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PhD (English) / Department of English

This thesis explores the Continuing Professional Development (CPD) of mid-career artists in England and the South West of England in particular during 2000 to 2010. It identifies what their needs are and asks what CPD means to them; how they navigate their careers through their practice; how they articulate their needs; and how they negotiate to fulfil those needs. It examines to what extent the providers’ thinking about, and provision of, CPD in the region is aligned with the needs of the artists themselves. The individual narratives of artists are represented at the centre of this research. The research was developed in collaboration with University of Plymouth and the CPD agency, ArtsMatrix Ltd. Research methods used to collect data included extended dialogues with the artists Alyson Hallett, Mariele Neudecker, Helen Poynor and Phil Smith, via a series of walking interviews, using walking as an ethnographic research tool. By walking I engaged with a literal momentum of movement paralleling the physical and theoretical momentums of the artists’ practices. Policy and literature reviews; group interviews; artist interviews; desk-based research; observation and attendance at artist-led seminars and practice groups were also used. The research contrasts two CPD Schemes: The Contemporary Craft Fellowship Scheme, and The Artist as Cultural Agent: DIY. The thesis includes a policy and provision review of CPD literature in the UK and South West of England over the past ten years; a mapping of South West CPD provision for artists; and the identification and application of relevant theoretical and critical approaches to place, space, language and momentum in order to consider CPD provision in relation to the articulation, situation and concept of a career. This thesis argues that the language of CPD can constrain as much as enable artists’ development; that the terms “mid-career” and “South West” are open to contestation and can affect provider conceptualisations of artists in the region; and that artists need professional development throughout their careers but may not name it as such. I advocate for policy and provision to understand artists’ need to be supported “throughout” their practices rather than at certain points in a career, and advocate walking as both a research method and as one of a number of facilitative practices for those who provide CPD with or for experienced artists. I also advocate for artist-led CPD initiatives and an administrative support agency for artists.

A dança é um elemento cultural. Nas pesquisas que se ocupam do universo literário de João Guimarães Rosa, a dança é ainda um elemento insuficientemente pesquisado, embora o baile vinque fortemente os textos, permeando a narrativa lírica com o fenômeno dança. Entre os escritores brasileiros, dois interessam particularmente aos estudos do baile que compõem esta tese: João Guimarães Rosa e Mário de Andrade. O primeiro evidenciou claramente a intenção de apropriar-se do discurso da dança nominando um de seus livros de Corpo de Baile. O segundo, além de produzir uma série diversa de poemas dedicados ao baile, escolheu como fulcro de um dos títulos mais importantes do modernismo Macunaíma os fenômenos culturais da dança. Tanto Mário de Andrade quanto Guimarães Rosa são pródigos na construção de textos labirínticos em que se valem do próprio e do alheio, estabelecendo um diálogo de apropriação que articula a subjetividade lírica a partir de elementos extraídos da cultura popular e do cânone literário. A literatura rosiana constrói um diálogo que, por um lado, embaralha internamente a obra e, por outro, mistura nas cartas embaralhadas entretrechos de obras alheias. A leitura do entretrecho levou o presente estudo de Guimarães Rosa a Mário de Andrade. No universo desses dois escritores labirínticos, a dança e seus fenômenos são o fio de Ariadne estendido do início ao fim desta tese, que objetiva examinar, no diálogo entre linguagens diferentes a da literatura e a da dança a contribuição que a compreensão dos fenômenos da dança pode proporcionar aos estudos literários, já que a dança participa vivamente da construção da palavra literária nas obras examinadas. Esta tese se compõe de três partes. Na primeira, explora a presença da dança nos Primeiros Guimarães, buscando no labirinto dos textos o caminho do baile rosiano, que se inicia em Sagarana, atravessa o Grande Sertão: Veredas e se declara em Corpo de Baile. Na