Orientador: Rosangela da Silva Leote / Resumo: Esta dissertação resulta da investigação das possibilidades de materialização do espaço construído pelo corpo em movimento e suas representações físicas, por meio de dispositivos tecnológicos emergentes, a partir de investigação acerca das espacialidades do corpo. Identificamos a perspectiva de explorar a hipótese de materialização tridimensional do corpo em movimento com base nos princípios desenvolvidos por Rudolf Laban como a kinesfera, o espaço pessoal que envolve os movimentos de nosso corpo. Partindo desta hipótese, construímos uma narrativa a partir da relação do sujeito com o espaço e desenvolvemos uma interface denominada Kintra, que é capaz de identificar elementos estruturais do corpo em movimento e gerar dados que permitam a construção de modelos arquitetônicos tridimensionais corporificados que possam, posteriormente, vir a ser impressos em 3D. Como metodologia de pesquisa utilizamos um método de abordagem sistêmico, pautado nos estudos da complexidade, em que reconhecemos este processo artístico como um sistema. Para tanto, a base teórica e conceitual dos estudos inclui a Teoria Geral dos Sistemas e estudos da complexidade presentes nas obras de Werner Mende (1982), Humberto Maturana e Francisco Varela (2003), Edgar Morin (2005), Jorge de Albuquerque Vieira (2006); os princípios da linguagem da dança encontrados em Rudolf Von Laban (1929;1978), Valerie Preston-Dunlop (2003), Ciane Fernandes (2006) e Isabel Marques (2010); conceitos e noções relacionadas ao sujei... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This dissertation investigates the possibilities of materialization of the space built by the moving body and its physical representations through emergent technological devices from the research about the spacialities of the body. We identify the perspective of the explorating the hypothesis of the tridimensional materialization of the moving body based on the fundamentals developed by Rudolf Laban (1966) as the concept of kinesphere, the personal space that involves the movements of our body. From this hypothesis, we create a narrative from the relationships between the subject with the space and we develop an interface named Kintra, wich is able to identify the structural elements of the moving body and generates information that makes possible for us to build tridimensional architectural models wich can be later 3D printed. As methodology of research, we will make use of the systemic approach, based on complexity studies, in wich we recognize this artistic process as a system. Therefore, the theoretical basis includes the General Systems Theory and Complexity studies inside the works of Werner Mende (1982), Humberto Maturana and Francisco Varela (2003), Edgar Morin (2005), Jorge de Albuquerque Vieira (2006), the Dance Language funtamentals and principles found in Rudolf Von Laban (1929;1978), Valerie Preston - Dunlop (2003), Ciane Fernandes (2006) and Isabel Marques (2010), the philosophic concepts and notions related to the subject and space of Merleau - Ponty (1992, 199... (Complete abstract click electronic access below) / Mestre

Made available in DSpace on 2016-06-07T17:12:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-11-16. Added 1 bitstream(s) on 2016-06-07T17:17:10Z : No. of bitstreams: 1 000863184_20170101.pdf: 222456 bytes, checksum: 8749bdd2f783ea39b4dd5ece81ee309e (MD5) Bitstreams deleted on 2017-01-02T15:03:57Z: 000863184_20170101.pdf,. Added 1 bitstream(s) on 2017-01-02T15:05:10Z : No. of bitstreams: 1 000863184.pdf: 1102154 bytes, checksum: ecf554ffe85ec49b2bd45bc3faae1171 (MD5) / A percepção que temos do nosso corpo é influenciada por diversos fatores, além dos constantes estímulos visuais que recebemos do ambiente, tais como sexo, idade e cultura. Nos últimos anos a preocupação excessiva com o corpo entre jovens e adultos associou-se a comportamentos obsessivos como a prática exagerada de atividade física, uso de anabolizantes e desencadeamento de distúrbios alimentares. Entre homens, o distúrbio associado com a distorção da imagem corporal é conhecido como vigorexia ou dismorfia muscular. A dismorfia muscular é caracterizada por uma percepção inadequada do tamanho do corpo, ou seja, o homem se percebe menor em tamanho (i.e., dos músculos) do que realmente é. A dismorfia está associada ao uso de anabolizantes e à prática excessiva de atividade física com cargas, como a musculação. Baseado nessas informações e com base na metodologia proposta por Paula e Mauerberg-deCastro (2010), os objetivos do nosso estudo foram investigar: a) se homens apresentam preocupação exagerada com a imagem corporal e se essa esta se reflete nas respostas de escolha ou preferência de imagens do próprio corpo e de um corpo de estranho distorcidas ao longo de uma escala psicofísica (i.e., baseada no IMC dos participantes); b) se o somatotipo do participante está relacionado ao tipo de atividade física escolhida associada frequência e intensidade com que esta é realizada; c) se a tendência atitudinal ou perceptiva em tarefas psicofísicas de distorção