Academic literature on the topic 'The Last Dance'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'The Last Dance.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "The Last Dance"
1
Edler, Peter R. "Last Dance." Antioch Review 46, no. 3 (1988): 303. http://dx.doi.org/10.2307/4611900.
Full text
2
Vanmeenen, Karen. "Last Dance." Afterimage 23, no. 3 (November 1995): 3. http://dx.doi.org/10.1525/aft.1995.23.3.3.
Full text
3
BURN, JERI. "Last dance." Nursing 32, no. 8 (August 2002): 57. http://dx.doi.org/10.1097/00152193-200208000-00050.
Full text
4
Lavelle, M. "Last dance?" Science 348, no. 6241 (June 18, 2015): 1300–1305. http://dx.doi.org/10.1126/science.348.6241.1300.
Full text
5
Haines, Harry Albert. "Last Dance." Missouri Review 18, no. 2 (1995): 209–23. http://dx.doi.org/10.1353/mis.1995.0009.
Full text
6
Nathan, Daniel A. "The Last Dance." Journal of American History 108, no. 1 (June 1, 2021): 217–22. http://dx.doi.org/10.1093/jahist/jaab056.
Full text
7
Berg, Ann Vander. "One Last Dance." Journal of Pastoral Care & Counseling: Advancing theory and professional practice through scholarly and reflective publications 64, no. 2 (June 2010): 1–2. http://dx.doi.org/10.1177/154230501006400213.
Full text
8
Reeves, R. W. K. "The last dance." Psychiatric Bulletin 17, no. 5 (May 1993): 293. http://dx.doi.org/10.1192/pb.17.5.293.
Full textAbstract:
In December we held the last dance. Shortly after 1 a.m. the ghosts of long dead patients would have heard the strains of Auld Lang Syne drifting down the hospital corridors. Perhaps they should have joined us.
9
Manca, Andrea. "Woody’s last dance." Canadian Medical Association Journal 190, no. 29 (July 22, 2018): E889. http://dx.doi.org/10.1503/cmaj.180356.
Full text
10
Vaughan, George B. "The Last Dance." Community College Review 34, no. 4 (April 2007): 253–54. http://dx.doi.org/10.1177/0091552106298369.
Full textDissertations / Theses on the topic "The Last Dance"
1
Pexton, Valerie. "Last dance." Laramie, Wyo. : University of Wyoming, 2008. http://proquest.umi.com/pqdweb?did=1605161601&sid=2&Fmt=2&clientId=18949&RQT=309&VName=PQD.
Full text
2
Diehl, Eric M. "Death Vegas Valley." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4266.
Full textAbstract:
My work explores hallucinatory landscapes of the US American West by using a combination of painting styles outside of the Western painting canon. I cross-reference painting and cinema, interweaving video, acrylic paint and the panorama to create a satirical homage to the history and present state of the USA. However, through an earnest devotion to the medium - both painting and cinema - I find my criticisms also yearn to hold onto a belief in a myth I know to be false.
This is an American History conversation about artifice and consumerism through advertising. I use Las Vegas and the Mojave Desert as my metaphor. Las Vegas’ rapidly expanding population has displaced actual plants and animals to replace them with artificial sculptures of the desert cactus and coyote. This desert landscape occupies what was previously Mexico and before that Indigenous lands. TV and hallucinogens play a part in my work - as a means to tap into the psychological staticky holiness of the desert, and I use certain painting techniques to mimic the optical effects of these phenomena. These techniques reference my experience with theater backdrop painting and psychedelic movie posters as well as kitsch hobbyist landscape painting. My focus is the specific territory outside of the National Parks service, the government lands leased to mining companies and housing developers. These are the mystical desert tracts of spacious landscape, just as ecologically important to the whole, yet considered “not quite pretty enough” to warrant a National Park sign or roaming ranger.
3
Quaglia, Serena. "Dancing the megamusical in Las Vegas, an ethnography of dance in popular culture, EFX at the MGM Grand, Las Vegas, Nevada." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq43399.pdf.
Full text
4
Naef, Aude. "Fronteras y zonas de contacto entre las escrituras coreográficas y poéticas : lenguajes del cuerpo a la palabra en la obra de Andrés Neuman." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040180.
Full textAbstract:
Le dialogue entre les écritures poétiques et chorégraphiques permet de questionner les fondements de la création artistique et d’observer le parcours qui s’effectue entre le sujet et le monde qui l’embrasse. Ces deux types d’écriture impliquent un mouvement de déplacement de la relation quotidienne au monde. Le regard poétique se focalise sur un périmètre du paysage, aussi bien spatial que conceptuel, et amène une pluralité de lectures. Dans la danse, la transformation de la sensation ordinaire du mouvement en geste chargé d’intention, permet de véhiculer lesignifié et d’ouvrir une voie interprétative. Dans son oeuvre, l’écrivain-poète Andrés Neuman interroge de façon formelle et thématique la notion de frontière et la simultanéité des temporalités et des espaces, en dialogue avec la danseainsi que la poétique du haïku, comprises comme écritures instantanées qui ne laissent comme trace de son émission que le souvenir immatériel de son imageThe dialogue between poetic and choreographic writings offers the possibility of a reflexion about the fundament of the artistic creation and allows observing the existing distance between the subject and the world that embraces him. Both kinds of writing imply movement, as an image of a displacement of the usual connection to the world. The poetic sight focuses on a landscape’s perimeter, in a spatial as well as in a conceptual level, and generates a plurality of readings andinterpretations. In the field of dance, the transformation of a usual sensation to a gesture filled with intentions, conveys the signified and opens an interpretative line. In his literary work, the writer and poet Andrés Neuman questions, in a formal as well as in a thematic level, the notion of frontier and the simultaneity of temporalities and spaces. This opens a dialogue with dance expression and the poetic of the haiku, both considered as an instantaneouswriting that only lets the immaterial memory of their image, as a trace of their emission
5
Heuert, Daniele Luciana Zill. "Corpo Del Puerto : gesto flamenco no espetáculo Las Cuatro Esquinas." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/172122.