segunda parte, examina a origem e o lugar social do baile. Na terceira, rastreia a dança no cânone literário, pesquisando a função da dança nas obras de João Guimarães Rosa e, em função do diálogo estabelecido nos entretrechos, examinando particularmente a obra de Mário de Andrade e as relações entre o Mutum de Campo Geral, Corpo de Baile, e o Mutum de Macunaíma. / Dance is a cultural element. In the studies devoted to the literary universe of João Guimarães Rosa, o baile (dance) has still been insufficiently researched although it intensively marks the permeated texts, permeating the lyric narration with the dance phenomenon. Among the Brazilian writers, two, in special, raise most interest regarding dance studies and were selected to compose this present thesis: João Guimarães Rosa and Mário de Andrade. The former clearly evidenced his intention to appropriate the dance discourse, one of his books was named Corpo de Baile (Corps de Ballet). The latter, besides a series of poems dedicated to baile, produced one of the most important titles of Modernism, Macunaíma Both Mário de Andrade and Guimarães Rosa are profuse in creating labyrinthine texts which operate the literary labor by utilizing his own and the others, and establishing a dialogue of appropriation which articulate lyrical subjectivity from elements extracted from popular culture, common to both, with the literary canon. The literature of Rosa constructs a dialogue which, on the one hand, internally shuffles the work, on the other hand, the shuffled cards mix excerpts from others works. The reading of these inserted excerpts led to the present study of Guimarães Rosa and Mário de Andrade. In the universe of these two labyrinthine writers, the dance and its related aspects constitute the Ariadnes Thread, outstretched from the beginning to the end of this study whose aim is to understand via the dialogue between two different languages literature and dance what contribution the comprehension of the dance phenomena brings to the literary study, since, dance, undeniably, participates in the construction of the literary word. This thesis is composed of three sections. In the first, it investigates the presence of dance in Primeiros Guimarães, searching in the labyrinth of texts the route to the Rosas baile initiated in Sagarana, followed by Grande Sertão: Veredas and, finally, declared in Corpo de Baile. In the second section, the origin and the social place are focused. The third part tracks the dance in the literary canon, studying its role in the literary discourse of João Guimarães Rosa and, due to the dialogue among the excerpts, it particularly underlines Mário de Andrade and the relationships among Mutum of Campo Geral, Corpo de Baile, and Mutum of Macunaíma.

A dança é um elemento cultural. Nas pesquisas que se ocupam do universo literário de João Guimarães Rosa, a dança é ainda um elemento insuficientemente pesquisado, embora o baile vinque fortemente os textos, permeando a narrativa lírica com o fenômeno dança. Entre os escritores brasileiros, dois interessam particularmente aos estudos do baile que compõem esta tese: João Guimarães Rosa e Mário de Andrade. O primeiro evidenciou claramente a intenção de apropriar-se do discurso da dança nominando um de seus livros de Corpo de Baile. O segundo, além de produzir uma série diversa de poemas dedicados ao baile, escolheu como fulcro de um dos títulos mais importantes do modernismo Macunaíma os fenômenos culturais da dança. Tanto Mário de Andrade quanto Guimarães Rosa são pródigos na construção de textos labirínticos em que se valem do próprio e do alheio, estabelecendo um diálogo de apropriação que articula a subjetividade lírica a partir de elementos extraídos da cultura popular e do cânone literário. A literatura rosiana constrói um diálogo que, por um lado, embaralha internamente a obra e, por outro, mistura nas cartas embaralhadas entretrechos de obras alheias. A leitura do entretrecho levou o presente estudo de Guimarães Rosa a Mário de Andrade. No universo desses dois escritores labirínticos, a dança e seus fenômenos são o fio de Ariadne estendido do início ao fim desta tese, que objetiva examinar, no diálogo entre linguagens diferentes a da literatura e a da dança a contribuição que a compreensão dos fenômenos da dança pode proporcionar aos estudos literários, já que a dança participa vivamente da construção da palavra literária nas obras examinadas. Esta tese se compõe de três partes. Na primeira, explora a presença da dança nos Primeiros