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Bibliografias temáticas / Danse postmoderne

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Literatura científica selecionada sobre o tema "Danse postmoderne"

Autor: Grafiati

Publicado: 31 de agosto de 2024

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Artigos de revistas sobre o assunto "Danse postmoderne"

1

Bernard, Michel, e Véronique Fabbri. "Généalogie et pouvoir d'un discours : de l'usage des catégories, moderne, postmoderne, contemporain, à propos de la danse". Rue Descartes 44, n.º 2 (2004): 21. http://dx.doi.org/10.3917/rdes.044.0021.

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Choi, Hangsub. "The Korean Wave: From Global Consumption to Global Creation". Sociétés 161, n.º 3 (6 de novembro de 2023): 137–45. http://dx.doi.org/10.3917/soc.161.0137.

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La vague coréenne, appelée "Hallyu", connaît une popularité croissante à l'échelle mondiale. Des groupes de K-pop tels que BTS et Blackpink jouissent d'un succès sans précédent. Les passionnés de K-pop à travers le monde ne se limitent plus à partager et découvrir la K-pop ; ils se sont désormais appropriés ce genre musical en créant leurs propres contenus K-pop par le biais de reprises de danse. Cet acte créatif est devenu un moyen d'établir des connexions entre les fans, permettant le partage de leurs sentiments et émotions, et donnant naissance à une « tribu postmoderne ».Les dramas et les films coréens sont aussi adaptés à l'international via un processus de licence, donnant lieu à de nouvelles formes de contenu culturel créatif. L'engagement global dans la création de webtoons coréens s'est amplifié, dépassant le simple acte de consommation. La contribution des artistes locaux à la création de contenus liés à la Hallyu est essentielle. Elle favorise non seulement le respect de diverses cultures, mais elle promeut aussi la compréhension interculturelle. En résumé, la Hallyu n'est plus seulement une vague de consommation culturelle, elle est devenue une plateforme de création culturelle partagée.

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3

Alderson, Evan. "Dance and Postmodern Communities". Contemporary Theatre Review 6, n.º 4 (outubro de 1997): 63–74. http://dx.doi.org/10.1080/10486809708568436.

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4

Stanich, Veronica Dittman. "Turning the World Upside Down". Dance Research 36, n.º 2 (novembro de 2018): 198–223. http://dx.doi.org/10.3366/drs.2018.0238.

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A particular movement – inverting the body to a tail-over-head orientation and fleetingly taking weight on the hands – has been a staple of postmodern dance training and choreography since the early 1990s, yet it remains unnamed and uncodified. Taking a material culture studies approach, I examine this movement closely, using interviews, observation, historical analysis, and a survey of dance practitioners to situate this not-exactly-a-handstand within the field of American postmodern dance. These multiple perspectives yield new insights into the field, its practitioners, and its relationship to the larger cultural picture. I find embodied in this transitional, upside-down movement not only postmodern dance's countercultural and eclectic inheritance but also the conflicted cultural space it occupies. Postmodern dance is old enough to have a tradition, but doesn't want to relinquish its maverick identity; meanwhile, its meaning-making codes are inaccessible to much of the general public even as it begs a bigger audience in order to thrive.

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Giersdorf, Jens Richard. "Trio ACanonical". Dance Research Journal 41, n.º 2 (2009): 19–24. http://dx.doi.org/10.1017/s0149767700000620.

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Despite Yvonne Rainer's subversive refusal to stageTrio Aas a spectacle, to have it represent or narrate social structures, or to engage with the audience in a traditional manner, the landmarks of canonization have all been put upon it. The Banes-produced 1978 film of Rainer dancingTrio Awas recently exhibited while the dance was performed live simultaneously by Pat Catterson, Jimmy Robert, and Ian White at the Museum of Modern Art,theinstitution that determines what constitutes important modernist and contemporary art in the United States and, indeed, the Western world. In conjunction with Rainer's famousNO Manifesto, Trio Aappears in nearly every publication on so-called postmodern dance and art. Moreover, the key documentary on postmodern danceBeyond the Mainstream—containingTrio A—is screened in most dance history courses when postmodern dance is discussed. As a result, the choreography became not only a staple on syllabi in dance departments but also in disciplines such as gender studies, film and art history, or communications. Even Susan Au'sBallet and Modern Dance, a conservative historical text utilized in many dance history classes, definesTrio Aas “one of the most influential works in the modern dance repertoire” (Au 2002, 155).

