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Relevant bibliographies by topics / Modern dance – Germany – History

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Academic literature on the topic 'Modern dance – Germany – History'

Author: Grafiati

Published: 10 March 2023

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Journal articles on the topic "Modern dance – Germany – History"

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Franko, Mark. "French Interwar Dance Theory." Dance Research Journal 48, no. 2 (August 2016): 104–10. http://dx.doi.org/10.1017/s0149767716000188.

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Interwar French dance and the critical discourses responding to it have until recently been an underdeveloped research area in Anglo-American dance studies. Despite common patterns during the first half of the twentieth century that may be observed between the dance capitals of Berlin, Paris, and New York, some noteworthy differences set the French dance world apart from that of Germany or North America. Whereas in Germany and the United States modern dance asserted itself incontrovertibly in the persons of two key figures—Mary Wigman and Martha Graham, respectively—no such iconic nativist modernist dancer or choreographer emerged in France. Ilyana Karthas's When Ballet Became French indicates the predominance of ballet in France, and this would seem an inevitable consequence of the failure of modern dance to take hold there through at least one dominant figure. Franz-Anton Cramer's In aller Freiheit adopts a more multidimensional view of interwar French dance culture by examining discourse that moves outside the confines of ballet. A variety of dance forms were encouraged in the milieu of the Archives Internationales de la Danse—an archive, publishing venture, and presenting organization—that Rolf de Maré founded in Paris in 1931. This far-reaching and open-minded initiative was unfortunately cut short by the German occupation (1940–1944). As Cramer points out: “The history of modern dance in Europe is imprinted with the caesura of totalitarianism” (13). Although we are somewhat familiar with the story of modern dance in Germany, we know very little about it in France.

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PIPOYAN, RIMA. "FRANÇOIS DELSARTE’S DOCTRINE AS THE BASIS FOR THE CREATION OF MODERN DANCE." Scientific bulletin 1, no. 43 (August 24, 2022): 192–206. http://dx.doi.org/10.24234/scientific.v1i43.15.

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The article discusses the study of the teachings of François Delsarte, in which an attempt is made to understand the stages of the origin and development of modern dance in different countries. This teaching spread to two countries: the USA, Germany, then it penetrated into Russia and became the basis for the creation of rhythmic and plastic dance studies. All the ideas embodied in the study of the François Delsarte system served as a good basis for the development of a new dance direction at the end of the 19th century. Today, this new dance direction is known to all of us as modern dance. Each country, having its own customs, worldviews and history, interpreted it in different ways: in the USA it was called modern dance, in Germany - expressive dance, and in Russia - rhythmoplastic dance. These phrases had different purposes: several generations of modern dancers in the USA used their ideas and developed the terminology of modern dance in English. Germany had its own interpretation, but since it was not a widely used international language, the terms did not come into use. Today, in Germany and elsewhere in Europe, these terms are also used in English.

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Franko, Mark. "Dance and the Political: States of Exception." Dance Research Journal 38, no. 1-2 (2006): 3–18. http://dx.doi.org/10.1017/s0149767700007300.

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My first idea was to compareAusdruckstanzliterature to work in other fields on the theorization of fascist aesthetics. This would establish a critical framework for the vexed question of the fascistization of German modern dance. As the research of Susan Manning, Marion Kant, and Laure Guilbert has made patently evident,Ausdruckstanzbegs the question of dance and politics because of the easy and massive accommodation of German modern dance to the cultural policies of the Third Reich. The history ofAusdruckstanzhas long been veiled, but the original research of these scholars persuades us to reconsider dance modernism from the political perspective. An early twentieth-century avant-garde art movement and an authoritarian state apparatus encounter each other at a moment crucial in the development of each; something new is being created, both artistically and politically, that reveals contradictory forces and tendencies at work. Only when these dance scholars lifted the veil and rewrote history could we begin to perceive dance in the full light of the political. They have inaugurated an area of inquiry that requires further work. But any serious critical development of dance study methodology must also be tested against their re-evaluationAusdruckstanz.

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Kant, Marion. "The Moving Body and the Will to Culture." European Review 19, no. 4 (August 30, 2011): 579–94. http://dx.doi.org/10.1017/s1062798711000202.

