Thesis (M.A.)--San Francisco State University, 2005. / Includes bibliographical references (leaves 98-102). Also available online (PDF file) by a subscription to the set or by purchasing the individual file.

Thesis (M.A.)--San Francisco State University, 2005. / Includes bibliographical references (leaves 98-102).

Thesis (M.M.) Florida State University, 2007. / Advisor: Charles Brewer, Florida State University, College of Music. Title and description from dissertation home page (viewed 10-8-2007). Document formatted into pages; contains 52 pages. Includes biographical sketch. Includes bibliographical references.

La presente investigación tiene como objetivo analizar la relación entre Bienestar y la presencia de indicadores de desórdenes alimenticios en bailarinas profesionales de danza clásica en el Perú. Asimismo se buscó indagar la relación entre las variables ya mencionadas con las variables características de la danza. Para este propósito se evaluó 44 bailarinas entre los 15 y 44 años de edad (M=26.3, DE=8.01) utilizando las Escalas de Bienestar, Flourishing Scale y Scale of Positive and Negative Experience (FS y SPANE; Diener et al., 2010); y el Inventario de Trastornos de la Conducta Alimentaria, EDI-2, desarrollado por Garner (1998). Se halló que siete de las once escalas del EDI-2 correlacionan, inversa o directamente, con todos los aspectos del bienestar. Además se encontró que dos escalas del EDI-2 correlacionan inversamente con las características propias de ballet. Se concluye que las presiones socioculturales del ambiente de las compañías de ballet clásico podrían constituir un elemento de riesgo para que surjan ciertos indicadores de desórdenes alimenticios; sin embargo las bailarinas de la presente investigación reportan bienestar tanto cognitivo como afectivo. La elevación del perfil de desórdenes alimenticios para el grupo evaluado, no pareciera estar asociado al desarrollo de patologías, sino más bien a la tendencia a estar constantemente preocupadas por su aspecto físico. / This research aims to analyze the relationship between well-being and the presence of indicators of eating disorders in professional ballet dancers in Peru. Likewise it also investigates the relationship between the variables mentioned above with the variables of the dance. For this purpose, we evaluated 44 dancers between 15 and 44 years (M = 26.3, SD = 8.01) using Scales of Well-Being, Flourishing Scale and Scale of Positive and Negative Experience (FS and Spane; Diener et al., 2010); and The Inventory and Eating Disorder, EDI- 2, developed by Garner (1998). It was found that seven of the eleven scales of EDI-2 correlated, both inverse and direct, with all aspects of well-being. In addition it was found that two scales of the EDI-2 correlated inversely with ballet´s own characteristics. Sociocultural environment pressures in ballet companies could be the ideal climate for the emergence of certain indicators of eating disorders; however the dancers of this research report cognitive and emotional wellbeing. Raising the profile of eating disorders for the evaluated group is not associated with the development of diseases, but rather the tendency to be constantly concerned about their physical appearance. / Tesis

The following thesis applies equations of motion used in linear locomotion (gait analysis) to the analysis of the purely rotational motion of the fouetté or tour à la seconde. Modifications to the method of analysis include the creation of several MATLAB programs to compute improved estimates of the moment of inertia tensor, three-dimensional angular momentum about the dancer’s centre of mass. The results of this investigation—the quantification of angular momentum and external moments—are compared to similar results from gait analysis to demonstrate how the dancer maintains balance during rotational motion. The variables calculated by the MATLAB programs are particularly relevant in the field of balance control research in the context of inputs into the body’s balance control systems.

University of Macau / Faculty of Social Sciences and Humanities / Department of Communication

Zugl.: Habil.-Schr.

No description available.