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UCHIYAMA, Sumiko. "Semantics of dance for postmodern". Journal of the Philosophy of Sport and Physical Education 21, n.º 2 (1999): 1–9. http://dx.doi.org/10.9772/jpspe1979.21.2_1.

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7

Rosenthal, Sarah. "Postmodern Dance: A Feminist Lineage". American Book Review 40, n.º 4 (2019): 4–5. http://dx.doi.org/10.1353/abr.2019.0049.

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8

Banes, Sally, e Noël Carroll. "Cunningham, Balanchine, and Postmodern Dance". Dance Chronicle 29, n.º 1 (julho de 2006): 49–68. http://dx.doi.org/10.1080/01472520500538057.

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9

Volbea, Beatrice. "Contemporary Dance Between Modern and Postmodern". Theatrical Colloquia 8, n.º 1 (1 de maio de 2018): 307–15. http://dx.doi.org/10.2478/tco-2018-0011.

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Abstract As human beings and artists, what we produce, as well as our own selves, are visibly influenced by a complex ensemble of processes that take place around us and, in time, we can actually be regarded as their result. This evolutionary principle also applies to the role that body expression has in the wide specter of arts, including in dramatic dance and dramatic theatre. All along the XXth century and up until the first decade of the XXIst century, new performative genres have developed, for example, under the influence of political, social and cultural theories and philosophies. The result was the evolution of numerous alternative forms, supported by revolutionary theories in the dramatic field and by new approaches towards performance. Among these, we can find concepts like physical theatre, total theatre and dance theatre, all of them focusing on body expression. A notable aspect of these changes is the fact that they share the recurrent idea of a fusion between different artistic forms, incorporating dance, dramatic play and other theatrical elements in the creative processes and their outputs.

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Callens, Johan. "The Double Recursiveness of Postmodern Dance". PAJ: A Journal of Performance and Art 30, n.º 3 (setembro de 2008): 70–80. http://dx.doi.org/10.1162/pajj.2008.30.3.70.

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Teses / dissertações sobre o assunto "Danse postmoderne"

1

Oprea, Denisa-Adriana. "Une poétique du personnage dans cinq romans québécois contemporains au féminin (1980-2000) : métaféminisme et postmoderne". Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25096/25096.pdf.

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2

Forster, Lou. "Page à la main. ː : Lucinda Childs et les pratiques de danse lettrée". Electronic Thesis or Diss., Paris, EHESS, 2024. http://www.theses.fr/2024EHES0015.