Guimarães, buscando no labirinto dos textos o caminho do baile rosiano, que se inicia em Sagarana, atravessa o Grande Sertão: Veredas e se declara em Corpo de Baile. Na segunda parte, examina a origem e o lugar social do baile. Na terceira, rastreia a dança no cânone literário, pesquisando a função da dança nas obras de João Guimarães Rosa e, em função do diálogo estabelecido nos entretrechos, examinando particularmente a obra de Mário de Andrade e as relações entre o Mutum de Campo Geral, Corpo de Baile, e o Mutum de Macunaíma. / Dance is a cultural element. In the studies devoted to the literary universe of João Guimarães Rosa, o baile (dance) has still been insufficiently researched although it intensively marks the permeated texts, permeating the lyric narration with the dance phenomenon. Among the Brazilian writers, two, in special, raise most interest regarding dance studies and were selected to compose this present thesis: João Guimarães Rosa and Mário de Andrade. The former clearly evidenced his intention to appropriate the dance discourse, one of his books was named Corpo de Baile (Corps de Ballet). The latter, besides a series of poems dedicated to baile, produced one of the most important titles of Modernism, Macunaíma Both Mário de Andrade and Guimarães Rosa are profuse in creating labyrinthine texts which operate the literary labor by utilizing his own and the others, and establishing a dialogue of appropriation which articulate lyrical subjectivity from elements extracted from popular culture, common to both, with the literary canon. The literature of Rosa constructs a dialogue which, on the one hand, internally shuffles the work, on the other hand, the shuffled cards mix excerpts from others works. The reading of these inserted excerpts led to the present study of Guimarães Rosa and Mário de Andrade. In the universe of these two labyrinthine writers, the dance and its related aspects constitute the Ariadnes Thread, outstretched from the beginning to the end of this study whose aim is to understand via the dialogue between two different languages literature and dance what contribution the comprehension of the dance phenomena brings to the literary study, since, dance, undeniably, participates in the construction of the literary word. This thesis is composed of three sections. In the first, it investigates the presence of dance in Primeiros Guimarães, searching in the labyrinth of texts the route to the Rosas baile initiated in Sagarana, followed by Grande Sertão: Veredas and, finally, declared in Corpo de Baile. In the second section, the origin and the social place are focused. The third part tracks the dance in the literary canon, studying its role in the literary discourse of João Guimarães Rosa and, due to the dialogue among the excerpts, it particularly underlines Mário de Andrade and the relationships among Mutum of Campo Geral, Corpo de Baile, and Mutum of Macunaíma.

Cette thèse traite de la transposition de la littérature en danse, sujet presque inexploré par les chercheurs jusqu’à présent. Elle porte sur des textes servant de base à une intrigue de ballet – livrets et œuvres littéraires non conçus pour la danse – et sur les ouvrages chorégraphiques qui s’en inspirent. La comparaison des sources littéraires avec les livrets et ballets qui les transposent permet d’appréhender comment les librettistes et chorégraphes ont adapté la littérature depuis la naissance du „ballet d’action“ en tant que genre artistique indépendant. Il s’agit ici d’analyser les éléments „chorégraphiques“ dans plusieurs œuvres de la littérature universelle, ainsi que les possibilités de „traduire“ celles-ci en ballets. De cette manière, la thèse contribue aux recherches sur l’„intermédialité“. Cette étude démontre notamment que le milieu du XXe siècle voit la naissance d’une nouvelle forme de „ballet d’action“, qui se distingue par sa manière innovatrice de traiter les sources littéraires et d’utiliser les moyens d’expression du ballet. Ce genre, qu’en référence au terme „Literaturoper“ (opéra littéraire) nous baptisons „Literaturballett“ (ballet littéraire), est défini et décrit ici pour la première fois. Il prolonge et développe les revendications de la réforme du ballet menée au XVIIIe siècle autour de Jean-Georges Noverre, réforme qui ouvre notre étude. Ce n’est ensuite qu’au XXe siècle que la danse s’établit en tant que langage expressif, comparable au chant à l’opéra. Les chorégraphes réussissent alors pour la première fois à représenter des sujets littéraires complexes