de imagem corporal depende da identidade do participante (i.e., utilizando a omissão de face nas tarefas). Para tanto, participaram do estudo 50 homens sendo 25 participantes praticantes de atividade física/esporte alocados no grupo esporte (GE), e 25 participantes com o objetivo de aumentar consideravelmente a massa muscular (i.e., hipertrofia) alocados no grupo fitness (GF). Os participantes responderam a testes e inventários para a alocação nos grupos... / The perception we have of our body is influenced by several factors and constant visual stimuli we receive from the environment, such as gender, age and culture. In recent years the preoccupation with the body between youth and adults was associated with obsessive behaviors such as excessive physical activity, steroid use and triggering eating disorders. Among men, the disorder associated with body image distortion is known as vigorexia or muscle dysmorphia. Muscle dysmorphia is characterized by a poor perception of body size, that is, the man is perceived smaller in size (e.g, muscle) than it actually is. The dysmorphia is associated with steroid use and excessive physical activity with fillers, such as weight training. Based on this information and based on the methodology proposed by Paula and Mauerberg-deCastro (2010), the objectives of our study were to investigate: a) men have exaggerated preoccupation with body image and that this is reflected in the responses of choice or preference Images of the body itself and a strange body distorted along a psychophysical scale (e.g, based on the BMI of the participants); b) if the participant's somatotype is related to the type of physical activity associated chosen frequency and intensity with which this is accomplished; c) if the attitudinal and perceptual tendency to psychophysical tasks of body image distortion depends on the participant's identity (e.g, using the failure to face the tasks). To do so, participated in the study 50 men and 25 practitioners participating in physical activity/sport allocated in sport group (GE), and 25 participants in order to significantly increase muscle mass (e.g, hypertrophy) allocated in the fitness group (GF). Participants responded to tests and inventories for the allocation in groups (demographic questionnaire, MASS and EDS-21 questionnaires); scale silhouettes to analyze the behavioral component of body image; and psychophysical magnitude estimation...

Orientadora: Eliane Mauerberg de Castro / Banca: Cynthia Yukiko Hiraga / Banca: Idalina Shiraishi Kakeshita / Banca: Adriana Inês de Paula / Banca: Afonso Antonio Machado / Resumo: A percepção que temos do nosso corpo é influenciada por diversos fatores, além dos constantes estímulos visuais que recebemos do ambiente, tais como sexo, idade e cultura. Nos últimos anos a preocupação excessiva com o corpo entre jovens e adultos associou-se a comportamentos obsessivos como a prática exagerada de atividade física, uso de anabolizantes e desencadeamento de distúrbios alimentares. Entre homens, o distúrbio associado com a distorção da imagem corporal é conhecido como vigorexia ou dismorfia muscular. A dismorfia muscular é caracterizada por uma percepção inadequada do tamanho do corpo, ou seja, o homem se percebe menor em tamanho (i.e., dos músculos) do que realmente é. A dismorfia está associada ao uso de anabolizantes e à prática excessiva de atividade física com cargas, como a musculação. Baseado nessas informações e com base na metodologia proposta por Paula e Mauerberg-deCastro (2010), os objetivos do nosso estudo foram investigar: a) se homens apresentam preocupação exagerada com a imagem corporal e se essa esta se reflete nas respostas de escolha ou preferência de imagens do próprio corpo e de um corpo de estranho distorcidas ao longo de uma escala psicofísica (i.e., baseada no IMC dos participantes); b) se o somatotipo do participante está relacionado ao tipo de atividade física escolhida associada frequência e intensidade com que esta é realizada; c) se a tendência atitudinal ou perceptiva em tarefas psicofísicas de distorção de imagem corporal depende da identidade do participante (i.e., utilizando a omissão de face nas tarefas). Para tanto, participaram do estudo 50 homens sendo 25 participantes praticantes de atividade física/esporte alocados no grupo esporte (GE), e 25 participantes com o objetivo de aumentar consideravelmente a massa muscular (i.e., hipertrofia) alocados no grupo fitness (GF). Os participantes responderam a testes e inventários para a alocação nos grupos... / Abstract: The perception we have of our body is influenced by several factors and constant visual stimuli we receive from the environment, such as gender, age and culture. In recent years the preoccupation with the body between youth and adults was associated with obsessive behaviors such as excessive physical activity, steroid use and triggering eating disorders. Among men, the disorder associated with body image distortion is known as vigorexia or muscle dysmorphia. Muscle dysmorphia is characterized by a poor perception of body size, that is, the man is