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From the Renaissance, dance and sport formed the basis of ‘polite’ and ethical behaviour. Both offered a frame within which social norms could be taught and enacted. Scholarship has often concentrated either on the history and aesthetics of dance or on those of gymnastics but neglected the proximity of both forms to each other. This paper focuses on one particular narrative: the intertwining of dance and gymnastics as utopian projects in the arousal of nationalism and creation of a new ‘German’ body. From Friedrich Ludwig Jahn, who sketched the first national and patriotic movement system in Die deutsche Turnkunst 1816, to dance master Franz Anton Roller, gymnastics teacher Adolf Spiess, and dance gurus Rudolf von Laban and Mary Wigman, it will demonstrate how the distinction between dance and gymnastics was constantly re-negotiated; and it argues that twentieth-century Modern Dance developed out of nineteenth-century Turnen and gymnastics. Dance intended to revolutionise German society physically and aesthetically and incorporated spatial concepts and movement sequences that gymnastics systems had already explored. Through their conceptions of motion in time and space, dance and gymnastics created a modern and revolutionary physical practice for the German nation.

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Mews, Constant J. "Liturgists and Dance in the Twelfth Century: The Witness of John Beleth and Sicard of Cremona." Church History 78, no. 3 (August 21, 2009): 512–48. http://dx.doi.org/10.1017/s0009640709990412.

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Dancing is not often associated with Christian liturgy, at least in modern experience. Yet according to theMitralis de Officioof Sicard, bishop of Cremona (1185–1215), composed about 1200, the circular dance (chorea) provides a key metaphor for understanding the liturgy of Easter. Sicard here draws together two earlier discussions of the subject, both from the twelfth century and of enormously wide influence, manifesting a more positive attitude toward dance than found in many early medieval commentators on the liturgy: theGemma animae(Jewel of the soul) of Honorius Augustodunensis, composed for a monastic audience in the early twelfth century, probably in Germany, and theDe ecclesiasticis officiisof John Beleth, a secular cleric writing probably in Pariscirca1150–1160. While many scholars have observed the renewal of interest in the pagan authors within a literary context in the twelfth century, the witness of liturgical commentaries from the period has been little noticed. Sicard implies that the festivities of the pagan Saturnalia and its associated freedom of expression (the so-called “December freedom”) can legitimately be used to explain the festivities that take place at Easter:All Christians ought to come together freely at the above mentioned daily offices to celebrate the glory of the resurrection, which will be revealed in us. This solemnity is therefore the jubilee of Christians, when quarrels are settled, offenses forgiven. Let those who had sinned be reconciled, let debts be canceled. Let work places not be opened, merchandise not displayed for sale except for those things without which a meal cannot take place. Let prisoners be freed, shepherds and servants not forced to service so that they are able to enjoy freedom and to delight in the festivity of future joy. Thus it is that in the cloisters of certain churches even bishops enjoy the December freedom with their clerics, even to descending to the game of the circular dance or ball (ludum choreae vel pilae)—although it seems more praiseworthy not to play; this “December freedom” is so called in that in the month of December, shepherds, servants, and maidservants were governed among the gentiles with a kind of freedom by their masters, so that they could celebrate with them after the harvest was collected. And note that the gentiles established circular dances to honor idols, so that they might praise their gods by voice and serve them with their whole body, wanting to foreshadow in them in their own way something of the mystery. For through the circling, they understood the revolution of the firmament; through the joining of hands, the interconnection of the elements, through the gestures of bodies, the motions of the signs or planets; through the melodies of singers, the harmonies of the planets; through the clapping of hands and the stamping of feet, the sounding of thunder; but what those people showed to their idols, the worshipers of the one God converted to his praise. For the people who crossed from the Red Sea are said to have led a circular dance, Mary is reported to have sung with the tambourine; and David danced before the ark with all his strength and composed psalms with his harp, and Solomon placed singers around the altar, who are said to have created sound with voice, trumpet, cymbals, organs, and other musical instruments.

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Jolles, André, and Peter J. Schwartz. "Legend: From Einfache Formen (“Simple Forms”)." PMLA/Publications of the Modern Language Association of America 128, no. 3 (May 2013): 728–43. http://dx.doi.org/10.1632/pmla.2013.128.3.728.