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Lucinda Childs est une figure majeure de la danse au XXe siècle. Au début des années 1960, elle participe à la fondation du Judson Dance Theater, un collectif de danseurs, danseuses, chorégraphes, artistes et compositeurs qui renouvellent à New York les formes et les pratiques de la danse. Avec sa compagnie crée en 1973, elle devient l’une des cheffes de file de la danse minimale et de la danse postmoderne américaines, tout en collaborant à partir des années 1980 avec les plus importantes compagnies de ballet en Europe et aux États-Unis. Dans le processus de création, répétition et représentation que Childs met en œuvre seule, avec sa compagnie, ou des compagnies de répertoire, l’écriture et la lecture jouent un rôle déterminant pour concevoir et incorporer ses danses. Grâce à une enquête anthropologique au cœur des studios de danse, Lou Forster montre que le geste technique consistant à danser page à la main se construit à l’intersection de deux histoires parallèles. Au cours des années 1950, John Cage et Merce Cunningham inventent un ensemble de pratiques de lecture et d’écriture afin de s’opposer, détourner et reconfigurer des approches académiques dans lesquelles l’écrit constitue un support pour assoir des partages disciplinaires et des hiérarchies. Cette approche néo-avant-gardiste joue un rôle primordial au Judson ; et parmi les membres de ce groupe, Childs est l’une des chorégraphes qui se montrent la plus attentive à ces pratiques lettrées car elles rejoignent un aspect méconnu de sa formation de danseuse. En effet, elle étudie la danse moderne de 1955 à 1962 au sein de l’important réseau de la diaspora allemande de New York. Elle suit en particulier la formation dispensée dans l’école de la chorégraphe Hanya Holm (1893-1992) où est enseignée une forme américanisée de danse d’expression (Ausdruckstanz). Childs y découvre la cinétographie Laban ou Labanotation, le système d’analyse et d’écriture du mouvement développé par le chorégraphe austro-hongrois Rudolf Laban (1879-1958), dans lequel les danseurs et danseuses répètent page à la main. C’est vers cet événement de lecture atypique pour le monde de la danse que Childs se tourne quinze ans plus tard pour travailler avec sa compagnie. L’histoire de l’art et l’histoire de la danse ont dissocié ces deux versants des modernités chorégraphiques lorsqu’à partir de 1933 une partie de la danse d’expression se compromet avec le régime nazi. Aux États-Unis se construit alors le mythe d’une originalité de la danse moderne américaine, qui s’accentue encore dans le cadre de la guerre froide. La position privilégiée que Childs occupe dans cette histoire connectée la conduit à faire des pratiques graphiques une matrice du postmodernisme. À partir de 1973, elle aborde l’ensemble des techniques canoniques de la danse occidentale, passant au fil des années de la danse d’expression aux activités piétonnières, au ballet néoclassique puis baroque. Se positionnant comme une appropriationiste, elle développe une perspective historique et critique sur ces techniques d’emprunt. Dans ses pièces, elle tend ainsi à rassembler des genres et des histoires de la danse qui ont été séparées et disjointes, élaborant une véritable poétique de la relation
Lucinda Childs is a major figure in twentieth-century dance. In the early 1960s, she was one of the founding members of the Judson Dance Theater, a group of dancers, choreographers, artists and composers in New York City who reinvigorated dance forms and practices. With the establishment of her company in 1973, she emerged as one of the leading figures of American minimal dance and postmodern dance, while collaborating from the 1980s onward with major ballet companies in Europe and the United States. Whether with her own company, with repertory dance companies, or at Judson, literacy plays a crucial role in the conceiving, embodying, and performing of her dances. Through an anthropological investigation within dance studios, Lou Forster demonstrates that the technical gesture of dancing, page in hand, is constructed at the intersection of two parallel histories. In the 1950s, John Cage and Merce Cunningham devised a range of reading and writing practices in order to oppose, divert and reconfigure academic methods in which literacy serves as a foundation to establish disciplinary divisions and hierarchies. This neo-avant-garde approach played a crucial role at Judson. Among the members of this group, Childs was one of the choreographers who paid the most attention to these literacy practices, as they tied in with a lesser-known aspect of her dance training. From 1955 to 1962, she studied modern dance within the extensive network of the German diaspora in New York. Specifically, she attended the school run by the choreographer Hanya Holm (1893-1992), where an Americanised form of dance of expression (Ausdruckstanz) was taught. There Childs discovered Kinetography Laban or Labanotation, the system of analysing and writing movement developed by the Austro-Hungarian choreographer Rudolf Laban (1879-1958), in which dancers rehearse with page in hand. Fifteen years later she turned toward this literacy event, unusual for the dance world, to work with her company. Art history and dance history dissociated these two aspects of choreographic modernity when, from 1933, part of the dance of expression became involved with the Nazi regime. In the United States, the myth of the originality of American Modern dance began to take shape, further emphasized during the Cold War. Childs' unique position in this connected history meant that graphic practices became a matrix for postmodernism. Since 1973, she embraced all canonical techniques of Western dance, moving over the years from dance of expression to pedestrian activities, to Neoclassical and then to the Baroque. Positioning herself as an appropriationist, she developed a historical and critical perspective on these borrowed techniques. In her pieces, she seeks to bring together practices, genres and histories of dance that have been separated and disjointed, crafting a genuine poetics of relation

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3

Fleischle-Braun, Claudia. "Der Moderne Tanz : Geschichte und Vermittlungskonzepte /". Butzbach-Griedel : Afra, 2001. http://catalogue.bnf.fr/ark:/12148/cb389105358.

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4

Mbanda, Bakolosso Davy Gildas. "Ecriture et barbarie postmoderne. Lecture poétique de la disgrâce dans « Disgrace » et « Waiting for the Barbarians » de J.M. Coetzee, « Les Ecailles du ciel » et « L’Aîné des orphelins » de Tierno Monénembo et « L’Aube » et « Le cas Sonderberg » d’Elie Wiesel". Thesis, Paris Est, 2014. http://www.theses.fr/2014PEST0033.

