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Books on the topic 'Crooks, Daniel'

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

The sorcerer of kings: The case of Daniel Dunglas Home and William Crookes. Buffalo, N.Y: Prometheus Books, 1993.

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2

1961-, Galliano Daniele, ed. Daniele Galliano: Paintings, 1993-2014. Milano, Italy: Skira, 2014.

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3

Long, Ethan. The Croaky Pokey! New York: Holiday House, 2011.

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4

Mishler, Craig. The crooked stovepipe: Athapaskan fiddle music and square dancing in Northeast Alaska and Northwest Canada. Urbana: University of Illinois Press, 1993.

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5

Åkesson, Birgit. Att ge spår i luften: Föreläsningar, samtal, möten. Lund: Propexus, 1998.

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6

Stephanie, Jordan, and Grau Andrée, eds. Europe dancing: Perspectives on theatre dance and cultural identity. London: Routledge, 2000.

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7

Indigenous dance and dancing Indian: Contested representation in the global era. Boulder, Colo: University of Press of Colorado, 2012.

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8

Lipp, Nele, Krassimira Kruschkova, and Sabine Kaross. Tanz anderswo: Intra- und interkulturell. Münster: Lit, 2004.

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9

Lumpur, Malaysia) Asia Pacific International Dance Conference (2nd 2011 :. Kuala. Dancing mosaic: Issues on dance hybridity. Kuala Lumpur, Malaysia: Cultural Centre, University of Malaya & National Department for Culture and Arts, Ministry of Information, Communication and Culture, Malaysia, 2012.

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10

Janet, Lansdale, ed. Decentring dancing texts: The challenge of interpreting dances. New York: Palgrave Macmillan, 2008.

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11

Townes, Alta Lu. Dancing across cultures: The American Dance Festival : a decade plus of international development in modern dance, 1982-1994. Durham, NC: The Festival, 1994.

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12

Salsa and its transnational moves. Lanham, MD: Lexington Books, 2006.

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13

Stemple, Heidi E. Y. Tales from the world of dance. Cambridge, MA: Barefoot Books, 2009.

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14

Stemple, Heidi E. Y. Dance the world! Cambridge, MA: Barefoot Books, 2009.

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15

Partsch-Bergsohn, Isa. Modern dance in Germany and the United States: Cross currents and influences. Chur: Harwood Academic Publishers, 1994.

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16

Grau, Andrée. Dance. London: DK, 2005.

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17

Grau, Andrée. Dance. New York: Knopf, 1998.

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18

Modern dance in Germany and the United States: Crosscurrents and influences. Chur: Harwood Academic Publishers, 1994.

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19

Society of Dance History Scholars (U.S.). Conference. Border crossings: Dance and boundaries in society, politics, gender, education, and technology : proceedings [of the] Society of Dance History Scholars. [Riverside, Calif.]: University of California, Riverside, 1995.

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20

Asia, Pacific International Dance Conference (2005 Kuala Lumpur Malaysia). Global and local dance in performance. Kuala Lumpur, Malaysia: Cultural Centre, University of Malaya & Ministry of Culture, Arts and Heritage Malaysia, 2005.

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21

Dance. London: Dorling Kindersley, 2000.

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22

Grau, Andrée. Dance. London: Dorling Kindersley, 1998.

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23

Grau, Andrée. Dance. London: DK, 2005.

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24

Grau, Andree. Europe Dancing. London: Taylor & Francis Inc, 2004.

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25

Grau, Andree. Europe Dancing. London: Taylor & Francis Group Plc, 2004.

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26

World dances. Vero Beach, Fla: Rourke Press, 1997.

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27

Tythacott, Louise. Dance. New York: Thomson Learning, 1995.

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28

Gonzalez, Anita. Jarocho's soul: Cultural identity and Afro-Mexican dance. Lanham, Md: University Press of America, 2004.

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29

Nahachewsky, Andriy. Ukrainian dance: A cross-cultural approach. Jefferson, N.C: McFarland & Co., 2011.

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30

Hanna, Judith Lynne. Dance, sex and gender: Signs of identity, dominance, defiance, and desire. Chicago: University of Chicago Press, 1988.

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31

Zago, Manrique, Alberto Mario Perrone, Eduardo Guibourg, Luis Vázquez, and Miguel Angel Gutiérrez. Paris tango. Buenos Aires: Manrique Zago Ediciones, 1998.

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32

Study of Dance Conference (3rd 1984 University of Surrey). Dance, a multicultural perspective: Report of the Third Study of Dance Conference, University of Surrey, 5-9 April 1984. 2nd ed. Guildford, Surrey, England: Published for the Dance Research Unit by the National Resource Centre for Dance, University of Surrey, 1986.

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33

Study of Dance Conference (3rd 1984 University of Surrey). Dance- a multicultural perspective: Report of the third study of dance conference, University of Surrey, 5-9 April 1984. 2nd ed. Guildford: Published for the Dance Research Unit by the National Resource Centre for Dance, 1986.

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34

Brandes, Peter. Nedtagelsen, Pietas, Ribe. Ribe]: Taarnborg, 2011.