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Who was andré Jolles? born in den helder in 1874; raised in amsterdam; in his youth a significant player in the literary Movement of the Nineties (Beweging van Negentig), whose organ was the Dutch cultural weekly De Kroniek; a close friend of Aby M. Warburg's and Johan Huizinga's—Jolles studied art history at Freiburg beginning in 1902 and then taught art history in Berlin, archaeology and cultural history in occupied Ghent during World War I, and Netherlandic and comparative literature at Leipzig from 1919 until shortly before his death, in 1946. A man of extraordinary intellectual range—his publications include essays on early Florentine painting, a dissertation on the aesthetics of Vitruvius, a habilitation thesis on Egyptian-Mycenaean ceremonial vessels, literary letters on ancient Greek art, and essays in German and Dutch on folklore, theater, dance, Boccaccio, Dante, Goethe, Zola, Ibsen, Strindberg, and Provençal and Renaissance Italian poetry—he was also an amateur playwright and an outspoken champion of modern trends in dramatic art and stage design. To his friends, he could be something of an intellectual midwife, helping Warburg to formulate what would become a signature notion, the “pathos formula,” and Huizinga to conceive The Waning of the Middle Ages (1919). Jolles's chief work, the one for which he is best known, is Einfache Formen (1930; “Simple Forms”), a collection of lectures he had delivered in German at Leipzig in 1927-28 and revised.

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Tomlinson, Alan, and Christopher Young. "Towards a New History of European Sport." European Review 19, no. 4 (August 30, 2011): 487–507. http://dx.doi.org/10.1017/s1062798711000159.

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The European Commission has invested much symbolic capital in sport's potential contribution to European identity, recently stating ‘that sport has a role in forging identity and bringing people together’. Yet such claims must be strongly qualified. Whilst sport is conspicuously present in Europe as an everyday activity, it is elusively variegated in its social and cultural forms and impacts, and historically informed scholarship points to a more sophisticated approach to the understanding of the subject. At the same time, national histories – conceived largely within national frameworks – hold sway in the field of sports history. There is little truly comparative work and this lack allows the European Commission to put out its statements unchallenged. This article proposes a number of ways in which European sports history might be conceived comparatively. It outlines four different models of European sport (British, German, Soviet, Scandinavian), whilst highlighting the problems inherent in such modelling; argues for greater historical depth (e.g. the importance of Italy in the early modern period); warns against the dangers of presentism (e.g. highlighting the proximity of dance and gymnastics in earlier periods); challenges the hegemony of British sport; and champions the cause of a serious consideration of Eastern Europe.

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Corke-Webster, James. "Roman History." Greece and Rome 65, no. 2 (September 17, 2018): 259–66. http://dx.doi.org/10.1017/s0017383518000207.

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Identity studies live. This latest batch of publications explores what made not just the Romans but the Italians, Christians, and Etruscans who they were. We begin with both age and beauty, the fruits of a special exhibition at the Badischen Landesmuseum Karlsruhe in the first half of 2018 into the most famous of Roman predecessors, the Etruscans. Most of the exhibits on display come from Italian museums, but the interpretative essays that break up the catalogue – which are also richly illustrated – are by both Italian and German scholars. These are split between five overarching sections covering introductory affairs, the ages of the princes and of the city-states, the Etruscans’ relationship with Rome, and modern reception. The first contains essays treating Etruscan origins, history, identity, and settlement area. The second begins with the early Iron Age Villanova site, before turning to early Etruscan aristocratic culture, including banqueting, burials, language, writing, and seafaring. The third and longest section considers the heyday of Etruscan civilization and covers engineering and infrastructure, crafts and production, munitions, women's roles, daily life, dance, sport, funerary culture, wall painting, religious culture, and art. The fourth section treats both the confrontation between Etruscan and Roman culture and the persistence of the former after ‘conquest’ by the latter. The fifth section contains one essay on the modern inheritance of the Etruscan ‘myth’ and one on the history of scholarship on the Etruscans. Three aspects to this volume deserve particular praise. First, it includes not only a huge range of material artefacts but also individual essays on Etruscan production in gold, ceramic, ivory, terracotta, and bronze. Second, there is a recurring interest in the interconnections between the Etruscans and other cultures, not just Romans but Greeks, Iberians, Celts, Carthaginians, and other Italian peoples. Third, it includes the history of the reception of Etruscan culture. Amid the just-shy-of-200 objects included (almost every one with description and high-quality colour image), the reader can find everything from a mid-seventh-century pitcher made from an Egyptian ostrich egg painted with birds, flowers, and dancers (147), through the well-known third- or second-century bcTabula Cortonensis – a lengthy and only partially deciphered Etruscan inscription that documents either a legal transaction or a funerary ceremony (311) – to the 2017 kit of the Etruschi Livorno American Football team (364). Since we have no extant Etruscan literature, a volume such as this is all the more valuable in trying to get a sense of these people and their culture, and the exceptionally high production value provides quality exposure to material otherwise scattered throughout Italy.

