. „La danse de tradition populaire dans les milieux ruraux de Haute-Bretagne : 19e-20e siècles“. Rennes 2, 2010. http://www.theses.fr/2010REN20042.
Der volle Inhalt der QuellePopular arts and traditions are subject to studies in some european regions, especially in Brittany. Moreover has traditional dancing in western Brittanny been the research purpose of Jean-Michel Guilcher. This area is nowadays considered as ethnochoreology’s birth-place, since the publication of his thesis “La Tradition populaire de danse en Basse-Bretagne” in 1963. However, only traditional dancing in the Breton speaking area of Brittany is depicted. Thus was the present work carried out with this state of mind in this part of Brittany. Without the same ambitions regarding to the methodological and conceptual aspects, we tried to understand the nature of the practices, contexts, and social representations in line with the traditional dance in this gallo speaking area, from diachronic and geographic points of view. The nature of the catalogs indeed appear to be very heterogeneous, depending on the areas of this region, on the social structure of the rural environments that have been carrying them for the whole 19th and the beginning of the 20th century
Garcia, Thomas George Caracas. „The Brazilian choro : music, politics and performance /“. Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb40034571z.
Der volle Inhalt der QuelleGuillien, Mathieu. „Du minimalisme dans la musique électronique populaire“. Paris 8, 2011. http://www.theses.fr/2011PA084112.
Der volle Inhalt der QuelleThe purpose of this study is to call into question the concept of minimalism in popular electronic music. The first part of the dissertation focuses on the concept of minimalism itself by mentioning the genesis of this aesthetic, which appeared in plastic arts in the 1950 in the United States, then its translation in the music field under the aegis of composers such as La Monte Young, Terry Riley and Steve Reich. To justify the use of the concept of minimalism while referring to different musical genres, a clarification is made in several steps: the relation of the musicians to History, their economic positioning, the technical means at their disposal as well as their reflection on their work, their social context, their relation to interpretation and live performance, and their views on problematics like repetition and dance. The second part focuses on techno itself. After tracing the history of the emergence of this musical genre at the beginning of the 1980’s in Detroit, as well as an outline of the electronic instruments which played a part in this emergence and their structural effects on the music, we can study the emersion of the « minimal » branch of techno. Lastly, studying the music of German composer Robert Henke allows us to broaden our subject by including an example of minimalism in popular electronic non-dance music
Quintas, Alicia. „Tango, Milonga, Vals : danse urbaine dans le Rio de la Plata, 1870-1924“. Paris 8, 1995. http://www.theses.fr/1995PA081111.
Der volle Inhalt der QuelleAround 1870, inhabitants of suburbs of cities surrounding rio de la plata - natural border between argentina and uruguay - create a new way of dancing. They perfectly listen the musicians, so that invent milonga, later called tango, that came into paris en 1911 and spread in the whole world. These new "dancing modes" are made of improvisation, brading clearly with the western tradition where dances are codified. This new suburbian culture contests the official culture. At the beginning of the century, industrial bourgeoisie - just starting to grow at that time - appropiates tango, "purifies" it, codifies it and put it as an institution. The now everywhere celebrated tango is a "canonic" tango, very far of that one formerly a revolutionary dancing creation, even if it still keeps part of its original characteristics
Demeuldre, Michel. „Le changement musical: étude transculturelle de trois siècles de changements dans la musique et la danse en milieu urbain“. Doctoral thesis, Universite Libre de Bruxelles, 1991. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213065.
Der volle Inhalt der QuelleO'Bomsawin-Bégin, Maxime. „Confluence d'influences chez Dowland: Musique mesurée, danse, rhétorique et ballade populaire anglaise au sein de ses airs pour luth“. Thesis, University of Ottawa (Canada), 2009. http://hdl.handle.net/10393/28392.
Der volle Inhalt der QuelleVenegas, Ferrin Marianela. „Danse ethno-contemporaine, théâtre de rue et spectacle drag-cholo dans les Andes équatoriennes : étude de trois arts du spectacle vivant à partir de leur origine historique et de leurs dimensions esthétique, populaire et "chola"“. Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080059.
