Auswahl der wissenschaftlichen Literatur zum Thema „Danse postmoderne“
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Zeitschriftenartikel zum Thema "Danse postmoderne"
Bernard, Michel, und Véronique Fabbri. „Généalogie et pouvoir d'un discours : de l'usage des catégories, moderne, postmoderne, contemporain, à propos de la danse“. Rue Descartes 44, Nr. 2 (2004): 21. http://dx.doi.org/10.3917/rdes.044.0021.
Der volle Inhalt der QuelleChoi, Hangsub. „The Korean Wave: From Global Consumption to Global Creation“. Sociétés 161, Nr. 3 (06.11.2023): 137–45. http://dx.doi.org/10.3917/soc.161.0137.
Der volle Inhalt der QuelleAlderson, Evan. „Dance and Postmodern Communities“. Contemporary Theatre Review 6, Nr. 4 (Oktober 1997): 63–74. http://dx.doi.org/10.1080/10486809708568436.
Der volle Inhalt der QuelleStanich, Veronica Dittman. „Turning the World Upside Down“. Dance Research 36, Nr. 2 (November 2018): 198–223. http://dx.doi.org/10.3366/drs.2018.0238.
Der volle Inhalt der QuelleGiersdorf, Jens Richard. „Trio ACanonical“. Dance Research Journal 41, Nr. 2 (2009): 19–24. http://dx.doi.org/10.1017/s0149767700000620.
Der volle Inhalt der QuelleUCHIYAMA, Sumiko. „Semantics of dance for postmodern“. Journal of the Philosophy of Sport and Physical Education 21, Nr. 2 (1999): 1–9. http://dx.doi.org/10.9772/jpspe1979.21.2_1.
Der volle Inhalt der QuelleRosenthal, Sarah. „Postmodern Dance: A Feminist Lineage“. American Book Review 40, Nr. 4 (2019): 4–5. http://dx.doi.org/10.1353/abr.2019.0049.
Der volle Inhalt der QuelleBanes, Sally, und Noël Carroll. „Cunningham, Balanchine, and Postmodern Dance“. Dance Chronicle 29, Nr. 1 (Juli 2006): 49–68. http://dx.doi.org/10.1080/01472520500538057.
Der volle Inhalt der QuelleVolbea, Beatrice. „Contemporary Dance Between Modern and Postmodern“. Theatrical Colloquia 8, Nr. 1 (01.05.2018): 307–15. http://dx.doi.org/10.2478/tco-2018-0011.
Der volle Inhalt der QuelleCallens, Johan. „The Double Recursiveness of Postmodern Dance“. PAJ: A Journal of Performance and Art 30, Nr. 3 (September 2008): 70–80. http://dx.doi.org/10.1162/pajj.2008.30.3.70.
Der volle Inhalt der QuelleDissertationen zum Thema "Danse postmoderne"
Oprea, Denisa-Adriana. „Une poétique du personnage dans cinq romans québécois contemporains au féminin (1980-2000) : métaféminisme et postmoderne“. Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25096/25096.pdf.
Der volle Inhalt der QuelleForster, Lou. „Page à la main. ː : Lucinda Childs et les pratiques de danse lettrée“. Electronic Thesis or Diss., Paris, EHESS, 2024. http://www.theses.fr/2024EHES0015.
Der volle Inhalt der QuelleLucinda Childs is a major figure in twentieth-century dance. In the early 1960s, she was one of the founding members of the Judson Dance Theater, a group of dancers, choreographers, artists and composers in New York City who reinvigorated dance forms and practices. With the establishment of her company in 1973, she emerged as one of the leading figures of American minimal dance and postmodern dance, while collaborating from the 1980s onward with major ballet companies in Europe and the United States. Whether with her own company, with repertory dance companies, or at Judson, literacy plays a crucial role in the conceiving, embodying, and performing of her dances. Through an anthropological investigation within dance studios, Lou Forster demonstrates that the technical gesture of dancing, page in hand, is constructed at the intersection of two parallel histories. In the 1950s, John Cage and Merce Cunningham devised a range of reading and writing practices in order to oppose, divert and reconfigure academic methods in which literacy serves as a foundation to establish disciplinary divisions and hierarchies. This neo-avant-garde approach played a crucial role at Judson. Among the members of this group, Childs was one of the choreographers who paid the most attention to these literacy practices, as they tied in with a lesser-known aspect of her dance training. From 1955 to 1962, she studied modern dance within the extensive network of the German diaspora in New York. Specifically, she attended the school run by the choreographer Hanya Holm (1893-1992), where an Americanised form of dance of expression (Ausdruckstanz) was taught. There Childs discovered Kinetography Laban or Labanotation, the system of analysing and writing movement developed by the Austro-Hungarian choreographer Rudolf Laban (1879-1958), in which dancers rehearse with page in hand. Fifteen years later she turned toward this literacy event, unusual for the dance world, to work with her company. Art history and dance history dissociated these two aspects of choreographic modernity when, from 1933, part of the dance of expression became involved with the Nazi regime. In the United States, the myth of the originality of American Modern dance began to take shape, further emphasized during the Cold War. Childs' unique position in this connected history meant that graphic practices became a matrix for postmodernism. Since 1973, she embraced all canonical techniques of Western dance, moving over the years from dance of expression to pedestrian activities, to Neoclassical and then to the Baroque. Positioning herself as an appropriationist, she developed a historical and critical perspective on these borrowed techniques. In her pieces, she seeks to bring together practices, genres and histories of dance that have been separated and disjointed, crafting a genuine poetics of relation
Fleischle-Braun, Claudia. „Der Moderne Tanz : Geschichte und Vermittlungskonzepte /“. Butzbach-Griedel : Afra, 2001. http://catalogue.bnf.fr/ark:/12148/cb389105358.