perceived smaller in size (e.g, muscle) than it actually is. The dysmorphia is associated with steroid use and excessive physical activity with fillers, such as weight training. Based on this information and based on the methodology proposed by Paula and Mauerberg-deCastro (2010), the objectives of our study were to investigate: a) men have exaggerated preoccupation with body image and that this is reflected in the responses of choice or preference Images of the body itself and a strange body distorted along a psychophysical scale (e.g, based on the BMI of the participants); b) if the participant's somatotype is related to the type of physical activity associated chosen frequency and intensity with which this is accomplished; c) if the attitudinal and perceptual tendency to psychophysical tasks of body image distortion depends on the participant's identity (e.g, using the failure to face the tasks). To do so, participated in the study 50 men and 25 practitioners participating in physical activity/sport allocated in sport group (GE), and 25 participants in order to significantly increase muscle mass (e.g, hypertrophy) allocated in the fitness group (GF). Participants responded to tests and inventories for the allocation in groups (demographic questionnaire, MASS and EDS-21 questionnaires); scale silhouettes to analyze the behavioral component of body image; and psychophysical magnitude estimation... / Doutor

Aborder la rhétorique du silence chez Pinter revient à examiner à la fois ce qui se passe sur scène, dans le texte poétique, et à jeter un regard sur les différents média dont son théâtre se sert pour aborder des thèmes liés à la guerre, à la menace, à l'existence, à la philosophie et à la métaphysique. Il y est aussi question de voir le rapport de cette modalité du langage à l'outil linguistique. L'ontologie du silence à permis de comprendre, qu'il s'agisse dans la communication ou dans la représentation, que cette réalité ne peut être compréhensible qu'à l'ombre de l'élément verbal. Le silence peut être perçu comme ce qui se dérobe à toute tentative de mise à mots. Pour nous imprégner du contenu de ce que Pinter cherche à nous faire parvenir, nous devons considérer ce sous-territoire verbal constitués de non-dits, d'allusions, de sous-entendus, mais également des espaces de l’indétermination. Et comme le langage n'est pas toujours téléologiquement motivé par l'expressivité, son caractère ambivalent, elliptique, fragmentaire, minimaliste et ésotérique constitue un défi pour le public. Cependant, l'étude étiologique (causes) du silence montre que tout ne peut s'expliquer par les limites, les failles et les impossibilités du langage et par le refus de l'engagement du locuteur ou de son capital cognitif et épistémologique. Le temps représente un obstacle majeur dans les efforts de l'homme d'expliquer des événements, faits antérieurs. S'il est difficile de parler précisément et objectivement du passé et du futur, nommer ou désigner ce qui se passe sous les yeux semble l'être également. En plus de la labilité et de l'oubli, la complexité des choses à dire peut aussi signifier l'arrêt définitif ou temporaire de tout discours. Avant l'échéance eschatologique, le silence n'est absolument pas un vide, un néant, même si des pesanteurs d'ordre encratique, idéologique et social rendent compte de la contrainte à laquelle sur tout sujet parlant est appelé à faire face. LE silence qui traverse le théâtre de Pinter est différent de cette absence de parole qu'impose la mort. Il n'est donc pas néontique, parce qu'il se justifie, d'une part, par une option artistique, et d'autre part, par le désir de nous rappeler qui nous sommes. Ce sont nos mots et nos silences qui font de nous ce que nous sommes dans ou sans interaction subjective : une entité sonore et une autre silencieuse. Tout être langagier est fait de ce qui s'énonce clairement et de ce qui ne cesse de s'échapper à toute expression verbale.Le choix porté sur l'adaptation cinématographique des pièces de Pinter obéit à l'effort de montrer que, quand les mots n'arrivent plus à dire, il faut se tourner vers des données sémiologiques, sémiotiques et somatico-gestuelles. Le genre poétique est un autre moyen par lequel les voix du silence nous parviennent à travers les allusions, les images et les symboles. Dans l’œuvre artistique de Pinter, le silence n'a pas qu'une signification mais aussi un rôle, une nature et des limites. Le silence n'est pas exclusivement dans le tacite ou le caché : il se trouve également dans ce qui se montre ou ce qui s'entend. Ce théâtre rappelle qu'à l'image du langage, le silence est une forme d'expression qui exige du spectateur une profonde attention pour comprendre le message qu'il entend lui faire passer. Par ailleurs, la protologie du silence révèle que d'autres arts de la scène tels que le praxis orchésale et la pratique musicale doivent leur existence à la réalité silencieuse. Vu que le silence sous-tend les moyens d'expression et de communication humaines, cela révèle du bon sens de lui reconnaître comme forme vivante. Le silence est à la fois une