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Blankenship, Janelle. "“Film-Symphonie vom Leben und Sterben der Blumen”: Plant Rhythm and Time-Lapse Vision in Das Blumenwunder." rythmer, no. 16 (April 11, 2011): 83–103. http://dx.doi.org/10.7202/1001957ar.

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This essay analyzes the use of time-lapse cinematography in the early 20th century to unlock worlds hitherto “closed to man” (Balázs). I demonstrate how the new “image worlds” of time-lapse influenced biologists such as Jakob von Uexküll and 1920s avant-garde theorists alike. Using the 1926 hybrid German “cultural film” Das Blumenwunder (The Miracle of Flowers) as my primary case study, I examine how the film aims to present the “inner rhythm” of plants as an alternative temporality, which challenges an anthropocentric world view and at the same time dialogues with the ecstatic rhythms of modern dance. I discuss the film’s self-reflexive use of time-lapse technology, its reception history in the context of the avant-garde and new trends in reform pedagogy, and the specific use of Ausdruckstanz choreography to respond to industrial rhythms and to create a new mimetic form of affect.

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Potter, Pamela. "Hitler’s Dancers: German Modern Dance and the Third Reich. By Lilian Karina and Marion Kant. Translated by, Jonathan Steinberg. New York: Berghahn, 2003. Pp. xii+364. $75.00." Journal of Modern History 77, no. 3 (September 2005): 849–51. http://dx.doi.org/10.1086/497778.

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Dissertations / Theses on the topic "Modern dance – Germany – History"

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Lee, Tsung-Hsin. "Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1594914032775976.

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Spalink, Angenette M. "Loie Fuller and Modern Movement." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1277060256.

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Haardt, Oliver F. R. "The federal evolution of Imperial Germany (1871-1918)." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/269288.

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This dissertation examines the evolution of federal government in the German Empire from the unification in 1871 to the collapse of the monarchy in 1918. The story of how the imperial federal state changed over the years has hitherto been hidden from view by disciplinary biases and methodological limitations. While concentrating on how Germany’s peculiar form of government oscillated between a Western-style constitutional monarchy and a semi-absolutist autocracy, historians have failed to make sense of deeper systemic issues. In order to move these to the centre of analysis, the thesis combines different perspectives from history, law, and political theory. This approach exposes an extraordinary development. The 1871 constitution left Germany’s organisational nature largely undefined. The new national state possessed only very few institutions and competences. There was not even a national government. The Reich completely depended on the constituent states. This weakness was no coincidence. Bismarck’s plan was to secure the dominance of the Prussian monarchy by giving the union enough flexibility to develop either into an integrated composite state or a loose cooperative assembly of states. But the decades after unification turned out differently. By seizing control over the Prussian administration, the federal bureaucracy gradually acquired so many competences that by the outbreak of the First World War Germany had changed into a centralised state. Rather than by the collaboration of the monarchical state governments, national decision-making was now shaped by the competition and cooperation of the federal parliament – the Reichstag – and the newly emerged federal government around the Chancellor. This transformation came about, the thesis argues, because both monarchical and democratic actors – above all the Prussian government, the federal bureaucracy, and the national parliament – saw federal structures primarily as an instrument of power to be manipulated for their own purposes, namely for the preservation of princely prerogatives or for the expansion of parliamentary rights. There was little respect for federalism as an organisational principle that was beneficial per se. Rather, most executives, administrators, and parliamentarians understood Germany’s federal organisation – albeit for different reasons – as a necessary evil and a means to an end. This attitude had a lasting impact on German political culture, with federal structures remaining at the mercy of power interests throughout the twentieth century. The dissertation is woven from three different strands. By combining them, it can draw connections that would not come into view if it concentrated on just one of these themes. First, it is a history of German federalism that focuses on the key question of the political history of the Empire: who or what actually governed Germany? As it thus exposes the anatomy of power in the imperial state, it is also a contribution to one of the biggest controversies in modern European history, namely the debate on Germany’s alleged ‘special path’: where did Germany go wrong? Thirdly and lastly, the thesis offers a systemic analysis of federal structures whose observations are relevant for federal orders – such as the European Union – more generally.