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Cette thèse porte sur l’impuissance de l’ambition littéraire à transcrire fidèlement la barbarie absolue. A partir de la poétique de la disgrâce, elle interroge d’abord le rapport entre écriture et expérience extrême puis, met en exergue les stratégies narratives régissant les récits qui tentent une littérarisation d’expériences jugées indicibles. Elle est ensuite une réflexion sur le statut même de la littérature contemporaine. L’analyse poétique conduit à affirmer dans une première partie que les récits de la catastrophe sont construits autour d’un dilemme : l’indicible, fondé sur l’impuissance du langage rationnel à la nommer, et la nécessité malgré tout de dépasser les frontières de « l’impossible à dire ». Et c’est le renversement de l’écriture de la disgrâce en disgrâce de l’écriture comme procédé esthétique qui permet ce dépassement. La deuxième partie permet de constater la récurrence de certains invariants se présentant comme éléments pertinents de littérarité. C’est notamment le cas du recours à la désacralisation de l’écriture. Celle-ci engendre une littérature du vide, de l’incertitude. C’est ensuite la notion de fragmentation du sujet qui place véritablement nos œuvres tantôt dans la littérature postmoderne occidentale ou bien dans littérature de la postcolonie africaine
This thesis deals with the unability of literary ambition to faithfully transcribe absolute barbarism. Using the poetics of disgrace, it questions the relationship between writing and extreme experience on the one hand, and brings out the narrative strategies governing the stories attempting a novelization of experiences judged unspeakable on the other. It is then a reflection on the very status of contemporary literature.The poetic analysis leads us to affirm in a first part that tales of catastrophe are built on a dilemma: the unspeakable; based on the powerlessness of rational language to name it and the necessity, despite it all, to transcend the frontiers of the “impossible to say”. And it is the reversal of the writing of disgrace into the disgrace of writing as an aesthetical means which allows this transcendence. The second part allows us to see the recurrence of some invariants presenting themselves as pertinent elements of writing. This engenders a literature of the void, of uncertainty. It is then the notion of the subject’s fragmentation which truly places our works either in western postmodern literature or in African postcolonial literature

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Stanich, Veronica Dittman. "Poetics and Perception: Making Sense of Postmodern Dance". The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1402089308.

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Mathews, Rachel A. "Postmodern Theory and the Choreography of Michael Clark". Thesis, University of Surrey, 1992. https://eprints.qut.edu.au/74785/6/Postmodern%20Theory%20and%20the%20Choreography%20of%20Michael%20Clark_Mathews_1992.pdf.

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This study addresses two interrelated questions: Can postmodern ‘theory’ illuminate an understanding of Michael Clark’s work? and, a sub-question, In which ways, if at all, does Clark’s work demonstrate a postmodern sensibility? Chapter one, the introduction to this study, provides a ‘portrait’ of postmodernism, that is, it addresses the question What is postmodernism? Chapter two is a biography of Michael Clark. The seminal sections to this study, however, are chapters three and four. Here the author blends a discussion of a) subject matter, treatment and meanings in Clark’s choreography, b) journalistic criticisms of those features of his work, and c) postmodern theory. The outcome of these chapters is to demonstrate that Clark’s works do indeed require re-interpretation and re-evaluation, and to illustrate how these factors might be achieved.

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Griffiths, Carolyn Margaret. "Tracing image and bodily displacement in modern and postmodern dance". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2000. https://ro.ecu.edu.au/theses/1362.

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Through time the dancer has been both celebrated and disadvantaged by antithetical ideas: the division of soul and body, form and matter, life and death, artist and audience. For the romantics, the dancing body stood in a relationship to poetic thought in much the same way as the dancer stood to the body. Notions of the body in early modernism arose from cultural and political constructs through which poets and writers examined the nature of truth. These poets, Yeats in particular, hinted at a premise that a whole history of culture may be necessary to explain why women and art may not be considered as 'thinking bodies'. The notion of truth and of the female dancing form became bound up in the idea of the symbol of art, beauty and truth. Contemporary dance forms have evolved in various movements which either celebrated and lauded or rejected and satirised the dancer and the dancing image. Either way, the cultural and political movements of the twentieth century have bequeathed a residue of impressions surrounding bodily image. The current processes employed in today's dance practice, all of which contour the scope and diversity of contemporary dance, are couched in the multifaceted presence of postmodernism. Alongside such constructs is the fact that the twentieth century has been centred in the desire to 'create an image' and a subsequent preoccupation whole bodily image. But there are also many other channels through which the idea and use of image in postmodern dance are expressed. For instance, postmodern artists orchestrate and play with the idea of image to deconstruct forms, to lay bare the object of the dance process and in so doing, they disrupt, fragment and question established precepts and perceptions of culture. Postmodern theorists and artists also examine the literary, cultural and philosophical phenomena of politics, technology, identity and change. An examination of postmodern treatment of imagery can illuminate some of the particular processes by which choreographers explore ideas and incorporate them into their work. Postmodern dance can produce positive images for women and illuminate the conditions of men and women in defiance of the dominant constructions of gender and the hegemonic views of existence working in our culture. Gendered constructions in modernist dance forms have effected the evolution of body image whilst postmodern dance offers a complexity that 'deconstructs' these images.