Full textAbstract:
Este estudo teórico propõe a investigação sobre o gesto flamenco, a partir da análise do espetáculo Las Cuatro Esquinas, da Companhia de Flamenco Del Puerto. Com o objetivo contextualizar o espetáculo dentro da estética da arte flamenca contemporânea, considerando seus pilares tradicionais a música instrumental, o canto e a dança propriamente dita, a investigação destaca e relaciona diferentes noções de gesto com a operacionalidade artística entre os integrantes do grupo. A pesquisa também estabelece intersecções entre os discursos do corpo do grupo e as especificidades para criação da obra. São utilizados, para fins análise, os registros do espetáculo, como fotos, vídeos, anotações de ensaio, além de entrevistas com o elenco, reafirmando assim o permanente ir e vir entre a reflexão teórica e a prática artística continuada, principal caráter de trabalho desta companhia de dança.This theoretical study proposes the investigation on the flamenco gesture, through the analysis of the show Las Cuatro Esquinas of the Del Puerto Flamenco’s Company. With the purpose of contextualizing the show within the aesthetics of contemporary flamenco art, considering its traditional pillars as instrumental music, singing and dance proper, the investigation highlights and relates different notions of gesture with the artistic operability among the members of the group. The research also establishes intersections between the body speeches of the group and the specificities for the creation of the work. The records of the show, such as photos, videos, essay notes, as well interviews with the cast, were used for analysis purposes, thus reaffirming the permanent coming and going between the theoretical reflection and the continued artistic practice, the main work character of this company of dance.
6
Vergara, Adrianzen Stephanie Carolina. "La narrativa de las piezas de danza de Travis Wall en So you think you can dance : the next generation (2016) y su puesta en escena como acercamiento al drama teatral." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2019. http://hdl.handle.net/20.500.12404/15464.
Full text
7
Rohner, 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.
Full textAbstract:
Cette thèse analyse les formes d’autoreprésentation et de négociation mises en oeuvre dans le domaine musical par les classes populaires liméniennes afin de dépasser leur marginalité dans la société péruvienne de la fin du XIX ème siècle et du début du XXème. Tout au long de cette thèse l’analyse tend à démontrer comment la consolidation du vals criollo liménien, dans ce secteur précis de la population, obéit à un ensemble de stratégies destinées à présenter une nouvelle image du sujet populaire comme faisant partie des secteurs civilisés de la nation. Pour ce faire, on examine enpremier lieu l’espace occupé par le vals et celui de cette génération nommée Guardia vieja dans l’espace culturel liménien. Afin de comprendre le processus d’intégration du vals comme élément du capital sonore des liméniens de classe populaire on analyse les différents espaces musicaux qui ont permis le passage de ce genre musical des salons des élites aux demeures des artisans et des ouvriers. Enfin on analyse les modalités selon lesquelles ces sujets ont créé cette nouvelle représentation d’eux-mêmes à travers l’adoption et l’appropriation d’un ensemble de codes, d’objets musicaux et d’images sonores qui les montraient comme patriotes, modernes et lettrésThis 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
8
Williamson, Raya. "A Movement for Authenticity: American Indian Representations in Film, 1990 to Present." Kent State University Honors College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1494330075140438.
Full text
9
Schiavon, Chiara. "Análisis del contexto cultural del noreste italiano en tres épocas distintas: la Guerra Fría, el Fascismo y la República de Venecia según las Genealogías de diferentes cuerpos en acción: bailarinas, feministas, performers futuristas, balie, mondine e impiraresse." Doctoral thesis, Universitat Politècnica de València, 2017. http://hdl.handle.net/10251/90529.
Full textAbstract:
Abstract
This thesis is proposed as a work of translation, as an attempt to transmit a context that involves bodies, enmeshing genealogical narratives with geopolitics. We have investigated the body in action in the northeast of Italy. This is the context we come from but we view it from an uprooted position, as since 2004 we have been living in southwest Europe (València). We have catalogued and analyzed forms of legitimized artistic expression, including classical ballet, modern jazz dance, Italian futurism's proposals (close to performance), or representations of human anatomy, as well as more popular forms of expression adopted by subordinated women in the course of their everyday working lives during the Cold War, the Fascist era, and the Republic of Venice, all experiences that have been generative of our culture of reference.
The contemporary consumerist, capitalist project has aspired to homogenize constructions of contemporary European identity. But subordinated bodies and their cultural legacy are able to resist and transmit genealogies, a heritage of subjugated or assimilated histories that have generated practices such as song or crochet (the poor relations of canonic forms). The latter constitute our methodology; they allow us to unravel the cultural fabric that is presented to us as fact, and to simultaneously re-weave each element, giving it a different order and meaning. An order and meaning that might escape the structure imposed by the ideological and economic perspectives of the dominant frame of reference, proposing a genealogical point of you. For this reason, the chronology of this thesis runs in reverse, ending with the study of the Serenissima (the Most Serene Republic of Venice), an example of proto-capitalist organization that returns us to the present.
The diasporas from the global South and East urge us to take responsibility for decolonial processes - a responsibility that the West must assume. The colonial narratives (which bisect our genealogy) demonstrate how the subordinate cultures of our own context and families - in their emancipation towards the dominant- have whitened up, this to say, embraced the nationalist-imperialist project that today merges with capitalism. The process of 'becoming minority,' aspiring to a loss of power, makes it possible to analyze and approach the truth of bodies in action, and to make dominant positions break their innate silence. We consider this a necessary effort, aimed at sharing a daily life that is "otherly communitary": more egalitarian, balanced and peaceful.Resumen Esta tesis se propone como un trabajo de traducción, como la tentativa de transmitir un contexto que involucra los cuerpos, entrelazando los relatos genealógicos con los geopolíticos. Investigamos el cuerpo en acción en el noreste italiano, nuestro contexto de origen, desde una perspectiva desarraigada, ya que a partir de 2004 estamos afincadas en el suroeste europeo (en València). Recogemos y analizamos algunas expresiones artísticas legitimadas, como el ballet clásico, la danza modern jazz, las propuestas futuristas próximas a la performance, o la anatomía artística, así como aquellas populares de mujeres subalternas realizadas durante el trabajo, en sus vidas y tiempos cotidianos que a lo largo de la Guerra Fría, el Fascismo y la República de Venecia han creado nuestra cultura de referencia. Pese a la construcción de la identidad contemporánea europea, que aspira homologar las diferencias hacia el proyecto capitalista y el consumo del presente, el legado de los cuerpos subalternos es capaz de resistir y transmitir genealogías, herencias de historias sometidas o asimiladas, pero generadoras de prácticas próximas a las artísticas como el canto o el ganchillo. Este último de hecho, será nuestra metodología en cuanto nos permite desmontar tramas que se nos presentan hechas y re-tejer, con una cierta simultaneidad, cada cosa con un orden y un sentido diferente, no estructurado por las perspectivas ideológicas y económicas, propias del contexto de referencia, sino genealógicas. Por esto la cronología de esta tesis es contraria a las series temporales al uso y termina con el estudio de la Serenissima (la República de Venecia) un ejemplo de organización proto-capitalista que nos devuelve al día de hoy. Las diásporas de los sures y estes globales nos ayudan a responsabilizarnos del proceso de-colonial que occidente necesita emprender. Los relatos coloniales que atraviesan también las culturas subalternas de nuestro contexto y nuestras familias demuestran cómo, en su emancipación hacia lo dominante, han elegido blanquearse. Es decir, adherirse al proyecto nacional imperialista que es hoy, también, capitalista. Encaminarse por lo tanto en procesos de "devenir minoritarios" que aspiran perder poder, permite realizar un análisis que intente acercarse a la verdad de los cuerpos en acción, poniendo voz a los silencios que conservan sus posiciones dominantes. Consideramos estos esfuerzos necesarios y dirigidos a compartir un cotidiano "otramente comunitario" más igualitario, equilibrado y pacífico.