Der volle Inhalt der QuelleMbanda, Bakolosso Davy Gildas. „Ecriture et barbarie postmoderne. Lecture poétique de la disgrâce dans « Disgrace » et « Waiting for the Barbarians » de J.M. Coetzee, « Les Ecailles du ciel » et « L’Aîné des orphelins » de Tierno Monénembo et « L’Aube » et « Le cas Sonderberg » d’Elie Wiesel“. Thesis, Paris Est, 2014. http://www.theses.fr/2014PEST0033.
Der volle Inhalt der QuelleThis thesis deals with the unability of literary ambition to faithfully transcribe absolute barbarism. Using the poetics of disgrace, it questions the relationship between writing and extreme experience on the one hand, and brings out the narrative strategies governing the stories attempting a novelization of experiences judged unspeakable on the other. It is then a reflection on the very status of contemporary literature.The poetic analysis leads us to affirm in a first part that tales of catastrophe are built on a dilemma: the unspeakable; based on the powerlessness of rational language to name it and the necessity, despite it all, to transcend the frontiers of the “impossible to say”. And it is the reversal of the writing of disgrace into the disgrace of writing as an aesthetical means which allows this transcendence. The second part allows us to see the recurrence of some invariants presenting themselves as pertinent elements of writing. This engenders a literature of the void, of uncertainty. It is then the notion of the subject’s fragmentation which truly places our works either in western postmodern literature or in African postcolonial literature
Stanich, Veronica Dittman. „Poetics and Perception: Making Sense of Postmodern Dance“. The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1402089308.
Der volle Inhalt der QuelleMathews, Rachel A. „Postmodern Theory and the Choreography of Michael Clark“. Thesis, University of Surrey, 1992. https://eprints.qut.edu.au/74785/6/Postmodern%20Theory%20and%20the%20Choreography%20of%20Michael%20Clark_Mathews_1992.pdf.
Der volle Inhalt der QuelleGriffiths, Carolyn Margaret. „Tracing image and bodily displacement in modern and postmodern dance“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2000. https://ro.ecu.edu.au/theses/1362.
Der volle Inhalt der QuelleMonten, Joshua Lee. „"Something old, something new, something borrowed...": eclecticism in postmodern dance“. The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407405704.
Der volle Inhalt der QuelleDerzi, Carla de Abreu Machado. „L'incroyance en l'Autre dans le monde postmoderne“. Paris 8, 2009. http://octaviana.fr/document/143286099#?c=0&m=0&s=0&cv=0.
Der volle Inhalt der QuelleIn thesis, disbelief in the Other in the post modern world establishes a comparison between belief in the Other in the modern age and disbelief in our age, the postmodern world. This path has been built based on philosophical premises that lead us to ascertain, from the psychoanalytical view, the fainting of the paternal figure in the postmodern age. In this sense, we reach psychoanalysis domination, making evident the need to give fundaments to disbelief either from the structure point of view or from the standpoint of its effects on today’s clinic. The effects of disbelief in the Other are so illustrated born of depression, of the out of focus delight, of anguish and other clinical manifestations, with no disregard for the psychic structures. It becomes then necessary to think of new strategies to operate in face of the disbelief in the Other since it is said that in the analysis process belief is fundamental
Serrus, Charlotte. „Glissades : instabilité, indistinction et postures humoristiques à l'ère dite postmoderne“. Aix-Marseille 1, 2010. http://www.theses.fr/2010AIX10073.
Der volle Inhalt der QuelleBücher zum Thema "Danse postmoderne"
Midol, Nancy. La démiurgie dans les sports et la danse: Consciences traditionnelle, moderne et postmoderne. Paris: L'Harmattan, 1995.
Den vollen Inhalt der Quelle findenIlkjær, Marianne Olsson. Postmodernismen i dansk arkitektur: International baggrund, dansk debat og praksis. [København: Byggeriets studiearkiv, 1987.