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Monten, Joshua Lee. ""Something old, something new, something borrowed...": eclecticism in postmodern dance". The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407405704.

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Derzi, Carla de Abreu Machado. "L'incroyance en l'Autre dans le monde postmoderne". Paris 8, 2009. http://octaviana.fr/document/143286099#?c=0&m=0&s=0&cv=0.

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L'incroyance en l'Autre dans le monde postmoderne, établit une comparaison entre la croyance en l'Autre à l'époque moderne et l'incroyance à notre époque, le monde postmoderne. Ce parcours a été construit à partir de prémisses philosophiques qui nous ont amenés à constater, sous le regard de la lecture psychanalytique, la défaillance de la fonction paternelle à l'époque postmoderne. Dans ce sens, on arrive au domaine de la psychanalyse visant à poser les fondements de l'incroyance autant du point de vue de la structure que de ses effets dans la clinique d'aujourd’hui. On pense illustrer ainsi les effets de l'incroyance en l'Autre à partir de la dépression, de la jouissance déboussolée, de l'angoisse, et autres manifestations cliniques sans mépriser les structures psychiques. Il devient nécessaire, alors, de penser à de nouvelles stratégies cliniques pour opérer face à l'incroyance en l'Autre, dès lors qu'on affirme que dans le parcours d'une analyse la croyance est fondamentale
In thesis, disbelief in the Other in the post modern world establishes a comparison between belief in the Other in the modern age and disbelief in our age, the postmodern world. This path has been built based on philosophical premises that lead us to ascertain, from the psychoanalytical view, the fainting of the paternal figure in the postmodern age. In this sense, we reach psychoanalysis domination, making evident the need to give fundaments to disbelief either from the structure point of view or from the standpoint of its effects on today’s clinic. The effects of disbelief in the Other are so illustrated born of depression, of the out of focus delight, of anguish and other clinical manifestations, with no disregard for the psychic structures. It becomes then necessary to think of new strategies to operate in face of the disbelief in the Other since it is said that in the analysis process belief is fundamental

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Serrus, Charlotte. "Glissades : instabilité, indistinction et postures humoristiques à l'ère dite postmoderne". Aix-Marseille 1, 2010. http://www.theses.fr/2010AIX10073.

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En écho à ma propre pratique sculpturale, la présente étude s'articule autour de la figure de la glissade dans ses multiples acceptions, depuis le gag burlesque le plus éculé jusqu'aux glissements de sens dont témoignent les déviations humoristiques. Cette notion, loin de constituer un concept clos et autonome, se dote ici d'une ambiguïté et d'une irrésolution constitutives. Le constat parallèle d'une prégnance des formes fluides et souples dans l'imaginaire capitaliste contemporain, de l'instabilité chronique qui semble caractériser l'espace théorique et plastique dit postmoderne, nous invite à interroger les modalités d'une pratique artistique et humoristique en milieu glissant. En regard de plusieurs œuvres des années 1990-2000 faisant appel à des médiums divers, il s'agit, au cas par cas, de dégager les enjeux formels et critiques que soulève une telle posture mouvante. Les contrées savonneuses ouvrent enfin une latence particulière où imaginaire rime avec humide, où le méandre des parcours offre partout son indétermination. L'erratique y devient un précieux réservoir de possibles

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Mais fontes

Livros sobre o assunto "Danse postmoderne"

1

Midol, Nancy. La démiurgie dans les sports et la danse: Consciences traditionnelle, moderne et postmoderne. Paris: L'Harmattan, 1995.

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2

Ilkjær, Marianne Olsson. Postmodernismen i dansk arkitektur: International baggrund, dansk debat og praksis. [København: Byggeriets studiearkiv, 1987.