par le seul biais de la chorégraphie (soutenus par le décor, les costumes, les lumières et la musique), dans un flux ininterrompu de l’action. / This thesis deals with the transposition of literature into dance, a subject which has received very little attention from researchers up to the present day. It focuses on texts that constitute a base for a ballet plot, which includes libretti as well as works of literature not written for that purpose. The comparison of the literary sources with the libretti and ballets they have inspired serves to explore how librettists and choreographers have adapted literature since the birth of ballet as an independent art form. The case studies reveal „choreographic“ elements in several works of universal literature as well as different possibilities of „translating“ literary texts into a wordless medium. Therefore, the dissertation contributes to current research on „intermediality“.This study demonstrates that a new form of story ballet was created in the middle of the 20th century. It is characterized by the way in which it transposes the literary source and uses ballet’s means of expression. This genre is defined and described here for the first time. It is called „Literaturballett“ (literature ballet) in reference to the term „Literaturoper“ (literature opera). This new type of ballet continues and develops the 18th-century ballet reform around Jean-Georges Noverre which is discussed at the opening of this study. In the 20th century, dance finally became accepted as an expressive language, comparable for instance to singing in the opera. As a result, choreographers succeeded for the first time in representing complex literary plots in an uninterrupted flow of action exclusively through the means of choreography (supported by scenery, costumes, lighting and music). / Diese Arbeit beschäftigt sich mit dem bisher kaum erforschten Medienwechsel von Literatur zu Tanz. In ihrem Mittelpunkt stehen Texte, die als Grundlage für eine Balletthandlung dienen, sowohl Libretti als auch nicht für die choreographische Umsetzung verfasste literarische Werke. Der Vergleich der literarischen Quellen mit den von ihnen abgeleiteten Libretti und Balletten dient dazu herauszufinden, wie Librettisten und Choreographen seit der Entstehung des Handlungsballetts als eigenständiger Kunstform Literatur adaptiert haben. So werden zum einen „choreographische“ Elemente in einigen Werken der Weltliteratur analysiert. Zum anderen wird erforscht, welche Möglichkeiten es gibt, Literatur in das wortlose Medium Tanz umzusetzen. Damit wird ein Beitrag zur Intermedialitätsforschung geleistet. Die Dissertation zeigt unter anderem auf, dass um die Mitte des 20. Jahrhunderts eine neue Art des Handlungsballetts entstand, die sich von ihren Vorgängern durch ihren Umgang mit literarischen Quellen und durch ihre innovative Verwendung der Ausdrucksmittel des Balletts unterschied. Dieses in Anlehnung an den Terminus „Literaturoper“ „Literaturballett“ genannte Genre wird hier erstmals umfassend definiert und beschrieben. Die Geburt des „Literaturballetts“ stellt eine Fortsetzung und Weiterentwicklung der Ballettreform des 18. Jahrhunderts um Jean-Georges Noverre dar, mit der die Arbeit beginnt. Erst im 20. Jahrhundert etabliert sich Tanz als expressive Sprache, die mit dem Gesang in der Oper vergleichbar ist. Dadurch gelingt es Choreographen erstmals, komplexe literarische Themen in einem kontinuierlichen Handlungsfluss nur mit den Mitteln der Choreographie (unterstützt durch Bühnenbild, Kostüme, Beleuchtung und Musik) darzustellen.

Indiana University-Purdue University Indianapolis (IUPUI) / Dance appears often in Anglophone Caribbean literature, usually when a character chooses to celebrate and emphasize her/his freedom from the physical, emotional, and societal constraints that normally keep the body in check. This study examines how a character's political consciousness often emerges in chorus with aesthetic bodily movement and analyzes the symbolic force and political significance of Caribbean dance--both celebratory (as in Carnival) and defensive (as in warrior dances). Furthermore, this study observes how the weight of Western views on dance influences Caribbean transmutations and translations of cultural behavior, ritual acts, and spontaneous movement. The novels studied include Samuel Selvon's "The Lonely Londoners" (1956), Earl Lovelace's "The Dragon Can't Dance" (1979), Paule Marshall's "Praisesong for the Widow" (1983), and Marie-Elena John's "Unburnable" (2006).