Den vollen Inhalt der Quelle findenFlemming, Skude, und Petersen Erik Werner, Hrsg. Den Danske debat om postmodernisme. Kbh. [i.e. Copenhagen]: Byggeriets studiearkiv, BSA, 1985.
Den vollen Inhalt der Quelle findenLouis, Murray. Murray Louis on dance. Chicago, IL: A Cappella Books, 1992.
Den vollen Inhalt der Quelle findenPortzamparc, Christian de. De la danse: Ecole du ballet de l'Opéra de Paris à Nanterre. Paris: Editions du Demi-Cercle, 1990.
Den vollen Inhalt der Quelle findenTampini, Marina. Cuerpo e ideas en danza: Una mirada sobre el Contact improvisation. Buenos Aires: IUNA, Instituto Universitario Nacional de Arte, 2012.
Den vollen Inhalt der Quelle findenLouis, Murray. Murray Louis ondance. Chicago, IL: A Cappella Books, 1992.
Den vollen Inhalt der Quelle findenSilva, Eliana Rodrigues. Dança e pós-modernidade. Salvador: EDUFBA, 2004.
Den vollen Inhalt der Quelle findenKlein, Susan Blakeley. Ankoku Butō: The premodern and postmodern influences on the dance of Utter Darkness. Ithaca, N.Y: East Asia Program, Cornell University, 1988.
Den vollen Inhalt der Quelle findenAlison, Lee. Realism and power: Postmodern British fiction. London: Routledge, 1990.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Danse postmoderne"
Novaković, Jelena. „Les références mythologiques dans le postmodernisme“. In Les Migrations postmodernes: Le Canada = Postmodern Migrations: Canada, 131–41. Beograd: Univerzitet u Beogradu, Filološki fakultet, Srpska asocijacija za kanadske studije, 2021. http://dx.doi.org/10.18485/asec_sacs.2021.9.ch8.
Der volle Inhalt der QuelleAndrei, Carmen. „Voix (non)fictionnelles dans l’ancrage de l’Histoire“. In Les Migrations postmodernes: Le Canada = Postmodern Migrations: Canada, 239–52. Beograd: Univerzitet u Beogradu, Filološki fakultet, Srpska asocijacija za kanadske studije, 2021. http://dx.doi.org/10.18485/asec_sacs.2021.9.ch17.
Der volle Inhalt der QuellePopović, Diana. „La langue et la quête d’identité dans La Québécoite de Régine Robin“. In Les Migrations postmodernes: Le Canada = Postmodern Migrations: Canada, 291–300. Beograd: Univerzitet u Beogradu, Filološki fakultet, Srpska asocijacija za kanadske studije, 2021. http://dx.doi.org/10.18485/asec_sacs.2021.9.ch21.
Der volle Inhalt der QuellePrada, Georgeta Elena. „Les métamorphoses de l’enfant en exil dans Visage retrouvé de Mouawad Wajdi“. In Les Migrations postmodernes: Le Canada = Postmodern Migrations: Canada, 205–16. Beograd: Univerzitet u Beogradu, Filološki fakultet, Srpska asocijacija za kanadske studije, 2021. http://dx.doi.org/10.18485/asec_sacs.2021.9.ch14.
Der volle Inhalt der QuelleVoldřichová Beránková, Eva. „L’Amérique de deux Éric: Diverses approches du postmoderne dans les œuvres plamondoniennes et dupontiennes“. In Les Migrations postmodernes: Le Canada = Postmodern Migrations: Canada, 143–50. Beograd: Univerzitet u Beogradu, Filološki fakultet, Srpska asocijacija za kanadske studije, 2021. http://dx.doi.org/10.18485/asec_sacs.2021.9.ch9.
Der volle Inhalt der QuelleBanes, Sally. „2.4 Postmodern Dance“. In Comparative History of Literatures in European Languages, 151. Amsterdam: John Benjamins Publishing Company, 1997. http://dx.doi.org/10.1075/chlel.xi.15ban.
Der volle Inhalt der QuelleBonolas, Philippe P. „Portée et sens de la recréation mémorielle dans l’œuvre de Françoise Enguehard L’Île-aux-Chiens“. In Les Migrations postmodernes: Le Canada = Postmodern Migrations: Canada, 229–38. Beograd: Univerzitet u Beogradu, Filološki fakultet, Srpska asocijacija za kanadske studije, 2021. http://dx.doi.org/10.18485/asec_sacs.2021.9.ch16.
Der volle Inhalt der QuelleMattingly, Kate. „Modern and Postmodern Dance“. In Milestones in Dance History, 108–33. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003185918-5.
Der volle Inhalt der QuelleAdair, Christy. „We say no — postmodern dance“. In Women And Dance, 139–59. London: Macmillan Education UK, 1992. http://dx.doi.org/10.1007/978-1-349-22374-9_8.
Der volle Inhalt der QuelleDodds, Sherril. „Postmodern Dance Strategies on Television“. In Dance on Screen, 95–125. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230509580_4.
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