Au-delà des trois Psyché de Lully (ballet, 1656 ; tragi-comédie et ballet, 1671 ; tragédie en musique, 1678), apparaît, entre 1671 et 1718, sous la plume de différents auteurs, une multitude de pièces ou d’œuvres se réclamant des Psyché de Lully, alors mêmes qu’elles en divergent, parfois au point d’en récuser les fondements. L’objet de ce travail consiste donc à comprendre comment une telle situation est possible. Parallèlement à leurs spécificités respectives, les trois Psyché de Lully, mettent en œuvre un principe de création par réécriture musicale, que les successeurs de Lully vont durablement exploiter. En dépit de matériaux originels lacunaires ou discordants, les contemporains de Lully identifient chacune des Psyché comme telle, attestant qu’au-delà de leurs disparités existe un certain nombre de traits communs à l’écriture de Psyché, quel que soit son ‘genre’. Cependant, les variations apportées par les diverses réécritures, de Lully, de ses contemporains ou de ses successeurs constituent des ensembles dont on peut suivre l’évolution, ce qui signifie qu’au-delà des seules Psyché de Lully, le corpus global des réécritures fait sens. De fait on identifie en même temps qu’une dramatisation de la musique par le chant, la disparition du drame par la dramatisation même de la musique. Ce phénomène se réfracte dans la lecture du mythe et du sujet tragique en général : de symbolique et religieuse, elle se fait laïque et critique, épousant par là-même l’évolution du concept d’harmonie dans le spectacle de Cour. Ainsi les Psyché de Lully apparaissent-elles comme un laboratoire de l’histoire du spectacle de Cour. / Beyond Lully's three Psychés (a ballet in 1656 ; a tragicomedy and ballet in 1671 ; an opera in 1678) a multitude of plays or works appear between 1671 and 1718. Composed by various authors they all claim to draw their inspiration from Lully's Psychés although they differ from it or even refute its foundations. Hence, the purpose of this work is to understand how such a situation is possible. Parallel to their respective specificities, Lully's three Psychés implement a principle of creation through musical rewriting which Lully's successors will make use of for years. In spite of incomplete or conflicting original materials, Lully's contemporaries identify each of the Psychés as such, showing that beyond their disparities a certain number of common points in the writing of Psyché can be found, whatever the 'genre'. Yet the variations brought by the various rewritings, whether by Lully himself or by his contemporaries or successors, make up wholes the evolutions of which can be followed, which means that beyond Lully's Psychés the global corpus of the rewritings makes sense. De facto, as well as a dramatization of music through singing, we can identify the disappearance of drama through the actual dramatization of music. This phenomenon is refracted in the reading of the myth and the tragic subject in general : from symbolic and religious it becomes secular and critical , thus embracing the concept of harmony in court entertainment. Therefore, Lully's Psychés appear as a laboratory of the history of court entertainment.