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3

Flemming, Skude, e Petersen Erik Werner, eds. Den Danske debat om postmodernisme. Kbh. [i.e. Copenhagen]: Byggeriets studiearkiv, BSA, 1985.

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4

Louis, Murray. Murray Louis on dance. Chicago, IL: A Cappella Books, 1992.

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5

Portzamparc, Christian de. De la danse: Ecole du ballet de l'Opéra de Paris à Nanterre. Paris: Editions du Demi-Cercle, 1990.

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6

Tampini, Marina. Cuerpo e ideas en danza: Una mirada sobre el Contact improvisation. Buenos Aires: IUNA, Instituto Universitario Nacional de Arte, 2012.

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7

Louis, Murray. Murray Louis ondance. Chicago, IL: A Cappella Books, 1992.

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8

Silva, Eliana Rodrigues. Dança e pós-modernidade. Salvador: EDUFBA, 2004.

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9

Klein, Susan Blakeley. Ankoku Butō: The premodern and postmodern influences on the dance of Utter Darkness. Ithaca, N.Y: East Asia Program, Cornell University, 1988.

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10

Alison, Lee. Realism and power: Postmodern British fiction. London: Routledge, 1990.

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Mais fontes

Capítulos de livros sobre o assunto "Danse postmoderne"

1

Novaković, Jelena. "Les références mythologiques dans le postmodernisme". In Les Migrations postmodernes: Le Canada = Postmodern Migrations: Canada, 131–41. Beograd: Univerzitet u Beogradu, Filološki fakultet, Srpska asocijacija za kanadske studije, 2021. http://dx.doi.org/10.18485/asec_sacs.2021.9.ch8.

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2

Andrei, Carmen. "Voix (non)fictionnelles dans l’ancrage de l’Histoire". In Les Migrations postmodernes: Le Canada = Postmodern Migrations: Canada, 239–52. Beograd: Univerzitet u Beogradu, Filološki fakultet, Srpska asocijacija za kanadske studije, 2021. http://dx.doi.org/10.18485/asec_sacs.2021.9.ch17.

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Popović, Diana. "La langue et la quête d’identité dans La Québécoite de Régine Robin". In Les Migrations postmodernes: Le Canada = Postmodern Migrations: Canada, 291–300. Beograd: Univerzitet u Beogradu, Filološki fakultet, Srpska asocijacija za kanadske studije, 2021. http://dx.doi.org/10.18485/asec_sacs.2021.9.ch21.

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Prada, Georgeta Elena. "Les métamorphoses de l’enfant en exil dans Visage retrouvé de Mouawad Wajdi". In Les Migrations postmodernes: Le Canada = Postmodern Migrations: Canada, 205–16. Beograd: Univerzitet u Beogradu, Filološki fakultet, Srpska asocijacija za kanadske studije, 2021. http://dx.doi.org/10.18485/asec_sacs.2021.9.ch14.

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Voldřichová Beránková, Eva. "L’Amérique de deux Éric: Diverses approches du postmoderne dans les œuvres plamondoniennes et dupontiennes". In Les Migrations postmodernes: Le Canada = Postmodern Migrations: Canada, 143–50. Beograd: Univerzitet u Beogradu, Filološki fakultet, Srpska asocijacija za kanadske studije, 2021. http://dx.doi.org/10.18485/asec_sacs.2021.9.ch9.

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Banes, Sally. "2.4 Postmodern Dance". In Comparative History of Literatures in European Languages, 151. Amsterdam: John Benjamins Publishing Company, 1997. http://dx.doi.org/10.1075/chlel.xi.15ban.

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Bonolas, Philippe P. "Portée et sens de la recréation mémorielle dans l’œuvre de Françoise Enguehard L’Île-aux-Chiens". In Les Migrations postmodernes: Le Canada = Postmodern Migrations: Canada, 229–38. Beograd: Univerzitet u Beogradu, Filološki fakultet, Srpska asocijacija za kanadske studije, 2021. http://dx.doi.org/10.18485/asec_sacs.2021.9.ch16.

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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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Adair, Christy. "We say no — postmodern dance". In Women And Dance, 139–59. London: Macmillan Education UK, 1992. http://dx.doi.org/10.1007/978-1-349-22374-9_8.

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Dodds, Sherril. "Postmodern Dance Strategies on Television". In Dance on Screen, 95–125. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230509580_4.

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