Resum Esta tesi es proposa com un treball de traducció, com a temptativa de transmetre un context que involucra els cossos, entrellaçant els relats genealògics amb els geopolítics. Investiguem el cos en acció al nord-est italià -el nostre context d'origen- des d'una perspectiva desarrelada: ja que a partir de 2004 estem establides en el sud-oest europeu (València). Recollim i analitzem algunes expressions artístiques legitimades -com el ballet clàssic, la dansa modern jazz, les propostes futuristes pròximes a la performance, o l'anatomia artística- així com aquelles expressions populars de dones subalternes realitzades al treball, a la vida i temps quotidià. Expressions que al llarg de la Guerra Freda, el Feixisme i la República de Venècia han creat la nostra cultura de referència. A pesar de la construcció de la identitat contemporània europea -que aspira homologar les diferències cap al projecte capitalista i el consum del present- el llegat dels cossos subalterns és capaç de resistir i transmetre genealogies -herències d'històries sotmeses o assimilades- generadores de pràctiques pròximes a les artístiques: com el cant o "el ganxillo". Aquest últim de fet serà la nostra metodologia ja que ens permet desmuntar trames que se'ns presenten fetes i reteixir -amb una certa simultaneïtat- cada cosa amb un orde i un sentit diferent, no estructurat per les perspectives ideològiques i econòmiques pròpies del context de referència, sinó fer-ho a aprtir de referències genealògiques. Per açò la cronologia d'esta tesi és contrària a les sèries temporals més comunes i acaba amb l'estudi de la Serenissima (la República de Venècia) un exemple d'organització proto-capitalista que ens fa tornar a l'actualitat. Les diàspores del sud i est global ens ajuden a responsabilitzar-nos del procés de-colonial que occident necessita emprendre. Els relats colonials que travessen també les cultures subalternes del nostre context i les nostres famílies demostren com han triat blanquejar-seen la seua emancipació cap al dominant. És a dir, adherir-se al projecte nacional imperialista que és hui -també- capitalista. Encaminar-se per tant en processos "d'esdevindre minoritaris" -que aspiren a perdre poder- permet realitzar una anàlisi que intente acostar-se a la veritat dels cossos en acció, posant veu als silencis que conserven les seues posicions dominants. Considerem aquestos esforços necessaris i dirigits a compartir un quotidià "altrament comunitari" més igualitari, equilibrat i pacífic.
Schiavon, C. (2017). Análisis del contexto cultural del noreste italiano en tres épocas distintas: la Guerra Fría, el Fascismo y la República de Venecia según las Genealogías de diferentes cuerpos en acción: bailarinas, feministas, performers futuristas, balie, mondine e impiraresse [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90529
TESIS
10
Huang, Ling-Hsiu, and 黃鈴琇. "The Last Dance: Psychological and Social Adaptation for Dancers’ Career Transition." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/6pshcm.
Full textAbstract:
碩士臺北市立大學
運動教育研究所
103
Objective: To investigate issues related to outstanding dancers’ career choices in order to gain an insight into professional dancers’ psychological state and social adaptation when faced with work situation changes. Method: Semi-structured interviews were administered targeting three dancers (age: 26, 30, 35; number of years engaged in dance: 10, 14,17). Data was collected to explore and understand issues related to outstanding dancers’ career choices and their career change, thereby determining differences in their psychological transition and social adaptation. The purposive sampling method was adopted for the respondents. Three outstanding dancers from different fields that differed in agewere interviewed. The narrative and thematic research approaches were used for the three respondents at different time to understand the important influence of environmental policies, significant others, self-views, and personality traits, and professional skill during career change. In addition, the differences in terms of psychological transition and social adaptation were also determined. Research findings: The impact of studies and employment on the dancers: The support of significant others also contributed to the differences after a career change; the self-views and personality traits affected the career choices; in terms of professional skill, learning continued after the career change; during the critical period of the career change, attitude adjustment and skill adaptation were observed. As for psychological adaptation, adjustments were made before and after the career change. After the career change, the dancers understood and adapted to the way of life then, learned the processional skills, built up confidence about their career change, and continued to show concerns for the world of dance. In terms of reasons for retirement, they left their dance job for a stable life and the brighter future. As for job choice, they entered the employment market through the help of significant others and family. Their career planning did not start until before retirement and after the career change. The dancers currently lead successful lives in their own field and continue to contribute to the world of dance.
Books on the topic "The Last Dance"
1
James, Lavene, ed. Last dance. New York: Avalon Books, 1999.
Find full text
2
Last dance. Grand Rapids, Mich: Zondervan, 2010.
Find full text
3
Last dance. New York: Aladdin Paperbacks, 1999.
Find full text
4
Bugeja, Michael J. Last dance. New York: Pocket Books, 1989.
Find full text
5
Carlson, Melody. Last dance. Grand Rapids, Mich: Zondervan, 2010.
Find full text
6
Last dance. St. Paul, Minn: Llewellyn, 2005.
Find full text
7
Feinstein, John. Last Dance. New York: Little, Brown and Company, 2008.
Find full text
8
Last dance. London: Scholastic, 1993.
Find full text
9
1974-, Thompson Allister, ed. Last dance. Toronto: Dundurn, 2012.
Find full text
10
Quin-Harkin, Janet. The Last dance. London: Bantam Bks, 1987.
Find full textBook chapters on the topic "The Last Dance"
1
Jones, Angel M. "The Last Dance." In Elevating Marginalized Voices in Academe, 16–20. New York, NY : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003044338-3.
Full text
2
Bond, Karen. "Introduction: At Last, Together." In Dance and the Quality of Life, 1–20. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-95699-2_1.
Full text
3
Hillier, Jim. "Last Chants for a Slow Dance (Jon Jost 1977)." In The Long Take, 133–46. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-58573-8_9.
Full text
4
Proverbio, Alice Mado, and Alberto Zani. "Mirror Neurons in Action: ERPs and Neuroimaging Evidence." In Social and Affective Neuroscience of Everyday Human Interaction, 65–84. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-08651-9_5.