Der volle Inhalt der QuelleEthno-contemporary dance, street theatre and drag-cholo show in the Ecuadorian Andes. Through the study of three methods of theater and dance creation, this dissertation aims to understand the concept of “cholo” (cultural concept that refers to the person who lacks identity: neither indigenous, nor white, nor mestizo) from a historical and aesthetic perspective during the last 20 years in the Andean environment of Quito, Ecuador.On a first assessment of the history of the pre- and post-colonial Andean scene, it was noted that official speeches used external and colonial discursive resources. These types of speeches reveal the re-interpretation of theatrical scenes and they exclude the dialogs and negotiations established in the socio-cultural, popular, and aesthetic of the Andean arts.In addition, three forms of life and popular art that were developed in Quito were analyzed: ethno-contemporary dance, street theater, and the drag-cholo performance. Through these studies, it was learned that “cholojizacion” is a subject of debate where empowerment of the popular Andean scenic arts and their mobility play a role within the hegemonic cultural dimensions of the post-colonial world
Danza etnocontemporánea, teatro de calle y espectáculo drag-cholo en los Andes ecuatorianos. A través del estudio de tres procesos de creación dancística y teatral, esta tesis intenta comprender desde un recorrido histórico y estético el concepto de “cholo” (un concepto cultural que se refiere a la persona que carece de identidad: ni indígena, ni blanca, ni mestiza) en su problemática escénica-andina, dentro de la ciudad de Quito, Ecuador, durante los últimos 20 años. En una primera aproximación por estudiar las historias del espectáculo pre y post colonial andino, observamos como los discursos oficiales utilizan algunos recursos discursivos externos o coloniales que ponen en evidencia una re-interpretación de las teatralidades y deja de lado los diálogos y negociaciones que se establecen en lo socio-cultural popular y estético de las artes andinas. En según lugar, analizamos tres formas de artes vivas y populares que se desarrollan en Quito estos últimos años: la danza etno-contemporánea, el teatro callejero y el espectáculo drag-cholo. A través de estos estudios, entendemos como la “cholojización” es un campo en disputa donde las agencialidades de las artes escénicas populares andinas y su movilidad juegan dentro de las dimensiones culturales hegemónicas del mundo post-colonial
Bücher zum Thema "Danse populaire"
C.I.O.F.F., Hrsg. Monographie internationale de la danse populaire =: International monograph on folk dance. Budapest: CIOFF, 1986.
Den vollen Inhalt der Quelle findenGuilcher, Jean Michel. La tradition populaire de danse en Basse-Bretagne. S.l: s.n, 1995.
Den vollen Inhalt der Quelle findenKang, Wŏl-lae. The dance: Han'guk taensŭ myujik 100-yŏnsa = 100 years of Korean dance music. [Kyŏnggi-do Sŏngnam-si]: Kŭraesŏ Ŭmak, 2021.
Den vollen Inhalt der Quelle findenSantos, Climério de Oliveira. Frevo: Transformações ao longo do passo. Recife: Cepe Editora, 2019.
Den vollen Inhalt der Quelle findenSalas, Horacio. Le Tango. [Arles]: Actes Sud, 1989.
Den vollen Inhalt der Quelle findenKeil, Charles. Polka happiness. Philadelphia: Temple University Press, 1992.
Den vollen Inhalt der Quelle findenMarie-France, Girod, Hrsg. La danse des grands-mères: Sur la jeunesse de l'âge mûr et la maturité de la jeunesse. Paris: Librairie générale française, 2009.
Den vollen Inhalt der Quelle findenRicardo, Ohtake, Hrsg. Danças populares brasileiras. [Rio de Janeiro]: Rhodia, 1989.
Den vollen Inhalt der Quelle findenSantos, Camilla Ramos dos. O samba como signo da identidade cultural na música popular brasileira: Uma memória institucionalizada a partir dos anos 1930. São Paulo: Editora Dialética, 2021.
Den vollen Inhalt der Quelle findenPréval, Guerdy. La musique populaire haïtienne de l'ère coloniale à nos jours. Montréal, Canada: Histoires Nouvelles, 2003.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Danse populaire"
Herzogenrath, Jessica Ray, und Bhumi B. Patel. „Locating Popular Dance and Dance in Popular Culture“. In Dance in US Popular Culture, 11–22. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003011170-3.
Der volle Inhalt der QuelleDodds, Sherril. „Writing Popular Dance“. In Dancing on the Canon, 66–83. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230305656_5.
Der volle Inhalt der QuelleHo, Michelle H. S. „From Dansō to Genderless: Mediating Queer Styles and Androgynous Bodies in Japan“. In Gender in Japanese Popular Culture, 29–59. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-12942-1_2.
Der volle Inhalt der QuelleDodds, Sherril. „What Is Popular Dance?“ In Dancing on the Canon, 45–65. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230305656_4.
Der volle Inhalt der QuelleGuyton, Jeremy, und Celeste Landeros. „Popular Dance and Intersectionality“. In Dance in US Popular Culture, 193–204. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003011170-34.
Der volle Inhalt der QuelleJohnson, Ariyan. „Popular Dance Cultural Masters“. In Dance in US Popular Culture, 27–30. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003011170-5.
Der volle Inhalt der QuelleParfitt, Clare. „Some Dance to Remember, Some Dance to Forget“. In Cultural Memory and Popular Dance, 291–96. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71083-5_17.
Der volle Inhalt der QuelleBrooks, Ann. „Dance, Body and Popular Culture“. In Popular Culture: Global Intercultural Perspectives, 75–87. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-42672-7_6.
