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Artykuły w czasopismach na temat "Dance (discipline)"
Bonbright, Jane M. "Dance: The Discipline". Arts Education Policy Review 102, nr 2 (listopad 2000): 31–32. http://dx.doi.org/10.1080/10632910009599987.
Pełny tekst źródłaSpivey, Kathy C. "The Dance withThe Discipline". Journal of Health Care Chaplaincy 11, nr 1 (wrzesień 2001): 117–21. http://dx.doi.org/10.1300/j080v11n01_04.
Pełny tekst źródłaVukadinovic, Maja. "Psychological research in dance". Zbornik Matice srpske za drustvene nauke, nr 181 (2022): 47–61. http://dx.doi.org/10.2298/zmsdn2281047v.
Pełny tekst źródłaGallardo, Jorge Sérgio Pérez. "A disciplina de dança na formação profissional do professor de educação física: Um relato de experiencia". Latin American Journal of Development 3, nr 5 (25.10.2021): 3397–404. http://dx.doi.org/10.46814/lajdv3n5-051.
Pełny tekst źródłaRakočević, Selena. "Tracing the discipline: Eighty years of ethnochoreology in Serbia". New Sound, nr 42 (2013): 58–86. http://dx.doi.org/10.5937/newso1341058r.
Pełny tekst źródłaLepecki, André. "Dance Discourses: Keywords In Dance Research". Dance Research Journal 44, nr 1 (2012): 95–99. http://dx.doi.org/10.1017/s0149767712000010.
Pełny tekst źródłaLópez Arnaiz, Irene. "Living Archive. Nyota Inyoka’s Archive: Traces of the Ephemeral and Ancient Dances Reenactment". Anales de Historia del Arte 32 (14.07.2022): 327–50. http://dx.doi.org/10.5209/anha.83074.
Pełny tekst źródłaLeluni, Eriska, Sakman i Offeny. "TARIAN DADAS DALAM PEMBENTUKAN KARAKTER DISIPLIN ANAK PADA SANGGAR IGAL JUE PALANGKA RAYA". Jurnal Paris Langkis 1, nr 1 (17.08.2020): 43–50. http://dx.doi.org/10.37304/paris.v1i1.1670.
Pełny tekst źródłaLongley, Alys, i Barbara Kensington-Miller. "“Under the radar”: exploring “invisible” graduate attributes in tertiary dance education". Journal of Applied Research in Higher Education 11, nr 1 (4.02.2019): 66–75. http://dx.doi.org/10.1108/jarhe-12-2017-0157.
Pełny tekst źródłaBRUCHER, KATHERINE. "Assembly Lines and Contra Dance Lines: The Ford Motor Company Music Department and Leisure Reform". Journal of the Society for American Music 10, nr 4 (27.10.2016): 470–95. http://dx.doi.org/10.1017/s1752196316000365.
Pełny tekst źródłaRozprawy doktorskie na temat "Dance (discipline)"
Rowe, Andrew D. "Exploring the dance of team learning". Thesis, University of Essex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327121.
Pełny tekst źródłaDallman, Paula Ann 1949. "PRELIMINARY ASSESSMENT OF CONDITIONING PRACTICES IN SUPPORT OF MULTIPLE DISCIPLINE DANCE TRAINING (FLEXIBILITY)". Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/276391.
Pełny tekst źródłaCurci, Paola <1996>. "Practicing wellbeing through dance. Creative communities, empathetic relationships and healing processes". Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21177.
Pełny tekst źródłaWilliams, Tamara Lynn. "Dance/movement therapy and architecture : an investigation of modern dance as an informative discipline and theories of the body in architectural design". Thesis, Georgia Institute of Technology, 2000. http://hdl.handle.net/1853/21612.
Pełny tekst źródłaAbels, Kimberly Town. "Reconsidering writing across the curriculum : language as a contested site in the discipline of dance". The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1287417137.
Pełny tekst źródłaJacobs-Percer, Jonnie Lynn. "Does the Discipline of Ballet Give Its Serious Students Transferability Into High Academic Achievement?" University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337007363.
Pełny tekst źródłaLawler, Dwayne P. "De-Domesticating the Actor: Applying Ankoku Butoh's Training Process of De-domestication to Develop Presence in Western Actor Training through Experiences of Awareness, Discipline and Energy". Thesis, Griffith University, 2021. http://hdl.handle.net/10072/404471.
