Thesis--Wisconsin. / Includes bibliographical references (leaves 120-124).

This study investigated the mood states of adolescents who have Duchenne Muscular Dystrophy. The specific purpose was twofold. First, to examine whether there were differences in the mood states of adolescents who have Duchenne Muscular and able-bodied adolescents. And second, to explore and evaluate whether participation in a theatrical performance program had a positive effect on the mood states of the adolescents who have Duchenne Muscular Dystrophy. / The statistical findings indicated that there were significant initial and concluding differences in the mood states of the adolescents who have Duchenne Muscular Dystrophy and their able-bodied cohorts. Analysis of the theatrical performance program indicated a short-term pre-post treatment improvement in the mood states of the adolescents who have Duchenne Muscular Dystrophy. This short-term improvement, however, did not sustain itself over time. (Abstract shortened by UMI.)

My thesis emerges out of the new disciplines of trauma studies and gender theory, both of which explore the coming into being of the subject. The traumatic event is that which overwhelms the subject and cannot be integrated into a sense of self Gender theory explores the ways in which woman is positioned as object in the patriarchal culture, and so cannot fully experience herself as subject. Both disciplines have mobilized narrative as a goal - narrative depends upon the adoption of a position as subject. I aim to theorize the body of the survivor of trauma and to explore the means by which the traumatic symptom might be transformed into narrative. Post-1980 psychiatrists have linked the traumatic symptom to the work of Pierre Janet (1859- 1947) on hysteria. Janet regarded the body as inseparable from consciousness and was concerned with the ways in which the whole organism engaged in the performance of activity. Janet's writing stood at the beginning of a tradition of thought on the 'body image', in which the performance of activity on a psycho-physical level was regarded as the basis of subjectivity. I am interested in mobilizing this theoretical framework as a therapeutic strategy for trauma. Through bodily movement, elements of narrative are explored - temporal sequence and flow, occupying new positions or perspectives - as a means of approach to a more integrated sense of self I also propose to conceptualize the gendering of the subject as a mode of somatic performance. The transformative potential of physical movement provides a means by which the objectified body, which is positioned outside of its own intentionality, can explore the possibility of occupying new positions as a subject.

This critical review aims to describe and define the field of dance/movement therapy. Attention is paid to central issues in psychology and dance studies which influence the advancement of the modality. Dance/movement therapy is a young profession, developed during the second half of this century, and must be viewed within the socio-cultural context of contemporary western industrialized societies. This work therefore firstly documents the development of dance/movement therapy in the light of recent studies into the nature of bodily expression and non-verbal communication. The phenomenological understanding of the human body is discussed, and the concept of bodyliness proposed in order to encapsulate a multi-dimensional understanding of the meanings of the human body. Dance/movement therapy is then delineated in relation to verbal psychotherapeutic traditions, as well as to the more marginalized body therapies. In this way it is hoped to provide an understanding of the historical precedents and theoretical contexts within which dance/movement therapy is emerging, and ultimately the possibly unique alternative service it may provide. As wide a variety as possible of theoretical approaches in dance/movement therapy is then described, and classified according to the predominant psychological orientation of the proponents. From this a critical review is attempted which is directed broadly at foundational considerations of the profession, rather than at any particular methodology. The enquiry focusses on directions for future possible research which will ensure sound theoretical frames of reference for the developing profession. Discussion of two examples of dance being used in the therapeutic context in South Africa concludes. This section is not a judgmental evaluation of techniques, but intended rather as documentation and broad classification of current work of this nature.

No description available.

Diss. (sammanfattning) Uppsala : Univ., 2004. / Härtill 4 uppsatser.

Typescript. Includes vita and abstract. Includes bibliographical references (leaves 208-210). Also available online.

Dance consciously or unconsciously can by its very creative process from idea or feeling through to performance work and beyond, form a catalyst for healing. This paper provides a written record of a practical, phenomenological, qualitative, dance and healing research project. The researcher’s ideas coalesce from three schools of thought. They are health sciences, dance art and faith. Body sciences and homeopathic theory inform the practice of exploratory contemporary dance improvisation. Wholistic and ethical methods of research practice are applied to the study of a range of dance and health concerns / Master of Arts (Hons) (Contemporary Arts)

Thesis (M.A.)--York University, 2007. Graduate Programme in Dance. / Typescript. Includes bibliographical references (leaves 77-80). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR29284

Thesis (M. Div. in Christian Care and Counseling)--Emmanuel School of Religion, Johnson City, Tenn., 1999. / Vita. Includes bibliographical references (leaves 77-80).