force centrifuge et centripète, car tout part de lui et retourne à son sein. Il est à l'origine de toute chose, et il survivra toute existence. / The main purpose of this research is not only to try to grasp the meaning of the unsaid and the hidden in the artistic work of Harold Pinter, but first and foresmost to show that language can neither have a meaning nor be made out if we do not consider what is lying underneath or if we disregard any reading between the lines. Even if it's obvious that the stage is more often than not under the yoke of words, the gist of any play is to be looked for in silence. In Pinter's dramatic world, silence can be understood as what cannot be said, what is not thoroughly said, what is not clearly expressed, what is not yet said, what will never be said. It can be due to many reasons, a silence may be observed under duress, as it may be made purposefully. The body language is more than important, for what is displayed through it can urge any shrewd spectator to muse upon what is beyond his eyes. Since words and images are not often reliable, the work of any spectator is to ponder over what is shown or said to him. And like any tool of communication, silence requires a text and a context to yield the substance emnodied in it. Any attempt to sever the language of words from that of silence is doomed to failure. Silence per se is the realm of silent words. Before being uttered, any word was first kept in silence. All discourses stem from silence, and whilst some can reach the listener, others need a particular attention, whence our interest in Pinter's early poems. The silence we'redealing with is not a void. It's pregnant with meaning and cannot be avoided as long as we're able to speak or we're potential locutors.

A pesquisa tem por objeto a formação corporal do profissional de educação que trabalha com a primeira fase de vida do ser humano, mais precisamente o período compreendido entre o nascimento e os três anos de idade, por se reconhecer a importância do período de \"chegada à vida\" na constituição do psiquismo. O objetivo geral foi verificar como tem sido feita a formação de pedagogos na linguagem expressiva corporal voltada ao trabalho pedagógico com os bebês, analisando as possibilidades, os desafios e as necessidades dessa formação. Como procedimento metodológico foi criado um curso de extensão na Faculdade de Educação da USP, do qual participaram sessenta e seis pedagogas que trabalham em Centros de Educação Infantil localizados nos municípios de São Paulo, Barueri, Cotia, Embu e Francisco Morato, e no qual foram utilizados os conhecimentos do campo da Pedagogia do Teatro como mediadores de formação. Os resultados denunciam que a ausência de formação corporal priva os pedagogos, entre outros aspectos: da compreensão do corpo e do movimento como condição indispensável para a construção de conhecimento e para o trabalho pedagógico com bebês; da compreensão das linguagens expressivas na primeira infância; e, da revisão de valores sobre a corporeidade, a experiência e o bebê como sujeito, colaborando para que as estruturas de controle e opressão do corpo continuem a se fazer presentes na instituição escolar para crianças pequenas. Da análise dos dados provenientes da investigação de campo e do cotejamento destes com a pesquisa bibliográfica, derivaram as categorias aprofundadas: formação corporal do pedagogo; disciplinamento e repressão corporal; percepção sobre os bebês; reflexões sobre formação e valores docentes. / This research aims at developing professionals in the educational field who deal with the first stage of human beings´ lives i.e. the period from birth up to three years old since it is a stage of starting life in the latter´s psychological development. The general objective was to investigate how the pedagogues´ knowledge had been developed regarding the expressive body language in their pedagogical practice in babies by analyzing possibilities, challenges and the necessities concerning such instruction. An extension course was created at Faculdade de Educação at Universidade de São Paulo as a methodological procedure. Sixty six pedagogues who work for public daycare centers in São Paulo, Barueri, Cotia, Embu and Francisco Morato joined this course which used some knowledge from the Theatre Pedagogy as a tool in this instruction. Such results say that lacking body language notions can prevent pedagogues, among other things: from understanding of body and movement as a prerequisite for building knowledge and for pedagogical work with infants; from comprehension of the expressive languages in early childhood, besides reviewing some concepts regarding the body, the experience and the baby as a person to avoid body oppression and control over toddlers at schools. Based on collected data from field investigation (extension course) and on the conciliation of these with the bibliography the following categories were analyzed: pedagogues´ body perception instruction, body discipline and repression, perception of babies, reflections about teachers´ instruction and teachers\' values.