Pełny tekst źródłaThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Hum, Lang & Soc Sc
Arts, Education and Law
Full Text
MORTILLARO, MARIA CATERINA. "Il Bharatanatyam cristiano: Una forma d'inculturazione del cristianesimo attraverso la danza-teatro indiana". Doctoral thesis, Università degli Studi di Milano-Bicocca, 2016. http://hdl.handle.net/10281/102550.
Pełny tekst źródłaIndian dance Bharatanatyam is only one of the eight styles of Indian classical dance officially recognized by the government. Even if it comes from the region of Tamil Nadu, after its reformation in the Thirties, it spread all over the subcontinent and is practiced also in Sri Lanka, in the Mauritius and wherever there is an Indian community. In fact it is a symbol of Indian identity. In the Natyashastra, one the most important and ancient theoretical texts on this topic, it is written that god Brahma originally imparted the science of gesticulation and dance so that knowledge of Vedas could be accessible to all the castes. Depicting all the human passions, even the negative ones, and representing myths, it has the power to educate and to make men better as much as prayer, fasting and rituals. Although, in the course of centuries, it has lost part of its spiritual inspiration and has been corrupted in the eyes of Indian people – in 1947 the Supreme Court of Madras approved a law that prohibited the execution of danced rituals in the temples, relegating them to the theatres- it has maintained its religious meaning. In fact, subjects of dances are taken from the Hindu epics, such as Mahabharata and Ramayana. Every show has to begin with a prayer to Ganesh, and there has to be a dance dedicated to Shiva Nataraja, Lord of Dance. The problem related to the specific language of Bharatanatyam and its translation into another religion is an issue of great interest. It is necessary to learn an ancient and complex code and to adapt it to a new spirituality. Bharatanatyam, in fact, does not use only the expressions of the face and the movements of the body, but utilizes positions of the hands called mudras or hastas, which are similar to language of signs of the dumb. We have about fifty-two hastas, but it is possible to add other mudras from other styles of dance and some that are borrowed from medical or religious fields. The problem is that for every hasta there is a list of meanings, determined by their position in the space, movement, orientation, context. Only those who are trained can understand this complex language and this makes it hard the communication with the audience. About thirty years ago when Fr. Francis Barboza decided to systematically adapt Bharatanatyam to Christianity, first of all he created new deva hastas, particular gestures that are unequivocally dedicated to a specific god or religious concept. His method is based on the combination of traditional gestures with profound theological concepts. Today, many Christian dancers utilize his “creations”, but I found that in India other dancers depict the same concepts with different movements and gestures or use deva hastas created by Barboza without knowing their exact meaning. This attempt of inculturation poses many problems also at the theological and cultural level. Even if there are not explicit approvals or formal prohibitions by the Vatican on the introduction of Bharatanatyam into the liturgy, theologians and dancers – some are part of the clergy – continue the experimentation making effective transformations, and nowadays Christian Indian dance is practiced both in India and in the West, mainly in paraliturgical situations. On one hand, these innovators take inspiration from the Vatican II, which promotes inculturation of the evangelic message; on the other hand, the innovators support a political claim and highlight dynamics of power, which exist between the centre represented by the Roman Catholic Church or the centres, that is to say the institutes where the experimentations take place, and the periphery or the peripheries. Baharatanatyam has also a great importance for the problem of castes. Since it is considered a Brahmin’s form of art, it is considered as a potent mean to socially promote the Untouchables, but it ends to a sort of “brahminization” of Christianity.
AIMO, LAURA. "Mimesi della natura e ballet d'action: per un'estetica della danza teatrale (1751 - 1785)". Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1067.
Pełny tekst źródłaA research that aims at examining the theatrical dance in the XVIII century is bound to face a problematic crux: the research object is not anymore. Some traces have remained, namely, a series of various materials able to show the causality of the cause – the vacant object – but not its form. The survey starts from the revolutionary works by G. Angiolini and J.G. Noverre and goes through different philosophicals texts of authors who were interested in the status of the gesture; it questions the bunch of effects which overcame the ballet d’action in order to look into the dance as a form of art and knowledge within the wider system of representation. Particularly, the research wants to show as the negative sign which marks this discipline and the XVIII critical debate on it has to be referred to the essential expressive nature of the gesture which led to a progressive shifting of the classic paradigm of the mimesis of nature from being “imitative-reproductive” to become “expressive-creative”
AIMO, LAURA. "Mimesi della natura e ballet d'action: per un'estetica della danza teatrale (1751 - 1785)". Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1067.