Full textAbstract:
Abstract According to V.S. Ramachandran (inaugural ‘Decade of the Brain’ lecture at Society for Neuroscience meeting), ‘mirror neurons are to neuroscience what DNA was to biology’. Their discovery (by Rizzolatti’s group) led to the understanding of how hominids rapidly evolved through imitation and cultural transmission in the last 100,000 years. In this chapter, we will review the role of human mirror neuron system (MNS) in several mental and brain functions including: interacting with the environment, grasping objects, empathy and compassion for others, empathizing, emulation and emotional contagion, observing and imitating, learning sports, motor skills and dance, motor rule understanding, understanding the intentions of others, understanding gestures and body language, lip reading, recognizing actions by their sounds, learning to play a musical instrument. The chapter is enriched with a discussion of possible criticalities and caveats.
5
Davison, Carol Margaret. "Monstrous, Mortal Embodiment and Last Dances: Frankenstein and the Ballet." In Global Frankenstein, 109–29. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-78142-6_7.
Full text
6
Šavelová, Monika. "Dante e la Slovacchia: traduzione, ricezione e studi danteschi dopo il 1989." In Biblioteca di Studi di Filologia Moderna, 193–204. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/979-12-2150-003-5.12.
Full textAbstract:
The aim of the paper is to outline the main developments in research, translation and reception of Dante’s work in Slovakia after 1989. The period in question is particularly significant for the overall evaluation of the translation and reception of Dante’s work from the 19th century and for the basis of the comparative translation and literary research of the last decade, including new translations.
7
Artifoni, Enrico. "Dante epilettico, o anche isterico. Una storia psichiatriico letteraria di fine Ottocento." In Reti Medievali E-Book, 3–17. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-423-6.01.
Full textAbstract:
In the last decade of the 19th century psychiatric sciences in Italy proposed many psychopathological interpretations of exceptional personalities. An important role was played by the psychiatrist Cesare Lombroso with his books on genius and madness, which inspired other similar research. The case of Dante Alighieri, on whom Lombroso made a diagnosis of epilepsy, is part of this context. The article analyses the main texts (for and against) of this psychiatric-literary affair and clarifies the role of the French doctor Max Durand-Fardel, from whom Lombroso said he took the cue for his diagnosis of epilepsy.
8
Garzaniti, Marcello. "Massimo il Greco e il pensiero politico di Dante nella Russia del Cinquecento." In Biblioteca di Studi di Filologia Moderna, 25–37. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/979-12-2150-003-5.02.
Full textAbstract:
Maximus the Greek (c. 1470-1555/1556), one of the most influential members of the Greek diaspora in Russia, arrived in Moscow from Constantinople with an official delegation (1518) and remained there until his death at the time of Ivan the Terrible. It was only in the second half of the last century that it was discovered Maximus the Greek must be identified with Michael Trivolis, a young Greek humanist educated in Florence at the end of the 15th century. Like many of his contemporaries, Trivolis had been influenced by the preaching of Girolamo Savonarola. Systematic research on the relation between the work of Savonarola and the humanists close to him and the writings of Maximus the Greek has not yet been conducted, but the data collected to date allow us to establish a close relationship within the context of certain religious, philosophical, and social themes. The examination of a text dedicated to the exercise of power by emperors and princes, the Discourse more extended, written by Maximus the Greek by the time of Ivan the Terrible, shows not only direct correlations with some of Savonarola’s cantos, but also the presence of images and themes from Dante Alighieri’s Divine Comedy and Cristoforo Landino’s Comento, starting with the idea of empire. The collections of Maximus the Greek’s writings, in which this Discourse appears, were widely disseminated, and left a deep mark on Russian culture.
9
"Last dance." In I Threw a Star in a Wine Glass, 32. Mwanaka Media and Publishing, 2018. http://dx.doi.org/10.2307/j.ctvh9vwwc.35.
Full text
10
"Last Chance, Last Dance." In Lone Stars III, 352–53. University of Texas Press, 2011. http://dx.doi.org/10.7560/726994-188.
Full textConference papers on the topic "The Last Dance"
1
Shulman, Ami, and Jorge Soto-Andrade. "A random walk in stochastic dance." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.71.
Full textAbstract:
Stochastic music, developed last century by Xenakis, has older avatars, like Mozart, who showed how to compose minuets by tossing dice, in a similar way that contemporary choreographer Cunningham took apart the structural elements of what was considered to be a cohesive choreographic work (including movement, sound, light, set and costume) and reconstructed them in random ways. We intend to explore an enactive and experiential analogue of stochastic music, in the realm of dance, where the poetry of a choreographic spatial/floor pattern is elicited by a mathematical stochastic process, to wit a random walk – a stochastic dance of sorts. Among many possible random walks, we consider two simple examples, embodied in the following scenarios, proposed to the students/dancers: - a frog, jumping randomly on a row of stones, choosing right and left as if tossing a coin, - a person walking randomly on a square grid, starting a given node, and choosing each time randomly, equally likely N, S, E or W, and walking non-stop along the corresponding edge, up to the next node, and so on.When the dancers encounter these situations, quite natural questions arise for the choreographer, like: Where will the walker/dancer be after a while? Several ideas for a choreography emerge, which are more complex than just having one or more dancers perform the random walk, and which surprisingly turn our random process into a deterministic one!For instance, for the first random walk, 16 dancers start at the same node of a discrete line on the stage, and execute, each one, a different path of the 16 possible 4 – jump paths the frog can follow. They would need to agree first on how to carry this out. Interestingly, they may proceed without a Magister Ludi handing out scripts to every dancer. After arriving to their end node/position, they could try to retrace their steps, to come back all to the starting node.Analogously for the grid random walk, where we may have now 16 dancers enacting the 16 possible 2-edge paths of the walker. The dancers could also enter the stage (the grid or some other geometric pattern to walk around), one by one, sequentially, describing different random paths, or deterministic intertwined paths, in the spirit of Beckett’s Quadrat. Also, the dancers could choose their direction ad libitum, after some spinning, each time, on a grid-free stage, but keeping the same step length, as in statistician Pearson’s model for a mosquito random flight.We are interested in various possible spin-offs of these choreographies, which intertwine dance and mathematical cognition: For instance, when the dancers choose each one a different path, they will notice that their final distribution on the nodes is uneven (interesting shapes emerge). In this way, just by moving, choreographer and dancers can find a quantitative answer to the impossible question: where will the walker/dancer be after a while? Indeed, the percentage of dancers ending up at each node gives the probability of the random walker landing there.
2
Rocha, Fabio Neves, Valdinei Freire, and Karina Valdivia Delgado. "Short-term Inbetweening of 3D Human Motions." In Encontro Nacional de Inteligência Artificial e Computacional. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/eniac.2021.18286.