Orientador: Elisa Angotti Kossovitch / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-21T16:49:33Z (GMT). No. of bitstreams: 1 Paula_RobertaCristinade_M.pdf: 8050474 bytes, checksum: a6dfbe3602767aed57d2206395cb117c (MD5) Previous issue date: 2012 / Resumo: A presente pesquisa tem como objetivo destacar as danças na obra de Mário de Andrade, enfatizando seu aspecto lúdico, o papel que desempenham nas construções das identidades dos brincantes e de seus grupos sociais, além de se constituírem expressão da linguagem corporal. Para isso, referencia-se, principalmente, em seus textos O turista aprendiz e em Danças Dramáticas do Brasil. Sendo as danças populares o objeto central deste estudo, entende-se-as como manifestações dançantes aquelas que são vivenciadas, prioritariamente, em contextos de grupos e ou comunidades, que as perpetuam de geração em geração. Realizou-se pesquisa documental no acervo da Sociedade de Etnografia e Folclore, órgão criado em 1937, quando Mário de Andrade era diretor do Departamento de Cultura de São Paulo, e no acervo da Missão de Pesquisas Folclóricas, projeto coordenado pelo pesquisador em 1938. Outra fonte primária foi o levantamento dos registros fotográficos dos Parques Infantis (PIs) de São Paulo, vinculados ao Departamento de Cultura, através da Divisão de Educação e Recreio, delimitando as fotografias que representassem as danças nos PIs. Realizou-se entrevistas com dois pesquisadores da obra de Mário de Andrade e com uma mestra de danças populares, no intuito de estabelecer um diálogo com a contemporaneidade, no que tange às mudanças, transformações ou desaparecimento das danças. Finaliza-se afirmando a Mário de Andrade, em ensaio epistolar, o quanto a sua produção é atual, no que concerne o universo em questão, comunicando-lhe alguns acontecimentos mais recentes, que, apesar das dificuldades enfrentadas pelos brincantes, no processo de sua manutenção, permanecem vivas. / Abstract: This research aims to highlight the dances in the literary production of Mário de Andrade, emphasizing their ludic aspect, their role in the construction of identities of the dancers and their social groups as well as they constitute an expression of body language. For this, reference is primarily in his writings O turista aprendiz and Danças Dramáticas do Brasil. The popular dances are the central object of this study, not any dance but those that are experienced primarily in the context of groups and or communities that perpetuate from generation to generation. We carried out documentary research in the archives of the Society of Ethnography and Folklore, entity created in 1937 when Mario de Andrade was a director of the Department of Culture of Sao Paulo, and in the archives of Folklore Research Mission, a project coordinated by the researcher in 1938. Another primary source was a survey of photographic records of playgrounds of São Paulo, linked to the Department of Culture, through the Division of Education and Recreation, delimiting the photographs that represent the dances in the playgrounds. We conducted interviews with two researchers from the work of Andrade and a master of folk dances in order to establish a dialogue with the contemporary, with respect to change, transformation and disappearance of the dances. Ends up affirming how Andrade's production is connected to the present, as regards the universe in question, informing him some more recent events, that despite the difficulties faced by popular dancers, in the process of maintenance, are still alive. / Mestrado / Ciencias Sociais na Educação / Mestra em Educação

TV-ads today is usually made up by spokespeople screaming in the viewers faces that you need to buy this and that. Often combined with upbeat music to distract you from what’s really going on. Studies shows that this is a very ineffective way of marketing. Is it possible to find a different solution to this energetic advertising strategy. What if adverts were non- verbal? Our thesis examined the opinions from two, age-different, generations to determine if non- verbal communication is used as a marketing strategy in TV-adverts. This study explored what the most important tools of non-verbal communication is, if the two generations differ or share opinions and if it was possible to create adverts with recognition factors using non- verbal communication, and in that case how? With the use of a five focus groups, and an additional film analysis, for our method we felt that enough data was collected. Using an analytic tool, that was prepared beforehand, we processed the material and divided it into categories for further dissection. The study showed that a number of non-verbal tools could be identified and be seen as a marketing strategy. The most significant difference was the use of verbal communication in the adverts. The younger population had no trouble understanding the meaning of adverts using non-verbal communication. The seniors found it rather complicated when there was no dialog in the commercials. However, one thing the focus groups had in common was the fact that they could relate to the adverts in one way or another.