Pełny tekst źródłaA research that aims at examining the theatrical dance in the XVIII century is bound to face a problematic crux: the research object is not anymore. Some traces have remained, namely, a series of various materials able to show the causality of the cause – the vacant object – but not its form. The survey starts from the revolutionary works by G. Angiolini and J.G. Noverre and goes through different philosophicals texts of authors who were interested in the status of the gesture; it questions the bunch of effects which overcame the ballet d’action in order to look into the dance as a form of art and knowledge within the wider system of representation. Particularly, the research wants to show as the negative sign which marks this discipline and the XVIII critical debate on it has to be referred to the essential expressive nature of the gesture which led to a progressive shifting of the classic paradigm of the mimesis of nature from being “imitative-reproductive” to become “expressive-creative”
Książki na temat "Dance (discipline)"
Jordan, Stephanie. Dancing back: Current debates and the discipline. London: Roehampton Institute, 1995.
Znajdź pełny tekst źródłaGrau, Andrée, i Georgiana Wierre-Gore. Anthropologie de la danse: Genèse et construction d'une discipline. Pantin: Centre national de la danse, 2005.
Znajdź pełny tekst źródłaKenzie, Robert J. Mac. Setting limits in the classroom: How to move beyond the classroom dance of discipline. Rocklin, CA: Prima Pub., 1996.
Znajdź pełny tekst źródłaKenzie, Robert J. Mac. Setting limits in the classroom: How to move beyond the dance of discipline in today's classrooms. Wyd. 2. Roseville, Calif: Prima Pub., 2003.
Znajdź pełny tekst źródłaAdamson, Rosalind Cara. A study into methods by advisers and primary co-ordinators in order to acquire and disseminate skills and knowledge in music and dance as a combined arts discipline. [Guildford]: [University of Surrey], 1995.
Znajdź pełny tekst źródłaGiambrone, Roberto. Follia e disciplina: Lo spettacolo dell'isteria. Milano: Mimesis, 2014.
Znajdź pełny tekst źródłaCecilia, Nocilli, i Pontremoli Alessandro, red. La disciplina coreologica in Europa: Problemi e prospettive. Roma: Aracne, 2010.
Znajdź pełny tekst źródłaThe rhetorical act. Wyd. 2. Belmont, Calif: Wadsworth Pub. Co., 1996.
Znajdź pełny tekst źródłaSchultz, Huxman Susan, red. The rhetorical act: Thinking, speaking, and writing critically. Wyd. 3. Belmont, CA, USA: Thomson/Wadsworth, 2003.
Znajdź pełny tekst źródłaLombardi, Elena. The syntax of desire: Language and love in Augustine, the Modistae, Dante. Toronto: University of Toronto Press, 2007.
Znajdź pełny tekst źródłaCzęści książek na temat "Dance (discipline)"
Carter, Alexandra. "Destabilising the discipline". W Rethinking Dance History, 114–22. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, 2017. | Revised edition of: Rethinking dance history : a reader / edited by Alexandra Carter. 2004.: Routledge, 2017. http://dx.doi.org/10.4324/9781315544854-11.
Pełny tekst źródłaWong, Yutian. "Discipline and Asian American Dance". W Choreography and Corporeality, 225–45. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-54653-1_14.
Pełny tekst źródłaCandelario, Rosemary, i Matthew Henley. "Introduction to Dance Research beyond Disciplines". W Dance Research Methodologies, 365–67. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003145615-30.
Pełny tekst źródłaHouliston, Victor. "Releasing the Prisoners of Hope: Dante’s Purgatorio Breaks the Chains of the Born Frees". W Studi e saggi, 117–29. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-458-8.07.
Pełny tekst źródłaDickason, Kathryn. "Discipline and Redemption". W Ringleaders of Redemption, 105–40. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197527276.003.0005.