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Andrews, Noam. "Irregular Bodies: Polyhedral Geometry and Material Culture in Early Modern Germany." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493270.

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The dissertation explores the centrality of the Platonic Solids, and polyhedral geometry generally, to the artistic and mixed-mathematical cultures of Renaissance Germany. Beginning with Albrecht Dürer’s groundbreaking treatise on geometry, the Underweyung der Messung (1525), the dissertation redefines sites of early modern experimentation to include the graphical spaces in which new geometrical knowledge was practiced, invented, contested, manipulated, discarded, and presented. The research describes the historical contexts and development of the practice of polyhedral geometry over the course of the 16th century, expanding from Dürer to the lesser-known textbooks for practical geometry that his work inspired in Germany, and continuing with epitomes of the polyhedral genre, namely Wenzel Jamnitzer’s Perspectiva corporum regularium (1568) and the drawings of the Augsburg artisan Lorentz Stöer. The dissertation then follows the migration of polyhedra into intarsia and turned-ivory artifacts used for teaching applied geometry to European aristocracy, and concludes by addressing the polyhedral cosmology of the astronomer Johannes Kepler. By tracing the lifespan of polyhedra from their use as perspectival tools and pedagogical devices in Renaissance workshops into courtly Kunstkammern and onto the precious surfaces of domestic objects, the dissertation uncovers the influence that the decorative arts had on the conceptualization of geometrical knowledge and its new engagement with materials and concepts of materiality.
History of Science

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Heelan, Carla Melanie. "Origin and Antitype: Medievalism in Nineteenth-Century Germany, 1806-1914." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493307.

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This dissertation examines how the nineteenth-century engagement with medieval Europe changed modern Germany. Drawing from archival and printed primary material, I reconstruct how the Middle Ages gained new explanatory relevance as the origins of nineteenth-century German institutions and phenomena. I consider the historical interpretation of the medieval world at its broadest, not limited to scholarly debate, but also as it encompassed fiction, art, architecture, music, social science, law, and politics. Each chapter examines a figure drawn from these fields and each also moves chronologically through the century. I begin with the historian and statesman Barthold Niebuhr, who invoked the German Middle Ages as a source of patriotism and as an alternative to the Roman legal tradition. I next discuss the politician and architectural theorist August Reichensperger, who used the perceived regionalism of the medieval past as a means to resist Prussian centralization. My third chapter focuses on the intersection of historical research and fiction in the work of Victor von Scheffel, before I then turn to the role of the Medieval in Richard Wagner’s Ring cycle. The final chapter of my dissertation treats how assumptions about the medieval world affected the frameworks that early sociologists used. I argue that nineteenth-century conceptions and uses of the Middle Ages retained mythical or profoundly transhistorical elements, even as historians and philologists made the period more historically legible. Furthermore, the protagonists of my dissertation read nineteenth-century categories and concerns onto the Middle Ages. Their agendas shaped perceptions of the past, and, more importantly, influenced the structures and norms of the nineteenth century. These five figures fundamentally believed, however, that their distortions accurately depicted the historical record. I attend to this belief, that their portrayals of the past were true, rather than purely opportunistic bids to shape the present. I conclude by exploring how only in the mid twentieth century did medieval historians – specifically, Ernst Kantorowicz – begin to examine the influence of nineteenth-century vocabularies and frameworks on the formation of their field.
History

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Lyon, Nicole M. "Wreaths of Time: Perceiving the Year in Early Modern Germany (1475-1650)." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1447158213.

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Gow, Andrew Colin. "The Red Jews: Apocalypticism and antisemitism in medieval and early modern Germany." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186270.

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The Red Jews are a legendary people; this is their history. From the late thirteenth to the late sixteenth century, vernacular German texts depicted the Red Jews, a conflation of the Biblical ten lost tribes of Israel and Gog and Magog, as a savage and unnaturally foul nation, who are enclosed in the 'Caspian Mountains', where they had been walled up by Alexander the Great. At the end of time, they will break out and serve the Antichrist, causing great destruction and suffering in the world. The hostile identification (c. 1165) of Jews with the apocalyptic destroyers of Ezekiel 38-39 and Revelation 20 expresses a new and virulent antisemitism that was integrated into the powerful apocalyptic traditions of Christianity. None of the few scholars who have noticed the Red Jews in medieval and early modern vernacular texts has sought out, collected and examined the complete body of medieval and early-modern sources that feature the Red Jews. This study provides a long-term analysis of the intimate connections between antisemitism and apocalypticism via a forgotten and submerged piece of German 'medievalia', the Red Jews. The legend gradually dissipated. Until the beginning of the seventeenth century it was a medieval lens through which Germans saw events relating to the Turkish threat in the East; after that time, the Red Jews disappeared from European texts.

