It is the thesis of this study, that although Ayres’s theory of progress is damaging to his sociological theory as a whole, his theory of the basic dichotomy of social action, that of technology and ceremonialism, deserves greater credit than it has received and is profoundly significant sociologically.

Revising Yeats's rhetorical question, this dissertation asks: "How can we tell the dancer from the music?" In the early twentieth century Isadora Duncan and her barefoot protégées initiated a performance tradition that would later be recognized as American modern dance. They did this, to a great extent, by embodying European "absolute music." Soon, however, choreographers and dancers of this new art form faced modernist calls for medium-specific "absolute dance" that would express movement's autonomy and not the autonomous music of Bach, Beethoven, and Brahms. As John Martin, one of the nation's first dance critics, wrote in 1933, "There is a long, sad story to be told about the use of music for dancing which was never intended to be danced to." Today that story is even longer; contra Martin, it is not sad. As the use of classical music was a primary component in the earliest forms of "free dance" and as it remains in some of the most critically acclaimed and commercially successful modern dance today, this use is in need of critical and historical attention. Tracing an alternative genealogy from Duncan's then-scandalous embodied empathy with sacralized art music, the central chapters of this study of the use of music in American modern dance focus on the lives, works, and reception of two choreographers: Ted Shawn and Merce Cunningham. Both of these men founded his own dance company and created works where choreomusicality, or the relationship between music and dance, remained especially vital. For Shawn, wishing to go even further than Duncan, this meant creating choreographies where dance followed the music as closely as possible. Indeed, in his "music visualizations" (a term that he coined with his wife and colleague Ruth St. Denis) his goal was to create dances that were perfect translations of the music itself. Such translation is ultimately impossible, and in attempting it, I argue, Shawn ended up revealing more of himself--specifically, his desire to perform a non-conventional masculinity that he normally felt was off-limits--than he did of the music. Reacting against this tradition--the standard history of modern dance goes--was Merce Cunningham, in whose mature choreographies music and dance are united only by their overall duration. Yet Cunningham, under the influence of Cage, created several dances to the music of Satie that provide an illuminating exception to this practice. I focus in particular on Idyllic Song (1944) and Second Hand (1970), both of which Cunningham choreographed to Satie's Socrate. Though created during his artistic maturity, Second Hand provides a link to the earliest self-expressive collaborations with John Cage. As a result, this choreography offers an unusual window into the Cage-Cunningham personal and professional relationship. In examining Shawn's and Cunningham's choreography, this dissertation tracks not only the changing role of Western art music in the relatively young art form of modern dance but also examines these choreographers' responses to contemporary attitudes toward the male dancer, unconventional masculinities, and the relatively new identity of the homosexual. In doing so I demonstrate how the choreomusicalities of these men reflected and refracted their masculinities and homosexualities. In addition to providing choreomusical analysis and interpretation, I revise current understandings of both specific scores and choreographies through intensive archival research (from silent films of Ted Shawn and His Men Dancers, which I have synchronized with their unheard music, to Cage-Cunningham manuscripts ignored or previously thought lost), observation of live and recorded rehearsals and performances, and interviews. Ultimately, "The Dancer from the Music" seeks to establish choreomusicality as an exemplary lens through which to view the meeting of music's ineffability with the realities and identities of listening and performing bodies in motion.