Pełny tekst źródłaRavelhofer, Barbara. "Discipline or Pleasure?" W The Early Stuart Masque, 97–122. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780199286591.003.0005.
Pełny tekst źródłaRuprecht, Lucia. "Towards Discursive Discipline: Dance beyond Metaphor in Critical Writing". W In(ter)discipline, 199–210. Routledge, 2017. http://dx.doi.org/10.4324/9781351195195-19.
Pełny tekst źródłaAyu Trisnawati, Ida. "The Light Penetrates Silence: Kolok Dance Study in Bengkala Village, Buleleng, Bali". W Creativity - A Force to Innovation [Working Title]. IntechOpen, 2020. http://dx.doi.org/10.5772/intechopen.94397.
Pełny tekst źródłaRoebert, Donovan. "Classical Indian Dance as a Discipline of Thought". W Essays on Classical Indian Dance, 37–41. Jenny Stanford Publishing, 2021. http://dx.doi.org/10.1201/9781003121138-7.
Pełny tekst źródłaBooth, Eric. "Teaching Artists in the Arts Learning Ecosystem". W The Music Teaching Artist’s Bible, 18–25. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195368390.003.0002.
Pełny tekst źródłaStreszczenia konferencji na temat "Dance (discipline)"
Савостьянов, Александр Иванович, i Татьяна Николаевна Мацаренко. "METHODOLOGY OF TEACHING THE DISCIPLINE "DANCE" AT THE ACTOR'S DEPARTMENTS OF THEATER UNIVERSITIES". W Science. Research. Practice (Наука. Исследования. Практика): сборник статей международной научной конференции (Санкт-Петербург, Октябрь 2022). Crossref, 2022. http://dx.doi.org/10.37539/221026.2022.69.42.002.
Pełny tekst źródłaGantchevа, Giurka. "DYNAMICS IN THE DIFFICULTY IN RHYTHMIC GYMNASTICS COMPETITIVE ROUTINES". W INTERNATIONAL SCIENTIFIC CONGRESS “APPLIED SPORTS SCIENCES”. Scientific Publishing House NSA Press, 2022. http://dx.doi.org/10.37393/icass2022/72.
Pełny tekst źródłaBELLEAU, Sylvie. "The Otherness through Le rêve d’Urmila (Urmila’s Dream), an Interdisciplinary and Intercultural Research Creation Doctoral Project through Natyashastra". W The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0016.
Pełny tekst źródłaTALPĂ, Svetlana. "The importance of noting dance on paper as a particular method of teaching-learning-evaluation of dance disciplines". W Probleme ale ştiinţelor socioumanistice şi ale modernizării învăţământului. "Ion Creanga" State Pedagogical University, 2022. http://dx.doi.org/10.46728/c.v2.25-03-2022.p155-159.
Pełny tekst źródłaHale, Mary E. "Tactics for Collaboration Across and Within Disciplines". W 111th ACSA Annual Meeting Proceedings. ACSA Press, 2023. http://dx.doi.org/10.35483/acsa.am.111.44.
Pełny tekst źródłaAryanto, Kadek Yota Ernanda, I. Nengah Suandi, I. Wayan Mudana, Ni Luh Partami i I. Made Bandem. "The Development of Android-Based Balinese Dance Dictionary". W Proceedings of the 3rd International Conference on Innovative Research Across Disciplines (ICIRAD 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200115.031.
Pełny tekst źródłaMihaiu, Costinel, i Monica Gulap. "STUDY ON THE EFFICIENCY OF USING A WEB APPLICATION IN LEARNING THE DANCE TECHNIQUE, BY THE STUDENTS OF THE UNIVERSITY OF BUCHAREST". W eLSE 2016. Carol I National Defence University Publishing House, 2016. http://dx.doi.org/10.12753/2066-026x-16-226.
Pełny tekst źródłaSiswantari, Heni, i Mira Setia Wati. "Dance Learning for Children with Moderate Mental Retardation at the Pembina State Special Education School of Yogyakarta". W Proceedings of the 3rd International Conference on Innovative Research Across Disciplines (ICIRAD 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200115.063.
Pełny tekst źródłaDevadoss, Satyan, i Shannon Starkey. "Flexing on Topology, or, Contrapposto Architecture". W 109th ACSA Annual Meeting Proceedings. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.am.109.48.
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