Der volle Inhalt der QuelleGonzalez, Irvin Manuel. „The Politics of Popular Movements“. In Dance in US Popular Culture, 284–96. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003011170-48.
Der volle Inhalt der QuelleChristensen, Anders Chr N. „8. The Minuet in Denmark 1688–1820“. In The Nordic Minuet, 245–56. Cambridge,UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0314.08.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Danse populaire"
Vitos, Botond. „Experiencing electronic dance floors“. In Situating Popular Musics, herausgegeben von Ed Montano und Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.36.
Der volle Inhalt der QuelleRietveld, Hillegonda C. „(Dis)placing musical memory: Trailing the acid in electronic dance music“. In Situating Popular Musics, herausgegeben von Ed Montano und Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.45.
Der volle Inhalt der QuelleFogarty, Mary. „Sharing hip hop dance: Rethinking taste in cross-cultural exchanges of music“. In Situating Popular Musics, herausgegeben von Ed Montano und Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.17.
Der volle Inhalt der QuelleGUENEAU, Sybila. „La grande ville du néo-polar : introduire la critique sociale dans le roman criminel par la représentation des banlieues dans Billy-ze-Kick de Jean Vautrin“. In Banlieues : figurations de l'espace populaire ? Les périphéries urbaines dans les représentations culturelles (XIXe–XXIe siècle). Fabula, 2023. http://dx.doi.org/10.58282/colloques.10093.
Der volle Inhalt der QuelleDubosson, Fabien. „« Quelle volupté, ma banlieue… ». Romans périurbains et utopie populaire chez René Fallet (1947-1975)“. In Banlieues : figurations de l'espace populaire ? Les périphéries urbaines dans les représentations culturelles (XIXe–XXIe siècle). Fabula, 2023. http://dx.doi.org/10.58282/colloques.10130.
Der volle Inhalt der QuelleMorisson, Valérie. „Yohanne Lamoulère : donner corps à la banlieue“. In Banlieues : figurations de l'espace populaire ? Les périphéries urbaines dans les représentations culturelles (XIXe–XXIe siècle). Fabula, 2023. http://dx.doi.org/10.58282/colloques.10216.
Der volle Inhalt der QuellePITTNAUER, Beate. „« Un monde sans humanité ». À propos de la production de l’(anti)populaire dans La Banlieue de Paris (1949)“. In Banlieues : figurations de l'espace populaire ? Les périphéries urbaines dans les représentations culturelles (XIXe–XXIe siècle). Fabula, 2023. http://dx.doi.org/10.58282/colloques.10151.
Der volle Inhalt der QuellePeyroles, Aurore. „Donner un visage : la difficile rencontre avec le peuple banlieusard“. In Banlieues : figurations de l'espace populaire ? Les périphéries urbaines dans les représentations culturelles (XIXe–XXIe siècle). Fabula, 2023. http://dx.doi.org/10.58282/colloques.10198.
Der volle Inhalt der QuelleROMANET, Amandine. „Écrire pour projeter, les écrivains avec Banlieues 89“. In Banlieues : figurations de l'espace populaire ? Les périphéries urbaines dans les représentations culturelles (XIXe–XXIe siècle). Fabula, 2023. http://dx.doi.org/10.58282/colloques.10106.
Der volle Inhalt der QuelleECHEVERRIA, Lydia. „Ma Maison : étude d’un projet photographique pour penser la banlieue populaire comme espace des liens entre esthétique et politique“. In Banlieues : figurations de l'espace populaire ? Les périphéries urbaines dans les représentations culturelles (XIXe–XXIe siècle). Fabula, 2023. http://dx.doi.org/10.58282/colloques.10152.
Der volle Inhalt der QuelleBerichte der Organisationen zum Thema "Danse populaire"
Haynes-Clark, Jennifer. American Belly Dance and the Invention of the New Exotic: Orientalism, Feminism, and Popular Culture. Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.20.
Der volle Inhalt der QuelleFibbi, Rosita, Leonie Mugglin, Lisa Iannello, Andrea Bregoli, Philippe Wanner, Didier Ruedin, Denise Efionayi-Mäder und Marta Marques. « Que des locataires ! » : participation politique des résident·e·s espagnols et portugais à Genève et Neuchâtel. Université de Neuchâtel - Swiss Forum for Migration and Population Studies (SFM), 2023. http://dx.doi.org/10.35662/unine-sfmstudies-83.
Der volle Inhalt der QuelleRipoll, Santiago, Tabitha Hrynick, Ashley Ouvrier, Megan Schmidt-Sane, Federico Marco Federici und Elizabeth Storer. 10 façons dont les gouvernements locaux en milieu urbain multiculturel peuvent appuyer l’égalité vaccinale en cas de pandémie. SSHAP, Januar 2023. http://dx.doi.org/10.19088/sshap.2023.001.
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