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Hooper, Colleen. "Public Movement: Dancers and the Comprehensive Employment Training Act (CETA) 1974-1982." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/372703.

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Dance
Ph.D.
For eight years, dancers in the United States performed and taught as employees of the federal government. They were eligible for the Comprehensive Employment and Training Act (CETA), a Department of Labor program that assisted the unemployed during the recession of the late 1970s. Dance primarily occurred in artistic or leisure contexts, and employing dancers as federal government workers shifted dance to a labor context. CETA dancers performed “public service” in senior centers, hospitals, prisons, public parks, and community centers. Through a combination of archival research, qualitative interviews, and philosophical framing, I address how CETA disrupted public spaces and forced dancers and audiences to reconsider how representation functions in performance. I argue that CETA supported dance as public service while local programs had latitude regarding how they defined dance as public service. Part 1 is entitled Intersections: Dance, Labor, and Public Art and it provides the historical and political context necessary to understand how CETA arts programs came to fruition in the 1970s. It details how CETA arts programs relate to the history of U.S. federal arts funding and labor programs. I highlight how John Kreidler initiated the first CETA arts program in San Francisco, California, and detail the national scope of arts programming. In Part 2 of this dissertation, CETA in the Field: Dancers and Administrators, I focus on case studies from the Philadelphia, Pennsylvania and New York, New York CETA arts programs to illustrate the range of how dance was conceived and performed as public service. CETA dancers were called upon to produce “public dance” which entailed federal funding, free performances in public spaces, and imagining a public that would comprise their audiences. By acknowledging artists and performers as workers who could perform public service, CETA was instrumental in shifting artists’ identities from rebellious outsiders to service economy laborers who wanted to be part of society. CETA arts programs reenacted Works Progress Administration (WPA) arts programs from the 1930s and adapted these ideas of artists as public servants into the Post-Fordist, service economy of the 1970s United States. CETA dancers became bureaucrats responsible for negotiating their work environments and this entailed a number of administrative duties. While this made it challenging for dancers to manage their basic schedules and material needs, it also allowed for a degree of flexibility, schedule gaps, and opportunities to create new performance and teaching situations. By funding dance as public service, CETA arts programs staged a macroeconomic intervention into the dance field that redefined dance as public service.
Temple University--Theses

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Schreiber-Kounine, Laura. "The gendering of witchcraft in early modern Württemberg." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648516.

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Petersen, Cari. ""Be active before you become radioactive" the threat of nuclear war and peace politics in East Germany, 1945--1962 /." [Bloomington, Ind.] : Indiana University, 2004. http://wwwlib.umi.com/dissertations/fullcit/3162257.

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Thesis (Ph.D.)--Indiana University, 2004.
Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0297. Supervisor: James Diehl. Title from dissertation home page (viewed Oct. 12, 2006).

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Books on the topic "Modern dance – Germany – History"

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

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

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Monthland, Preston-Dunlop Valerie, and Lahusen Susanne, eds. Schrifttanz: A view of German dance in the Weimar Republic. London: Dance Books, 1990.

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Hitler's dancers: German modern dance and the Third Reich. New York: Berghahn Books, 2003.

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Karina, Lilian. Hitler's dancers: German modern dance and the Third Reich. New York, NY: Berghahn Books, 2002.

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The Pina Bausch sourcebook: The making of Tanztheater. New York: Routledge, 2012.

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Individuality and expression: The aesthetics of the new German dance, 1908-1936. New York: P. Lang, 1996.

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Performing femininity: Dance and literature in German modernism. Oxford: P. Lang, 2008.

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Solar dance: Genius, forgery, and the crisis of truth in the modern age. Toronto: Knopf Canada, 2012.

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Solar dance: Van Gogh, forgery, and the eclipse of certainty. Cambridge, Massachusetts: Harvard University Press, 2012.

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Book chapters on the topic "Modern dance – Germany – History"

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Mattingly, Kate. "Modern and Postmodern Dance." In Milestones in Dance History, 108–33. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003185918-5.