Full textAbstract:
Creating computer generated human animations without the use of motion capture technology is a tedious and time consuming activity. Although there are several publications regarding animation synthesis using data driven methods, not many are dedicated towards the task of inbetweening, which consists of generating transition movements between frames. A modified version of LSTM, called Recurrent Transition Network (RTN), solves the inbetweening task for walking motion based on ten initial frames and two final frames. In this work, we are interested on the short-term inbetweening task, where we need to use the least amount of frames to generate the missing frames for short-term transitions. We are also interested on different kinds of movements, such as martial arts and Indian dance. Thus, we adapt the Recurrent Transition Network (RTN) to require only the two firts frames and the last one, called ARTN, and propose a simple post processing method combining ARTN with linear interpolation, called ARTN+. The results show that the average error of ARTN+ is less than the average error of each method (RTN and interpolation) separately in the martial arts and Indian dance dataset.
3
Rodríguez Timarán, Christian, Ana Isabel Victoria Rengifo, and Daniel Gómez Marín. "DancE." In Encuentro de investigación formativa en Diseño – Semilleros y Grupos de investigación RAD 2020. Bogotá, Colombia: Red Académica de Diseño - RAD, 2021. http://dx.doi.org/10.53972/rad.eifd.2020.3.9.
Full textAbstract:
Este texto presenta un sistema que apoya el diseño y la ejecución de piezas de danza, sugiere a los coreógrafos elementos para estructurar sus escenas y busca maximizar la atención del público. La danza es un arte que transmite emociones a través de los movimientos corporales en sincronía con la música. Muchas veces, al construir piezas de danza es difícil controlar los factores que guían la atención y dirigen las emociones de sus espectadores a lo largo de la presentación de la pieza. Buscando soluciones para este problema, se creó un corpus de 10 piezas de danza, el cual contiene diversas variables estructurales que impactan la atención del público, esto es: Número de escenas, duración de la escena, cantidad de bailarines por escena, ubicación de los bailarines en el escenario, pulsos por minuto (BPM) de la música en la escena. Para entender cómo funciona la atención, se estudiaron las respuestas emocionales que diversas puestas en escena de baile generan en los espectadores, así como diversas técnicas de danza y sus mecanismos para proyectar y estimular la excitación del espectador. Uniendo los elementos que afectan la emoción con las respuestas emocionales, se creó un modelo generativo que sugiere a un coreógrafo cuáles y cuántos deben ser los elementos de una obra de danza estructurando las variables específicas estudiadas en el corpus. Este modelo se ha dispuesto en línea a través de una interfaz para ser usado libremente en línea por coreógrafos.
4
Mihaiu, Costinel, and Monica Gulap. "STUDY ON THE EFFICIENCY OF USING A WEB APPLICATION IN LEARNING THE DANCE TECHNIQUE, BY THE STUDENTS OF THE UNIVERSITY OF BUCHAREST." In eLSE 2016. Carol I National Defence University Publishing House, 2016. http://dx.doi.org/10.12753/2066-026x-16-226.
Full textAbstract:
Dance Sport is part of the educational offer of Physical Education and Sports Department of the University of Bucharest, being one of the most popular sport disciplines among the students of this institution. The number of physical education lessons provided in the curricula of the non profile faculties is 1/a week for the first two years of study, as optional subjects. The approach of sports dance in physical education lessons involves the establishment of the themes which exclusively aim the initiation into this sport, with the compliance of all the teaching principles and the methodological requirements. The dance lesson with students lasts 100 minutes, from which 25 minutes represent the first part of "general warming" with "harmonious physical development", which included the study of classical dance, while the themes from sports dance are allocated 60 minutes. Regarding the training methods used to acquire the specific content of dance in physical education class, we mention that the verbal methods are doubled by the intuitive and practical methods, the teacher manifesting the autonomy in choosing and combining them. Our practical experience of over 15 years in the field has demonstrated that acquiring the technical content specific to dance, in terms of exercising within a lesson per week, is done quite slow, reality that has led us to implement in our educational approach the benefits of the development of modern technology. In this regard, we propose in the present work to emphasize the efficiency of using of a web application in the faster acquiring of the technical dancing figures by the students from the University of Bucharest, participating in physical education lessons (dance). We mention that the students from the experimental group had access (by supplying a password) to the application dansuri.site88.net which offer them, in the form of animations and some descriptive tables, the information about the technique learned at the practical lesson. Also we specify that the above mentioned application was presented in another study which highlighted its importance in developing the dance technique, revealed by the interventions and the favorable opinions of the specialists in the sphere: coaches and athletes.
5
Pilatti, Angelina, Adrian Bravo, Yanina Michelini, Gabriela Rivarola Montejano, and Ricardo Pautassi. "Contexts of Marijuana Use: A Latent Class Analysis among Argentinean College Students." In 2020 Virtual Scientific Meeting of the Research Society on Marijuana. Research Society on Marijuana, 2021. http://dx.doi.org/10.26828/cannabis.2021.01.000.23.
Full textAbstract:
Background: Substance use and the association between substance-related variables and outcomes seem to be context dependent. We employed Latent Class Analysis (LCA), a person-centered approach, to identify distinct subpopulations based on contexts of marijuana use. We also examined whether the resulting classes differ in a set of marijuana-related variables that hold promise as potential targets of interventions. Method: A sample of 1083 Argentinean college students (64% women; M age = 19.73±3.95) completed an online survey that assessed substance use and related variables (motives for substance use, protective behavioral strategies [PBS] and internalization of the college marijuana use culture). For the present study, only data from students that reported last month (i.e., past 30-day) marijuana use (n = 158) were included in the analysis. Participants reported whether or not they used marijuana in different places (i.e., own house, party at home, friends’ house, parties at friends' house, university party, non-university party, bar, dance-club, outside [street, park], or pregaming) or social contexts (i.e., alone, with family members, strangers, boyfriend/girlfriend, close friend, small group of same-sex friends, ≥10 same-sex friends, small co-ed group of friends, ≥10 co-ed friends). Results: LCA identified a 2-classes model for marijuana use context. Class 1 comprised 40% of last-month marijuana users. Students within this class endorsed a high probability of consuming marijuana across different places (e.g., at home, at parties, outdoors) and social contexts (e.g., close friend and in small same sex and coed groups). Participants in Class 2 exhibited a low endorsement of marijuana use across contexts, yet they reported a moderate to high probability of using marijuana with a small group of same-sex friends or with the close friend, at a friend’s home. The two classes significantly differed, as shown by Student’s t, on all marijuana outcomes (i.e., use and negative consequences) and marijuana-related variables (motives, PBS and internalization of the college marijuana use culture). Students in class 2 exhibited significantly less marijuana use, both in terms of frequency and quantity, and less marijuana-related negative consequences than those in class 1. The latter class exhibited more normative perceptions about marijuana use in college, more marijuana use motives -particularly social, coping and expansion motives- and less use of PBS than students in class 2 did. Conclusions: Our findings revealed subpopulations of college students that are heterogeneous regarding contexts of marijuana use, patterns of use and in a number of relevant variables. These distinctive subpopulations require different targeted interventions.