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35

PINIEC, Stéphane LE. Daniel CROHMS - Mission Adaptators. Independently Published, 2018.

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36

PINIEC, Stéphane LE. Daniel CROHMS - les Mondes Impossibles. Independently Published, 2018.

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37

PINIEC, Stéphane LE. Daniel CROHMS - les Mondes Secrets. Independently Published, 2018.

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38

PINIEC, Stéphane LE. Daniel CROHMS - les Mondes Interdits. Independently Published, 2018.

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39

PINIEC, Stéphane LE. Daniel CROHMS - les Mondes Mystérieux. Independently Published, 2018.

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40

Piniec, Stephane Le. Daniel Crohms - les Mondes Ignorés. Independently Published, 2018.

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41

PINIEC, Stéphane LE. Daniel CROHMS - les Mondes Imaginaires. Independently Published, 2018.

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42

PINIEC, Stéphane LE. Daniel CROHMS - les Mondes Disparus. Independently Published, 2018.

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43

PINIEC, Stéphane LE. Daniel CROHMS - les Mondes à Venir. Independently Published, 2018.

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44

PINIEC, Stéphane LE. Daniel CROHMS - le Vortex de L'horreur. Independently Published, 2018.

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45

PINIEC, Stéphane LE. Daniel CROHMS - le Monde des Mutants. Independently Published, 2018.

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46

Portier-Young, Anathea E. Daniel and Apocalyptic Imagination. Edited by Carolyn J. Sharp. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199859559.013.13.

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The book of Daniel forms a bridge between Israel’s classical prophetic literature and the genre apocalypse. Daniel has often been classified among the prophets, but also stands apart. An examination of revealed knowledge and textual authority in Daniel clarifies the relationship among Daniel, earlier prophets, and Mesopotamian divinatory wisdom. Daniel’s apocalyptic imagination combines prophetic language and imagery with new visionary experience, offering readers powerful new language, symbols, and models for embodied practice. Cross-disciplinary studies of imagination suggest ways that Daniel’s prophetic and apocalyptic imagination allowed ancient readers to interact with the legacies of the Mesopotamian and Hellenistic empires while simultaneously rejecting their totalizing narratives. The book ignites a fuse in readers’ imaginations, inviting and empowering audiences to break out of the prison of imperial imaginaries and to imagine in their place an alternative structure of governance, a path to religious and national freedom, and heavenly existence beyond death.

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47

Stein, Gordon. The Sorcerer of Kings: The Case of Daniel Dunglas Home and William Crookes. Prometheus Books, 1994.

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48

Nahachewsky, Andriy. A Folklorist’s View of “Folk” and “Ethnic” Dance. Edited by Anthony Shay and Barbara Sellers-Young. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199754281.013.018.

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For many people, “folk dance” and “ethnic dance” are roughly synonymous, used vaguely to identify colorful but marginal dance traditions. Old stereotypes and biases persist, hindering our understanding of these important spheres of dance activity. This chapter explores this conceptual terrain and proposes definitions that differentiate between the two terms and can be cross-culturally useful. The chapter reviews a number of traditions for conceptualizing “folk dance” and argues that it is sometimes desirable to associate the term specifically with dances of the peasantry (people in rural agricultural societies around the world), as well as those inspired by peasant dancing. It proposes that “ethnic dance” be used to denote any dance in which cultural boundaries are actively engaged. Three Ukrainian dance examples—hutsulka, Hopak, and The Match—illustrate the implications of these suggestions.

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49

Education and society in plurilingual contexts / edited by Daniel W.C. So, Gary M. Jones. Brussel: VUB University Press, 2002.

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50

Ruprecht, Lucia. Gestural Imaginaries. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190659370.001.0001.

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Gestural Imaginaries: Dance and Cultural Theory in the Early Twentieth Century offers a new interpretation of European modernist dance by addressing it as guiding medium in a vibrant field of gestural culture that ranges across art and philosophy. Taking further Cornelius Castoriadis’s concept of the social imaginary, it explores this imaginary’s embodied forms. Close readings of dances, photographs, and literary texts are juxtaposed with discussions of gestural theory by thinkers including Walter Benjamin, Sigmund Freud, and Aby Warburg. Choreographic gesture is defined as a force of intermittency that creates a new theoretical status of dance. The book shows how this also bears on contemporary theory. It shifts emphasis from Giorgio Agamben’s preoccupation with gestural mediality to Jacques Rancière’s multiplicity of proliferating, singular gestures, arguing for their ethical and political relevance. Mobilizing dance history and movement analysis, it highlights the critical impact of works by choreographers such as Vaslav Nijinsky, Jo Mihaly, and Alexander and Clotilde Sakharoff. It also offers choreographic readings of Franz Kafka and Alfred Döblin. Gestural Imaginaries proposes that modernist dance conducts a gestural revolution that enacts but also exceeds the insights of past and present cultural theory. It makes a case for archive-based, cross-medial, and critically informed dance studies, transnational German studies, and the theoretical potential of performance itself.

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