Thesis (M.A.)--Florida State University, 2003. / Advisor: Dr. Tricia Young, Florida State University, College of Visual Arts and Dance, Dept. of Dance. Title and description from dissertation home page (viewed Feb. 26, 2003). Includes bibliographical references.

There is no abstract available for this thesis. / School of Music

La danse, art tabou et paradoxal, est à l'adolescence naturellement thérapeutique, comme le jeu l'est pour l'enfant. En réaction à l'effraction pubertaire, l'expression de la pulsion dansante favorise la réassurance narcissique par l'autoérotisme du mouvement dansé qui convoque l'identification archaïque au corps maternel, la passivité propre au féminin, la découverte de l' « autre sexe ». Ce travail de recherche vise d'une part à penser l'engouement moderne de la culture pour la danse, qu'elle soit de loisir ou artistique, comme une des nouvelles formes d'expression du lien social et de ce qu’on peut appeler avec S. Freud la « morale sexuelle civilisée », renouant avec un érotisme collectif féminin tout en s'organisant en expression symbolique afin de créer de nouveaux territoires du politique. Il vise également à affirmer l'appartenance d'une certaine forme de danse-thérapie, que je nommerai médiation danse, au champ psychanalytique, afin de soutenir la place de la psychanalyse dans le traitement des pathologies de la clinique contemporaine, et d'envisager l'adaptation de ses techniques aux modalités actuelles d'expression de la subjectivité dont l'adolescence, comme état-limite, est le paradigme. Le matériel clinique est composé de documents écrits et filmiques, de l'analyse de ma pratique thérapeutique groupale et d'entretiens psychothérapiques.D'un point de vue anthropologique, la danse classique apparaît comme une tentative pour maîtriser l'éros débordant de la danse dionysiaque ; émergeant en Occident au même moment que la psychanalyse, la danse libre vise au contraire à dévoiler, à travers la recherche du geste naturel, la vérité du désir. En même temps qu'elle procure une jouissance « autre », la danse improvisée, qu'elle soit urbaine ou contemporaine, est en effet une expérience transitionnelle qui permet au sujet, dans le mouvement même de la danse qui figure la naissance, d'éprouver la séparation et de s'engager dans la rencontre intersubjective, garante de la construction intrasubjective. Le groupe de danseurs, foule organisée par l'idéal esthétique du rythme, peut ainsi apparaître comme une forme essentielle du groupe et un lieu de subjectivation privilégié pour l'adolescent contemporain, qui y satisfait son besoin d'identification collective et de rituels initiatiques inscrivant sur son corps l'empreinte de la culture. De ce fait, la danse peut être pensée avec la psychanalyse comme une médiation thérapeutique particulièrement indiquée pour des adolescents souffrant de pathologies narcissiques graves. L'étude d'un groupe à médiation associant la danse et l'écriture, dans un hôpital de jour, montre comment la danse improvisée, telle un « squiggle dansé », vient révéler aux patients leur image inconsciente du corps qui se transforme au contact des thérapeutes et du groupe, dans le transfert. L'écriture vient soutenir, pour ces adolescents en souffrance de symbolisation, les propriétés subjectivantes de la danse qui se déploient dans l'espace de la rencontre / Dance is a taboo, paradoxical art, and is naturally therapeutic in adolescence – as is play for the child. In reaction to the turmoil of puberty, expressing the dancing impulse favours narcissistic reassurance through the auto-eroticism of danced movement, which summons the archaic identification with the mother’s body, the passivity which is proper to the feminine, and the discovery of the “other sex”. This research work aims on one hand at thinking through culture’s modern enthusiasm for dance, whether artistic or as a leisure pursuit, as one of the new forms of expression of the social bond and what (with Freud) we could call “civilized sexual morality”, taking up a collective feminine eroticism whilst organizing it as a symbolic expression in order to create new territories of the political. It also aims at affirming that a certain form of dance therapy, which I shall call mediation dance, belongs to the psychoanalytic field, so as to support the place of psychoanalysis in the treatment of pathologies in contempo-rary clinical practice, and to envisage adapting its techniques to current modalities of the ex-pression of subjectivity (of which adolescence, as the ultimate case, is the paradigm). The clinical material comprises written and filmed documents, analysis of my group therapy prac-tice, and psychotherapeutic interviews.From an anthropological point of view, classical dance appears to be an attempt to mas-ter the overflowing Eros of Dionysian dance; in contrast, free dance, which emerged in the west at the same time as psychoanalysis, aims to unveil the truth of desire through seeking the natural gesture. While it achieves an “other” jouissance, improvised dance (whether urban or contem-porary) is in fact a transitional experience which, in the very dance movement representing birth, allows the subject to experience separation and to move to the inter-subjective encounter which guarantees intra-subjective construction. A group of dancers is a crowd organized by the aesthetic ideal of rhythm, and can thus appear as an essential form of the group and a priv-ileged place of subjectivation for the contemporary adolescent, who finds a place to satisfy his/her need for collective identification and initiation rituals which leave the imprint of culture on the body. In this way dance can be thought of, with psychoanalysis, as a therapeutic medi-ation which is particularly indicated for adolescents suffering from serious narcissistic pathol-ogies. The study of a mediation group associating dance and writing in an outpatient unit shows how improvised dance, like a “danced squiggle” reveals to patients their unconscious body image, which is transformed in transference through contact with therapists and the group. For these adolescents with symbolisation problems, writing supports the subjectivising properties of dance which are deployed in the meeting space.

Thesis (M. Sc.)--University of Hong Kong, 2001. / Includes bibliographical references (leaves 104-113).

Thesis (M. Ed.)--University of Hong Kong, 2002. / Includes bibliographical references (leaves 62-69).

This creative project has compared specific ethnic folk dances to choreographed folk dances. Ball State University's Folk Dance Repertory "The Banevolks" in their concert "Folklore '74", provided the material for the choreographed dances. The background material for the ethnic folk dances has been researched by the author. The paper discusses the similarities and differences between arranged or choreographed and ethnic folk dances.The countries researched were Yugoslavia, Bulgaria, Russia and Israel. The following dances were discussed: Cetvorno Oro, Na Uskres Sam Se, Pirot Medley, Starobosansko Kolo from Glamoch, Zhora Bar, Venzelia, Hoppa Hey, Orcha Bamidbar and Mishal.The project has explored the dances in accordance with: style, basic steps, formations, types, costumes and history. Diagrams, musical notes and dance write-ups have been added to outline the dances in a more realistic form.

This study was undertaken to characterize the oxygen consumption and heart rate responses of subjects during laboratory simulated aerobic dance circuit training sessions. Sixteen female subjects performed six randomly assigned 30-minute aerobic dance circuit training protocols. Oxygen consumption and heart rate responses were monitored in response to changes in three independent variables which were: interval duration, leg involvement and fitness level. Results revealed that the different interval durations generated significantly different oxygen costs. Also, it was found that in relative terms (% of max VO$ sb2$), the low fitness group (max VO$ sb2 $ 45 ml/kg.min). Furthermore, it was found that the involvement of deep knee bends during the resistance training segment of the circuit significantly increased the oxygen cost when the resistance training segments were compared. Finally, the results showed that exercise intensity was overestimated when using percentage of max HR.

Thesis (M.Mus.) -- University of Adelaide, Department of Music, 1978.

Thesis (M.F.A.)--Rochester Institute of Technology, 1984. / Typescript. Includes bibliographical references (leaf 18).

Thesis (M.A.S.A.)--Ohio State University, 1950. / Includes bibliographical references (leaves 114-115). Available online via OhioLINK's ETD Center.