6
Sari, Fifi Fitria, and Indrayuda Indrayuda. "Revitalization of Dance and Values Contained in Dance Balota in Kenagarian Sungai Bukik Baiah District 9 Lasi." In Proceedings of the Seventh International Conference on Languages and Arts (ICLA 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icla-18.2019.14.
Full text
7
Wilson, Jani. "Rōpū Whānau: A whakawhiti kōrero research methodology." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.181.
Full textAbstract:
Kapahaka is not simply the song and dance of Aotearoa’s Indigenous people. Deeply steeped in mātauranga Māori, kapahaka is a way of simultaneously exemplifying Māori histories, the present, and the future; meanwhile it is a community-focused cultural practice, methodology, and pedagogy. Contemporary kapahaka – both competitive and for entertainment – fosters, develops, validates, and celebrates the Māori world, the language, and our ‘ways’: arguably the fundamental building blocks of Māori ‘popular culture’. The research project Kia Rite! Kapahaka for Screens, from which this presentation is a tiny proportion, will focus on the influence and impact of screen production on the art’s ebbs and flows, and the conflicts between maintaining ‘traditions’ and exploring innovation in and towards the future. Over the last century, the kapahaka art-form has evolved exponentially, and as the wider project will explore, in large part as a response to the advancement of screen technologies. An important strand in Kia Rite! will investigate the kapahaka audience. It employs a refined iteration of Rōpū Whānau, a focus group methodology where closely linked relations will be asked to respond to archival through to contemporary kapahaka footage as a generational screen audience study. Exploring responses to screened kapahaka in this way revisits a whakawhiti kōrero-based audience study method designed to reflect and embody the fundamental whakataukī ‘he aha te kai o ngā rangatira? He kōrero’ (what is the food of chiefs? It is talk.) Rōpū Whānau was developed to move beyond the ‘safety in numbers’ focus group methodology to more of a ‘safety within the whānau’ format. By inviting participants from the same family, a duty to protect the under 18s and inherently control researcher behaviours provides an extra layer of a kind of ‘Māori ethics’. This critical presentation brings forward the fundamental elements of Rōpū Whānau and unpacks how it has been used in various research projects in the past. This is to plot the way forward for Indigenous community-led research methodologies, and encourages the consideration of Indigenous research approaches.
8
Tomachinsky, Simeon. "Influence of Dante on the Iconographic Concept of the Last Judgement." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.122.
Full text
9
Paulo, Avner, Carlos Eduardo Oliveira De Souza, Bruna Guimarães Lima e Silva, Flávio Luiz Schiavoni, and Adilson Siqueira. "Black Lives Matter." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10459.
Full textAbstract:
The Brazilian police killed 16 people per day in 2017 and 3/4 of the victims were black people. Recently, a Brazilian called Evaldo Rosa dos Santos, father, worker, musician, and black, was killed in Rio de Janeiro with 80 rifle bullets shot by the police. Everyday, the statistics and the news show that the police uses more force when dealing with black people and it seems obvious that, in Brazil, the state bullet uses to find a black skin to rest. Unfortunately, the brutal force and violence by the state and the police to black people is not a problem only in this country. It is a global reality that led to the creation of an international movement called Black Lives Matter (BLM), a movement against all types of racism towards the black people specially by the police and the state. The BLM movement also aims to connect black people of the entire world against the violence and for justice. In our work, we try to establish a link between the reality of black people in Brazil with the culture of black people around the world, connecting people and artists to perform a tribute to the black lives harved by the state force. For this, the piece uses web content, news, pictures, YouTube’s videos, and more, to create a collage of visual and musical environment merged with expressive movements of a dance, combining technology and gestures. Black culture beyond violence because we believe that black lives matter. such as the Ku Klux Klan, which bring the black population of the world into concern for possible setbacks in their rights. In Brazil, it is not different. Brazil is the non African country with the biggest afro descendant population in the world and one of the last country in the world to abolish slavery. Nowadays, a black person is 3 times more propense to be killed and most part of the murders in the country happened to afro Brazilians. Marielle Franco, a black city councillor from Rio, the only black female representative and one of seven women on the 51-seat council was killed in 2018. The killers were two former policeman. According to Human Rights Watch, the police force in the state of Rio de Janeiro, Brazil, killed more than 8,000 people between 2005 and 2015, 3/4 of them were black men. At the same time, the African culture strongly influenced the Brazilian culture and most part of the traditional Brazilian music and rhythms can be considered black music.
10
Varini, Claudio. "MARGINALIDAD Y RESILIENCIA DE COMUNIDADES EN RIESGO. Visibilidad y desobediencia como supuestos de una vivienda digna para los desplazados en Colombia." In Seminario Internacional de Investigación en Urbanismo. Bogotá: Universidad Piloto de Colombia, 2022. http://dx.doi.org/10.5821/siiu.10104.
Full textAbstract:
In Colombia, the phenomenon of forced displacement from the territory of origin by ethnic minorities and inhabitants of rural areas is macroscopic; pressure by armed and economic actors, abandonment by institutional entities induces them to find refuge in no man's land. In the anonymity and informality of the extreme margins of large cities, this vulnerable population builds a primary refuge and seeks life opportunities on land without infrastructure or public services (DANE, 2015; UN_Habitat, 2016; UNHCR, 2019).
In these slums there are precarious health conditions, low temperatures associated with cold winds, which generate different pathologies in their occupants. The settlement typology, based on terraces and vertical slopes, constitutes a further factor of seismic vulnerability and due to mass removal.
The Tocaimita Oriental settlement (2900 m.a.s.l.) shows a complex reality of lucid awareness and determination, of community cohesion where the aims of having a “decent” home underlie the legalization of the settlements and their individual and group recognition.
Forced displacement is necessary and always painful (Hannigan, O'Donnell, & O'Keeffe, 2016). In the last three decades, 36.2% of the Colombian population has left their identity territory for the largest cities in the country; in Bogotá alone there are approximately 1,393,140 people who live in the extreme urban periphery, in full illegality (UNHCR, 2017). The sad dream of this form of freedom implies leaving threats behind and satisfying needs that the very fact of staying alive demands (Shedlin, Decena, & Noboa H. & Betancourt, 2014). This is an extreme exercise of self-determination that entails abandonment, escape from conditions of hunger, pain, fear, need (Türk, 2017) in the face of death threats and extreme poverty (Centro Nacional de Memoria Histórica, 2015); the need to exist, the possibility of being able to decide in a constrained framework implies the loss of the social support base (Bobada, 2010), social, physical and economic vulnerability.