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Miller, Stuart. "Germany 1801–48." In Mastering Modern European History, 84–95. London: Macmillan Education UK, 1997. http://dx.doi.org/10.1007/978-1-349-13789-3_7.

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Miller, Stuart T. "Germany 1801–48." In Mastering Modern European History, 95–110. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19580-0_7.

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Orlow, Dietrich. "Wilhelminian Germany." In A History of Modern Germany, 41–77. Eighth edition. | Abingdon, Oxon ; New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351017992-2.

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Miller, Stuart. "Imperial Germany 1871–1914." In Mastering Modern European History, 219–33. London: Macmillan Education UK, 1997. http://dx.doi.org/10.1007/978-1-349-13789-3_18.

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Traynor, John. "Wilhelmine Germany, 1890–1914." In Mastering Modern German History, 62–77. London: Macmillan Education UK, 2008. http://dx.doi.org/10.1007/978-1-137-07221-4_4.

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Miller, Stuart T. "Imperial Germany 1871–1914." In Mastering Modern European History, 265–79. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19580-0_18.

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Nichol, Jon, and Sean Lang. "Germany, 1919–45." In Work Out Modern World History GCSE, 170–83. London: Macmillan Education UK, 1990. http://dx.doi.org/10.1007/978-1-349-10323-2_9.

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Miller, Stuart. "The Unification of Germany 1862–71." In Mastering Modern European History, 167–84. London: Macmillan Education UK, 1997. http://dx.doi.org/10.1007/978-1-349-13789-3_14.

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Miller, Stuart T. "The Unification of Germany 1862–71." In Mastering Modern European History, 205–24. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19580-0_14.

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Conference papers on the topic "Modern dance – Germany – History"

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Крулица, Анна. "Conversation with the past in contemporary choreography." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.18.

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My article examines the problem of the archival turn in scientific works and discourse that affects artistic practice, including the choreographic one. In recent years, we can find several attempts to reconstruct the performances of famous choreographers who worked in the 1920s and 1930s. Modern choreographers have recalled forgotten performances of the former era, but recalling these choreographic works, they want to give them a modern meaning. This attempt is similar to rewriting history. In this context of rewriting history, I want to emphasize the importance of bodily memory and bring the perspective of viewing the body as an archive. In my article, I pose questions about how to find traces of former works? How modern choreographers work with memory and with the body. The concept of the body as an archive and the experience of past generations associated with choreographic practice is at the center of my work. The body can hide the secret of trauma, the unconscious determination of behavior in bodily, physical play. The second problem raised in the article is about the relationship between the present and the past. Why do we need a turn in the past now? I consider Yanka Rudskaya’s biography and her approach to dance as an example. This article shows the role of feminine artistic practices in the space of choreography. Recent reflections concern the problem of transferring modern dance to modernity and its discovery.

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Ignjatijević, Svetlana, and Jelena Vapa Tankosić. "ECONOMIC ANALYSIS OF INTERNATIONAL TRADE IN PERSONAL AND BUSINESS TRAVEL SERVICES." In The Sixth International Scientific Conference - TOURISM CHALLENGES AMID COVID-19, Thematic Proceedings. FACULTY OF HOTEL MANAGEMENT AND TOURISM IN VRNJAČKA BANJA UNIVERSITY OF KRAGUJEVAC, 2021. http://dx.doi.org/10.52370/tisc21517si.

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The world today is facing one of the worst pandemics in modern history. Around the world, financial markets are in serious difficulties, the consequences of which have begun to spill over into the tourism sector. Covid-19 has caused sharp contractions in economic development, reduced mobility and has contacted tourism flows as the international tourist arrivals in most world sub-regions recorded declines from -60% to -70%. The aim of this paper is to analyze the international travel in the field of personal and business travel in the period of 2010-2019 exported to and imported from the Republic of Serbia. The findings show that the international travel for personal purposes has achieved the greatest value over the years, the second place is taken by travel for business purposes, whereas education-related travel achieved the third place. Exported and imported values of the category Travel, Personal and Travel, Business has the highest value of exports and imports from Serbia to European Union (EU 28), with Germany, Greece, Austria and Italy having the highest flows of exported and imported values. In 2020 Asia and the Pacific, was the region to suffer the hardest impact of Covid-19. On the second place there is Europe, followed by the Americas, Africa and the Middle East.

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