Literatura científica selecionada sobre o tema "Douglas Crimp"

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

Guy Hocquenghem´s essay »Homosexual Desire« »may well be the first example of what we now call queer theory,« wrote Douglas Crimp on the back-cover blurb of a new US edition of this book. The French activist and theorist, journalist and novelist lived from 1946 to 1988 and helped shape the history of the radical gay movement in the 1970s and 1980s, not only of his country, but also of the old Federal Republic. While the interest in Hocquenghem is growing again in France and the US, he is largely ignored today in the German-speaking world. But reading him is worthwhile, because he offers perspectives for thinking about sexual orientation not as something rigid but »open« and in process – something »musical«, that is: A sound also occurs only when it exhausts its entire amplitude. In 2018, fifty years after the so-called sexual revolution and on the thirtieth anniversary of the death of Guy Hocquenghem, the authors of the present volume undertake to bring current queer critiques of identity and racism to an exchange with this thinker. With contributions by Guy Hocquenghem (translated by Salih Alexander Wolter), Rüdiger Lautmann, Norbert Reck and Heinz-Jürgen Voß.

Abstract The man and the moment came together in the aftermath of the General Election in June 1987. While the interrupted Criminal Justice Bill resumed its progress towards the statute book; while the committees and inquiries listed in the last chapter were busy garnering evidence; the Home Secretary stood back and took stock. Douglas Hurd had already been Home Secretary for nearly two years. Coming to the Home Office from the thankless assignment of Northern Ireland Secretary, his first Cabinet post, he had spent fifteen months’ apprenticeship as a Minister of State at the Home Office between 1983 and 1984. With the uncertainties of the General Election and the formation of the new Government behind him, it was a pensive man who returned to his room in Queen Anne’s Gate on 11 June to study the comprehensive brief drawn up by the Permanent Under-Secretary for incoming ministers after each Election.

The problems posed by the time-lag of a Thatcherite response to crime are well conveyed by Farrall and Jennings. Neo-liberal policies fuelled, and neo-conservative rhetoric narrowed the blame for steadily, then steeply, rising crime rates throughout the 1980s. But actual criminal justice policies were on balance a liberal-minded pursuit of community rather than penal measures by Home Secretaries, especially Douglas Hurd, who were left alone to ‘get on with it’. More emphasis is needed on the extent to which Labour’s disarray allowed the breathing space for decarcerationist policies to be developed by Home Office custodians of a liberal approach, along with Labour berating the government, not for being ‘soft on crime’, but for not pursuing penal moderation more vigorously. Following Labour’s fourth successive electoral defeat, in 1992, the Thatcherite U-turn towards more punitive policies was, if anything, sparked by Tony Blair’s Clintonesque rebranding of ‘New’ Labour as ‘tough on crime’.

This essay presents the building blocks for a theoretical framework to address the question ‘what works in the prevention of corporate and occupational crime?’, arguing that the EU provides a promising environment to test and further develop such a framework. The essay starts with the presentation of two common classifications to map variation in corporate and occupational crime prevention: a classification of approaches to ethics management at organizational level and a classification of approaches to regulation at industry level. It argues that a more generic classification drawn from grid-group cultural theory (originally developed by Mary Douglas) is more fruitful. It then shows how grid-group cultural theory, combined with the conceptual framework of Pawson and Tilly’s realist evaluation, offers the building blocks of a theoretical framework that could guide research on the impact of efforts to prevent corporate and occupational crime. The paper concludes with some designs for empirical research within the EU to test and further develop the proposed theoretical framework.

A good public space must be accommodative for everyone including the marginal, the forgotten, the silent, and an undesirable people. With the process of development, the city leaves behind the marginalized section of the society especially urban poor, who constitute about 20-30 percent of the urban population and are majorly involved in informal settlement like congested housing typologies and informal economy in which they face the everyday social, physical and economic exclusion. Thus, the informal sector and the marginalized becomes the forgotten elements in urban space. ‘Cities for the Citizen’ a slogan described by Douglas address the same issues of democratization, multicultural/gender difference between humans. Though these people have strong characteristics and share a unique pattern and enhances the movement in the city which makes a city a dynamic entity. The lack of opportunities and participation to such section leaves the city divided and generates the negative impacts in the mind of victims which further leads to degradation of their mental health and city life because of their involvement in crime, unemployment, illiteracy and unwanted areas. The physical, social, cultural and economic aspects of space should accommodate the essential requirements for the forgotten and provide them with inclusive public environment. It is very necessary that they generate the association and attachment to the place of their habitation. We can easily summarize that the city which used to be very dynamic and energetic is now facing the extreme silence in the present pandemic times. The same people are returning back to their homes after facing the similar problems of marginalization and exclusion even during hard times where they had no place to cover their heads. So, we have to find the way in which they can be put into consideration and make them more inclusive and self-sustaining. With the economic stability, social stability is also equally necessary for the overall development of an individual. So, the paper tries to focus upon the idea of self-sustaining livelihood and social urbanism which talks about development of cities aiming to the social benefit and upliftment of their citizen. The social urbanism strategy in any project tries to inject investment into targeted areas in a way that cultivates civic pride, participation, and greater social impact. Thus, making the cities inclusive and interactive for all the development. The paper will tries to see such spaces as a potential investment in term of city’s finances and spaces to generate a spatial & development toolkit for making them inclusive by improving the interface of social infrastructure.