Orientador: Silvia Fernanda de Mendonça Figueirôa / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Geociências / Made available in DSpace on 2018-08-16T15:52:47Z (GMT). No. of bitstreams: 1 Tavares_GiovanaGalvao_D.pdf: 14593414 bytes, checksum: 5c0167a0cfa5451352d1a94f423b4ec8 (MD5) Previous issue date: 2010 / Resumo: O presente trabalho analisa, através do método biográfico, a trajetória de vida e a produção cultural e,ou científica de Zoroastro Artiaga entre as décadas de 1930 a 1970. Em nossa tese entendemos nosso biografado enquanto um divulgador de Goiás que buscou principalmente, por meio das discussões goecientíficas, apresentar a região goiana ao país, utilizando-se dos meios de comunicação regional e nacional. Para esse fim, recorremos à nova historiografia da ciência que estabelece diálogo com a História Cultural. Esse diálogo investiga os objetos e personagens "escondidos", e assim permite que se investiguem indivíduos anteriormente desconsiderados pela historiografia. Analisamos a vida de Zoroastro Artiaga em dois momentos. O primeiro, nas décadas de 1930 e 1940, momento em que nosso divulgador atuou ativamente nos meios de comunicação com o objetivo de divulgar o estado de Goiás para a Nação brasileira, tendo como eixos norteadores de suas publicações: rede ferroviária, recursos minerais e a transferência da Capital Federal para o Planalto Central. O segundo, pós Estado Novo, 1940/1960, período em que administrou o Museu Estadual de Goiás (1946-1957), o IHGG (1958-1962), a AGL (1957-1959) e publicou mais intensamente sobre as questões regionais, tendo como principal pano de fundo as geociências (mineralogia, geologia, geografia). Nesse momento, seus artigos e livros tomam dimensão nacional e internacional. Nossa tese apresenta análise desses dois momentos de Zoroastro Artiaga, abordando os contextos e circunstâncias regionais e nacionais em que nosso biografado esteve inserido ao longo dos anos por nós investigados, considerando o seu papel fundamental na construção do discurso do estado moderno e promissor. Concluímos que, ao longo de sua trajetória de vida, Artiaga centrou suas preocupações na divulgação da região goiana para a Nação. As publicações de Zoroastro estavam atreladas às suas atividades profissionais e, em sua maioria, percebemos que buscou tratar de temáticas que faziam eco regional, como por exemplo, a mudança da Capital Federal para o território goiano ou, ainda, os problemas econômicos advindos com a falta de ampliação das redes ferroviárias em Goiás. Mas foi com a temática de geociências que Artiaga se destacou, especialmente, quando se dedicou a divulgar trabalhos sobre os minérios radiativos que afirmava existir no estado de Goiás. Suas afirmações sobre o tema foram polêmicas, ou como ele mesmo dizia "trazia estranhamento aos outros". Nosso divulgador faleceu em 27 de fevereiro de 1972, aos 81 anos de idade / Abstract: The current study, through biographical methodology, examines the life of Zoroastro Artiaga, and his cultural and /or scientific production between the 1930s and 1970s. In this PhD Dissertation we understand our biographical subject as a popularizer of the state of Goiás who aimed, mainly through geoscientific discussions, at presenting Goiás to the rest of the country, using, for this purpose, the mass media, regionally and nationally. In order to achieve this goal, we reviewed the new historiography of the history of science, which establishes a dialogue with cultural history. This dialogue explores 'hidden' objects and characters, thus allowing to the investigation of subjects previously ignored by historiography. We analyze three periods of Zoroastra Artiaga's life. The first, the early 1930s, marked his political and/or social rise, during the government of Pedro Ludovico Teixeira. The second as a consolidated popularizer of the state of Goias, during the "Estado Novo" politics. And the third, 1940/1960, when he directed the State Museum of Goiás and published more heavily on regional issues; having as main background the geosciences (mineralogy, geology, geography). This thesis presents an analysis of these three moments of Zoroaster Artiaga's life and approaches the regional contexts in which our biography subject was inserted, throughout the 40 years investigated. We conclude that, throughout his lifetime, Artiaga focused their concerns on the disclosure of the Goias region to the nation. The publications of Zoroastro were related to their professional activities and, mostly, we realize that sought to address regional issues that echoed, for example, the change the Federal Capital to the Goiás territory, or even economic problems arising with the lack of expansion of rail networks in Goiás. But it was with the thematic geoscience Artiaga that stood out, especially when he devoted himself to publishing studies on radioactive ores claimed that exist in the state of Goiás. Their statements on the issue were controversial, or as he said "brought uneasiness to the other". Our publisher died on February 27, 1972, at 81 years old / Doutorado / Doutor em Ciências

The purpose of this analysis is to explain the instrumental theories of Dewey and Ayres; their analysis of societal problems and the proposed solutions; and finally their perception of the future direction of society. Dewey and Ayres both utilized the instrumental theory of value to analyze problems and propose solutions. According to this theory, something has value if it enhances or furthers the life process of mankind. Therefore, this should become the criterion to be utilized in determining the future courses of action. They both agree that policy decisions should be made with at least one goal in mind: progress.

The objective of this thesis is to present a study of the political impact of Communism on four individuals who at one stage in their lives thought that Communism was the best political system on earth, and who subsequently became disillusioned ot the point where they considered Communism the worst political system on earth. This thesis tries to answer some of the questions arising from such a study. How did these four people become so enamoured of Communism and later so thoroughly disillusioned with it? What is there about Communism which could so strongly attract and later so thoroughly repel intelligent people? Was disaffection due to the weakness of the people involved, or was it due to weaknesses in the Communist system? Where is the truth to be found regarding the essential nature of Communism: in the official reports and propaganda of the Russian government, or in the opinions of the Communist Party members, or in the writings of those who have been in close contact with the system? The problem is to determine the nature of the attraction of Communism and the nature of its repellent aspects as seen by four of those who have strongly felt, in turn, that attraction and that repulsion.