Thesis (Ph. D.)--Columbia University, 1936. / Published also without thesis note. "Books used in this study": p. 199-207.

Thesis (M.S.)--University of Michigan, 1980.

Thesis (Psy. D.)--Wheaton College Graduate School, Wheaton, IL, 2003. / Abstract. Includes bibliographical references (leaves 42-45).

Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 1991. / Includes abstract and vita. Includes bibliographical references (leaves 164-170).

Thesis (M.S.)--University of Michigan, 1980.

Thesis (Psy. D.)--Wheaton College Graduate School, 2003. / Abstract. Includes bibliographical references (leaves 42-45).

Thesis (Ph. D.)--University of North Carolina at Greensboro, 2005. / Title from PDF title page screen. Includes bibliographical references (p. 172-186)

Thesis (Psy. D.)--Wheaton College Graduate School, Wheaton, IL, 2003. / Abstract. Includes bibliographical references (leaves 42-45).

Objet d'histoire à part entière, la danse est un « fait social total » à l'interface du corps et de l'esprit de l'individuel et du collectif : du féminin et du masculin, du religieux et du profane, du technique et du spontané. Au XVe siècle, Domenico da Piacenza, Antonio Comazzano et Guglielmo Ebreo da Pesaro, incarnent l'émergence d'une nouvelle figure intellectuelle, artistique et technique, celle du maître à danser, élevant la danse au rang d'art libéral. Ils construisent l'esthétique d'une danse noble en opposition à celle des danses dites populaires établissant des normes à la fois artistiques, sociales et genrées, conformes à la morale de la cour et répondant aux anathèmes religieux. La danse, vecteur d'une idéologie de cour et d'une communication entre les cours et la société, est tout autant instrument d'une évolution des disciplines du corps, voire d'une thérapeutique fondée sur l'harmonie du corps et de l'esprit. Les fondements philosophiques, techniques et pédagogiques de la danse noble s'inscrivent dans la culture des cours italiennes de la fin du Moyen Age et créent un nouveau langage du corps en mouvement, s'inscrivant de manière novatrice dans de la culture humaniste de l'époque. Une lecture attentive des sources (littéraires, iconographiques théâtrales, et musicales...) rend visible ce qui est apparemment invisible, voire caché et permet de comprendre, interpréter et restituer la richesse de l'activité chorégraphique d'une époque. Il ne s'agit pas d'histoire de la danse, mais de danse dans l'histoire de révéler un aspect de la civilisation de la fin du Moyen Age, également par tout ce que le corps en mouvement est capable de nous révéler. / Dance, a fully historical subject, is a 'total social fact' at the interface between body and soul, between individual and collective, feminine and masculine, religions and profane, and between technique and spontaneity. In the fifteenth century, Domenico da Piacenza, Antonio Cornazzano and Guglielmo Ebreo da Pesaro represent the rise a new intellectual, artistic and technical figure, that of the master of dance, thus promoting dance as a liberal art. The construct the aesthetics of a noble dance in opposition to those of the so-called popular dances, by creating artistic as we as social and gender norms in conformity with courtly ethics, and by offering a response to religious anathemas. Dance vector of a courtly ideology and a communication between courts and society, remains the instrument of evolving corporeal disciplines, and even a therapy founded on conceptual harmony between body and soul. The philosophical technical and pedagogical foundations of noble dance are inscribed in the culture of Italian courts from the end of the Middle Ages and create a new language of the moving body, innovating it and making it part of the humanistic culture those times. An attentive reading of the sources -literary, iconographical, theatrical and musical- makes visible what seems invisible even hidden, and enables us to understand and interpret, as well as summon up the richness of the chorographical activity of a certain period. This is not a history of dance but a history of dance in history, or rather the illumination of an aspect of late-medieval civilization, thanks, also, to what the body and movement are capable of revealing to us.

The purpose of this study was to document, from a developmental perspective, midlife women's perceptions of their changing bodies within the larger cultural context, and to use ethnographic research as a tool for researching midlife women. The central question guiding the analysis of midlife women's lives was: What are midlife women's perceptions of their changing bodies? The self-reported experiences of 11 midlife women (ages 40–55) were obtained and the data analyzed using Spradley's (1979) Developmental Research Sequence Method. Data were collected by using individual and group interviews. During the individual interviews, three kinds of ethnographic questions (descriptive, structural, and contrast) were used to explore how each woman conceptualized her experiences. After the individual interviews were completed, three consecutive group interviews were conducted. The group interviews provided a context for determining the women's shared meaning of their changing bodies at this pivotal time of their development. To solidify the credibility of this qualitative study, the understandings derived from the study were subjected to member checking and the application of content analysis. Four general themes emerged from the analysis of the data. The first two themes—the media and medicine—involved aspects of the culture that most influenced the women's interpretations of their changing bodies and were, therefore, structural in nature. The second two themes—loss, and redefining of self (including the development of self-care)—involved the more personal aspects of the women's narratives such as reflected meanings and attitudes. Results of the study indicated that the midlife period in a woman's life encompasses a broad spectrum of experience, full of contradiction and change. Issues of loss, change in role functions, cultural influences that perpetuate ageism and sexism, ambivalence, strong emotional responses, lack of consistent information about menopause and sexuality, questioning, critical reflection, coping mechanisms, redefining self self-care—all played a central role in the women's lives during this important time of transition. Midlife events prompted the participants to question and challenge traditional cultural expectations about female roles and behavior; and in this way they reinterpreted their experiences and created new meaning from them. The women reformulated their self-definitions from that of caregiver to care receiver, from caring for others to caring more for oneself. This could be seen as a major developmental change in the women's lives, since through this process of facing the challenges of midlife, the women moved from self definitions that were based on negative cultural stereotypes to self definitions that were based on an affirmation of their ability to experience the events of their existence as autonomous individuals, less bound by stereotypes than they had been before. Health professionals can attempt to examine some of their own biases and assumptions about midlife women that could influence their treatment of, and attitudes towards, these women. Furthermore, health professionals are in the position to help their midlife clients question and become critically aware of the social, historical, and political context that defines women's midlife experience, so that midlife women need not take for granted the established interpretation of their physical changes. Suggestions for further research are included. / Graduate