Animators are so often taught more about how to perfect their animations than toconsider what it is that makes the animation come alive. They work away withprinciples and physics, sometimes completely overlooking a characterscommunication tools. The following thesis is a study of emotive expressive bodylanguage and its purpose in animation. The project studies various angles of bodylanguage, in an attempt at summarizing key features that could work as guidelinesfor animators in the future. It deals with the role of body language in animation andwhy it is necessary for a more realistic feel in the animation. As well as the brieflymentioning the 12 animation principles, on their necessity and faults in the matter.The thesis is divided into a theoretical investigation and a practical experiment. Theintention was to create a set of key features for the use of as tools and guides forfresh animators to understand and translate emotion into their animations. Theresults indicate the power of body language and its versatility as a tool, puttingemphasis on why it ought not to be neglected.

M.A. / The literature is unclear whether bilingualism has cognitive advantages, disadvantages or neutral cognitive effects on the child. In order to investigate this discrepancy in the research data, this study aimed at comparing the nonverbal cognitive abilities of a fairly large sample monolingual versus bilingual girls, while comparing for certain variables, not addressed in the literature. The research question is thus formulated as follows: Are there differences in the nonverbal cognitive abilities of monolingual versus bilingual girls, when measured with four non-verbal cognitive test batteries? According to the literature, first language development can be divided into pre-linguistic and linguistic speech, while second language development is either acquired simultaneously or sequentially. Many theories attempt to explain how first and second languages are acquired and used. These theories on the developmental process of first and second languages can be divided into learning, nativist and cognitive theories. Learning theories focus on the effect the environment has on language acquisition, while nativist theories accentuate the influence of genetic factors. Cognitive theories focus on the child's cognitive development as a prerequisite for language acquisition and functioning. Bilingualism is defined differentially in the literature, which presents one of the major reasons for divergent results. In this study a person was defined as bilingual when he or she was capable of one language function, such as reading, writing, listening or speaking at any level of proficiency. Various factors may, however, influence a person's bilingual status. In this regard, age and method of acquisition is important, as well as patterns of sage of the second language, socio-emotional factors and the linguistic relationship between the two languages.

Cette thèse, sous la direction de Claude Jamain, interroge l’affirmation de Duncan selon laquelle elle n’invente pas sa danse qu’elle qualifie de naturelle. Afin de répondre à ce paradoxe, l’idée est de saisir l’élaboration de sa danse comme matière en termes kinesthésiques, moteurs et qualitatifs, en interactions avec les contextes historiques et culturels auxquels elle se confronte en Amérique, en Europe et à la charnière des XIXe et XXe siècles. Après une présentation des pratiques corporelles en Amérique, la thèse aborde la façon dont l’imaginaire de la nature en Amérique et les différentes visions de l’antique aux Etats-Unis d’Amérique et en Europe participent de l’élaboration de sa danse. La conclusion,loin d’apporter une réponse radicale, tendrait à considérer sa danse à la fois comme renaissance de l’antique et naissance d’une nouvelle danse. / This thesis, directed by Professor Claude Jamain, questions Duncan’s assertion that she does not invent her dance, which she describes as natural, even though, it is immediately praised for its novelty. In order to deal with this paradox, this research seeks to capture the way she developed her dance as a discipline with its kinesthetic, motor and qualitative aspects,against the historical and cultural contexts she encountered in America and Europe at theturn of the 19th and 20th centuries. After a presentation of bodily-practices in the United States, the thesis shows how the imaginary view of nature in America and the differing visions of antiquity in the United States and in Europe feed the development of her dance.Our conclusion, far from offering a radical answer, would rather consider her dance as are birth of the antique, as well as a new emerging dance.