Resettlement represents a new beginning with the expectation of finding housing, employment, health, education, public services (Braubach, 2011) however, the displaced, left to themselves, in turn abandon institutional rules; count on their own means and found extremely precarious illegal settlements waiting for institutional responses. Bogotá is chosen as a destination because it presents multidimensional poverty levels that are clearly lower than the rest of the country (DANE, 2017) and provides greater opportunities even in informality. En Colombia es macroscópico el fenómeno del desplazamiento forzoso del territorio de origen por parte de minorías étnicas y habitantes de áreas rurales; presiones por actores armados y económicos, abandono por las entidades institucionales los induce a encontrar refugio en tierras de nadie. En el anonimato y la informalidad de los márgenes extremos de grandes ciudades, esta población vulnerada construye un refugio primario y busca oportunidades de vida en terrenos sin infraestructuras ni servicios públicos (DANE, 2015; UN_Habitat, 2016; UNHCR, 2019).
En estos tugurios se viven precarias condiciones de salud, bajas temperaturas asociadas a vientos fríos, lo que genera diferentes patologías en sus ocupantes. La tipología de asentamiento, a partir de terrazas y taludes verticales, constituye un ulterior factor de vulnerabilidad sísmica y por remoción de masa.
El asentamiento de Tocaimita Oriental (2900 m.s.n.m.) muestra una realidad compleja de lúcida consciencia y determinación, de cohesión comunitaria donde los fines de tener una vivienda “digna” subyacen a la legalización de los asentamientos y su reconocimiento individual y grupal.
El desplazamiento forzoso es necesario y siempre doloroso (Hannigan, O’Donnell, & O’Keeffe, 2016). En las tres últimas décadas el 36.2% de la población colombiana ha abandonado su territorio identitario hacia las mayores ciudades del país; en la sola Bogotá son aproximadamente 1.393.140 las personas que viven en la extrema periferia urbana, en plena ilegalidad (UNHCR, 2017). El sueño triste de esta forma de libertad implica dejar a sus espaldas amenazas y satisfacer necesidades que demanda el mismo hecho de mantenerse vivos (Shedlin, Decena, & Noboa H. y Betancourt, 2014). Es este un ejercicio extremo de libre determinación que conlleva el abandono, el escape de condiciones de hambre, dolor, miedo, necesidad (Türk, 2017) frente a amenazas de muerte y pobreza extrema (Centro Nacional de Memoria Histórica, 2015); la necesidad de existir, la posibilidad de poder decidir en un marco de constricción implica la pérdida de la base social de apoyo (Bobada, 2010), vulnerabilidad social, física y económica.
El reasentamiento representa un nuevo inicio con la expectativa de encontrar vivienda, empleo, salud, educación, servicios públicos (Braubach, 2011) sin embargo, los desplazados, abandonados a sí mismos, abandonan a su vez las reglas institucionales; contar en sus propios medios y fundan asentamientos ilegales extremadamente precarios esperando respuestas institucionales. Bogotá es elegida como destino por presentar niveles de pobreza multidimensional netamente inferiores al resto del país (DANE, 2017) y proporciona mayores oportunidades aun en la informalidad.
Reports on the topic "The Last Dance"
1
Rincón-Castro, Hernán. ¿Cuánto tributan efectivamente el consumo, el trabajo y el capital en Colombia? Cálculos con las Cuentas Nacionales base 2015. Banco de la República, May 2021. http://dx.doi.org/10.32468/be.1161.
Full textAbstract:
A partir de un análisis que no es contable ni financiero sino económico, Rincón-Castro y Delgado-Rojas (2017) calculan para Colombia las tasas efectivas promedio de tributación sobre el consumo y los factores de producción trabajo y capital para el período comprendido entre 1994 y 2016. Para su estudio los autores utilizan las Cuentas Nacionales del DANE bases 1994 y 2005. El objetivo del presente estudio es realizar los mismos cálculos y con la misma metodología para el período 2005-2019, pero con las Cuentas Nacionales base 2015. Los resultados indican que el cambio de base produjo una reducción sustancial de las tasas efectivas del trabajo y del capital. Por ejemplo, para 2016, la tasa efectiva promedio del trabajo se redujo en 3 puntos porcentuales y del capital en 6 puntos porcentuales. ¿Cuál es la explicación? Los cambios de las bases tributarias que introdujo la nueva base de la contabilidad nacional, ya que la metodología de cálculo, las definiciones de las tasas, los parámetros y los supuestos no cambian. Entre 2017 y 2019 se suman los efectos de las leyes de reforma tributaria 819 de 2016 y 1943 de 2018. Los cálculos para 2019 indican que la tasa efectiva promedio de tributación del consumo es 12,7%, del trabajo es 18% y del capital es 15%. La desagregación de la tasa del trabajo muestra que la tasa de los salarios es 2,3%, de la nómina es 2,7% y de la seguridad social es 13%. La desagregación de la tasa del capital muestra que la de los hogares, quienes son los dueños del capital, es 3,8%, mientras que la de las sociedades es 21,1%. Así, los impuestos en Colombia no son efectivamente tan altos, pero tampoco tan bajos ni tan bien repartidos.
2
Clavijo-Ramírez, Felipe, Daniela Gualtero-Briceño, and Óscar David Botero. Informe especial de estabilidad financiera: inclusión financiera - Primer semestre de 2021. Banco de la República de Colombia, June 2021. http://dx.doi.org/10.32468/incl-fin.sem1-2021.
Full textAbstract:
La inclusión financiera es el proceso de integración de los servicios financieros a las actividades económicas cotidianas de la población, lo cual puede contribuir al crecimiento económico en la medida en que permita reducir los costos de financiación y transacción, y ofrezca un manejo seguro y eficiente de los recursos, tanto para los hogares como para las empresas. La medición de la inclusión financiera abarca diferentes dimensiones del acceso y uso de productos financieros por parte de hogares y empresas, dentro de las cuales se encuentran cobertura, transaccionalidad, ahorro, crédito, seguros, calidad y bienestar. En este informe se presenta un diagnóstico de la inclusión financiera en Colombia diferenciado entre hombres y mujeres. Para esto, se analizan algunas variables relacionadas con inclusión financiera reportadas por el Global Findex para Colombia y otras reportadas en la encuesta de micronegocios del DANE. Adicionalmente, se realiza una comparación entre las características de los créditos otorgados por establecimientos de crédito a mujeres y los otorgados a hombres entre 2017 y 2021 haciendo uso del Formato 341 de la Superintendencia Financiera (SFC). Este documento es el primero en hacer una aproximación a la inclusión financiera con enfoque de género teniendo en cuenta dichos datos administrativos.
3
Caicedo-García, Edgar, Ramón Hernández-Ortega, and Nicolás Martínez-Cortés. Alivios de precios en la pandemia del Covid-19: ejercicio sobre el impacto en la inflación de Colombia. Banco de la República, September 2021. http://dx.doi.org/10.32468/be.1172.
Full textAbstract:
Este documento ofrece un ejercicio que cuantifica el máximo impacto posible, en términos contables, que tendrían sobre el nivel del IPC algunos alivios de precios decretados por el Gobierno de Colombia al inicio de la pandemia del Covid-19. Dicho impacto no necesariamente coincidiría con las cifras oficiales del IPC debido a la presencia de múltiples factores que también inciden sobre estos precios y a algunos supuestos realizados. La mayoría de estos alivios se encuentran vigentes y expirarán entre agosto de este año y finales del año 2022. El ejercicio implica estimar el nivel de impuestos indirectos cobrados en la canasta del consumidor y supone que los alivios contemplados se transmiten plenamente al IPC. Por otro lado, esta misma metodología se aplica para intentar cuantificar el efecto de los días sin IVA. Los resultados sugieren que los alivios contemplados tienen un efecto máximo cercano al 1,9% sobre el nivel del IPC total y que el impacto inflacionario del día sin IVA es pequeño, bajo el supuesto de que la toma de precios por parte del DANE es de alta frecuencia.
4
/, Subgerencia de Política Monetaria e. Información Económica, Grupo de Análisis del Mercado Laboral (Gamla) /, Leonardo Bonilla, Luz Adriana Flórez, Didier Hermida-Giraldo, Francisco Javier Lasso-Valderrama, Leonardo Fabio Morales, Jose Pulido, and Karen L. Pulido-Mahecha. Continúa la recuperación del mercado laboral y actualización de la Gran encuesta integrada de hogares. Banco de la República de Colombia, May 2022. http://dx.doi.org/10.32468/rml.22.
Full textAbstract:
A febrero de 2022 el mercado laboral mostró señales de recuperación, con un crecimiento sostenido en el empleo, observado tanto en las encuestas de hogares, como en los distintos registros administrativos. Las diferentes fuentes de información sugieren que el nivel de empleo se encuentra ligeramente por encima del registrado antes de la pandemia. El buen desempeño de la ocupación se observa en las ciudades y el área rural. Asimismo, la mayoría de los sectores económicos registraron aumentos en empleo. Los índices de vacantes, que reflejan la demanda de nuevos puestos de trabajo en el sector formal, reafirman el diagnóstico de un entorno favorable para el empleo. Los mayores crecimientos en las vacantes se presentan en ocupaciones de alto nivel de calificación, entre las cuales se destacan profesionales, científicos e intelectuales, y técnicos. Por el lado de la oferta laboral, también se observa una importante recuperación. Este comportamiento, junto con el mayor dinamismo en el empleo, se refleja en una reducción de la tasa de desempleo (TD) durante los últimos meses. Al desagregar las cifras de desempleo, se observa que la mayor reducción se ha registrado en el dominio urbano. Aunque todavía no se observan cambios importantes en los salarios, tanto los indicadores de holgura, como los de cuellos de botella y la curva de Beveridge muestran un mercado laboral que se va estrechando. Dadas las previsiones en materia de crecimiento económico del equipo técnico del Banco de la República para 2022, consignadas en el Informe de Política Monetaria de abril de 2022, los pronósticos ubican la TD nacional entre el 10 % y 11,9 % en promedio para dicho año. Por su parte, las estimaciones de la tasa de desempleo no inflacionaria (Nairu) sugieren una brecha de desempleo urbana cercanas a cero para 2022. Estas estimaciones indicarían que la menor holgura del mercado laboral ya no estaría generando presiones a la baja en la inflación. Este reporte se divide en dos secciones. En la primera se profundiza en los hechos coyunturales del mercado laboral anteriormente descritos. En la segunda se estudia la actualización de la Gran encuesta integrada de hogares (GEIH) realizada por el DANE, y los principales cambios que se generan en los indicadores del mercado laboral. Además de la actualización del marco geoestadístico y las proyecciones poblacionales construidas a partir del Censo nacional de población de 2018. La actualización de la encuesta sirvió para incorporar recomendaciones de organismos multilat erales, como la Organización Internacional del Trabajo (OIT) y la Organización para la Cooperación y el Desarrollo Económicos (OCDE), con el fin de mejorar la clasificación y caracterización de la población en edad de trabajar (PET), visibilizar estadísticamente a grupos poblacionales y llevar los indicadores del mercado laboral a nuevos estándares internacionales. Los principales cambios encontrados en los indicadores del mercado laboral obedecen a varios factores. En primer lugar, se actualizó el umbral de la PET, disminuyendo el nivel de la población fuera de la fuerza laboral (inactiva), al sustraer a cerca de 2,9 millones de menores entre 10 y 14 años. En segundo lugar, se modificó la forma de clasificar y caracterizar la población ocupada. No obstante, este cambio no parece tener impactos sustanciales en esta población. Así, lo más probable es que los cambios en el nivel de los ocupados que se observan obedezcan a la actualización del marco geoestadístico. Finalmente, la población desempleada es la que menos sufre cambios por la actualización de la encuesta. Adicionalmente, este reporte especial presenta una propuesta provisional de empalme y desestacionalización de los principales agregados del mercado laboral para el estudio de las dinámicas del mismo, que será empleada en este y en reportes futuros, hasta el momento en que el DANE publique series empalmadas y desestacionalizadas oficiales definitivas.
5
El vuelco en los balances de ahorro - Inversión de los hogares y las empresas entre 2020 y 2021. Banco de la República de Colombia, September 2022. http://dx.doi.org/10.32468/blog12092022.
Full textAbstract:
En septiembre del año pasado se divulgó un Blog que anunciaba la publicación trimestral de las Cuentas Nacionales por Sector Institucional (CNSI), las cuales comprenden las cuentas nacionales por parte del DANE y las cuentas financieras del Banco de la República. Este sistema de cuentas se calificó como un gran avance en el sistema estadístico colombiano, al permitir hacer un seguimiento de los balances económicos reales y financieros de los diversos agentes económicos, así como de su interrelación.
6
La respuesta del Banco de la República a la pandemia del COVID-19. Banco de la República de Colombia, June 2021. http://dx.doi.org/10.32468/blog15062021.
Full textAbstract:
La pandemia del Covid-19 generó una contracción económica y un incremento de la tasa de desempleo sin precedentes en la historia del país. Al momento de su mayor impacto, en abril de 2020, el DANE estimó mediante el índice de seguimiento económico (ISE) que la actividad económica se contrajo a una tasa anual del 20,1%. Igualmente informó que la tasa de desempleo alcanzó un 19,8% a nivel nacional y un 23,5% en las trece principales ciudades.