Introdução: As aulas de ballet parecem apresentar intensidades cardiorrespiratórias (CR) mais baixas do que os ensaios e espetáculos. Além disso, o ballet é caracterizado como um exercício intermitente, que envolve uma variedade de ações excêntricas, as quais podem estar relacionadas à lesão muscular (LM) e ao estresse oxidativo (EO). Objetivos: Descrever, comparar e correlacionar as respostas CR, de EO e LM em bailarinas após uma aula e um ensaio de ballet. Variáveis CR: consumo de oxigênio (VO2); frequência cardíaca (FC) e concentração sanguínea de lactato (La). Variáveis EO: estado redox (GSSH/GSH) e concentração sanguínea de lipoperóxidos (LPO). Variável de LM: concentração sanguínea de creatina quinase (CK). Métodos: Doze bailarinas voluntárias, de nível técnico avançado foram avaliadas. Teste de consumo máximo de oxigênio (VO2máx) e avaliação da composição corporal foram realizados. Em duas sessões separadas, as bailarinas realizaram uma aula e um ensaio de ballet, os quais foram previamente filmados na escola de dança e reproduzidos nas sessões de coleta de dados. VO2 e FC foram mensurados continuamente em todas as sessões. La foi verificado antes e depois do teste de VO2máx; e em repouso, aos 15 e 30 minutos da aula e do ensaio. Coletas de sangue foram realizadas em repouso, imediatamente após e 48h após a aula e o ensaio. As variáveis CR da aula (barra, centro e aula toda) e do ensaio (ensaio todo) foram também relacionadas aos dados do primeiro e segundo limiares ventilatorios (LV1 e LV2). La pós teste VO2max, pós aula e pós ensaio foram também comparados entre si. Dados expressos em média e desvio padrão. Estatística: ANOVA Two-way; ANOVA medidas repetidas; Post hoc Bonferroni (p<0,05). Resultados: VO2máx=37,3±4,7; LV1=24,92,7 e LV2=31,9±3,8 ml.kg-1.min-1. VO2 (aula=14,5±2,1 / ensaio=19,11,7 ml.kg-1.min-1); FC (aula=145,7±17,9 / ensaio=174,5±13,8 bpm) e La (aula=4,2±1,1 / ensaio=5,5 ± 2,7 mmol.l-1) foram significativamente diferentes entre si. Resultados Os resultados do VO2 (ml.kg-1.min-1 ) comparando-se aula, ensaio, LV1 e LV2 foram: aula barra (14,4±2,0); aula toda (14,5±2,1); aula centro (16,7±2,5); ensaio todo (19,1±1,7); LV1 (24,9 ± 2,7) e LV2 (31,9 ± 3,8). Aula barra e aula toda foram iguais entre si e diferentes de aula centro e ensaio todo, os quais não foram diferentes entre si. LV1 e LV2 foram diferentes entre si e de todos os demais parâmetros. Para FC, o ensaio todo se localizou entre LV1 e LV2. La (mmol.l-1) da aula (4,2±1,1) foi significativamente menor do que o La máximo (8,1±2,3), sendo o ensaio (5,5±2,7) estatisticamente igual a ambos. CK foi significativamente mais elevada pós aula do que ensaio, sendo os valores pós e 48h iguais entre si e ambos diferentes do pré. A razão GSSG/GSH diminuiu significativamente 48h pós aula e ensaio, mas não foi diferente entre os dois tipos de exercício. Os valores de LPO foram maiores para a aula do que para o ensaio, não apresentando diferenças em relação ao efeito tempo. Conclusão: A aula apresenta intensidade mais baixa do que o ensaio em relação às variáveis CR, entretanto, a aula foi mais intensa no que se refere aos parâmetros de dano celular. Parece que as bailarinas avaliadas estão adaptadas em relação aos parâmetros de dano celular, mas necessitam de treinamento mais específico do ponto de vista CR. / Introduction: Ballet classes (BC) seem to have lower cardiorespiratory (CR) intensities than ballet reharshal (BR) and spectacles. Besides that, the ballet is characterized as an intermittent exercise that involves several eccentric avtions, which could be related to muscle damage (MD) and oxidative stress (OS). Aims: To describe, compare and correlate ballet dancers` CR, MD and OS responses after a BC and a BR. CR variables: oxygen consumption (VO2); heart rate (HR) and lactate blood concentration (La). OS variables: redox state (GSSH/GSH) and lipoperoxides blood concetration (LPO). MD variable: creatine kinase blood concentration (CK). Methods: Twelve female advanced ballet dancers volunteered this study. Maximum oxygen consumption (VO2max) test and body composition assessment were performed. In two separated sessions, the dancers performed a BC and a BR, which were previously recorded in their dance school, and further transmited during the data colecttion sessions. VO2 and HR were continually measured during all sessions. La was verified before and after the VO2max test; and in rest, in 15 and 30 minutes of the BC and BR. Blood colections were performed in rest, immediately after and 48h after the BC and BR. CR responses during BC (barre, center floor and whole BC) and during BR (whole BR) were also compared to the CR responses in the first and second ventilatory threshold (VT1 and VT2). The La was also compered after VO2max test, after the BC and after BR. Data were expressed in average and standart deviation. Statistics: ANOVA Two-way; ANOVA repeated measures and Post hoc Bonferroni (p<0.05). Results: VO2max=37.3±4.7; VT1=24.92.7 and VT2=31.93.8 ml.kg-1.min-1. VO2 (BC=14.5±2.1 / BR=19.1±1.7 ml.kg-1.min-1); HR (BC=145.7±17.9 / BR=175±13.8 bpm) e La (BC=4.2±1.1 / BR=5.5 ± 2.7 mmol.l-1) were significantly different among themselves. VO2 (ml.kg-1.min-1) results comparing BC, BR, VT1 and VT2 were: barre (14.4±2.0); whole BC (14.5±2.1); center floor (16.7±2.5); whole BR (19.11.7); VT1 (24.9 ± 2.7) and VT2 (31.9 ± 3.8). For FC results, the whole BR was located between VT1 and VT2. La (mmol.l-1) in the BC (4.2±1.1) was significantly lower than La in the VO2max test (8.1±2.3), being the BR (5.5±2.7) statistically equal to both. CK was significantly higher after the BC than the BR, being the values post and 48h post equal between themselves and both significantly different from before BC and BR. The ratio GSSG/GSH was significantly lower in 48h after BC and BR, but it was not different in relation to the type of exercise (BC or BR). LPO values were higher in the BC than the BR, however they did not show any differences related to the time. Conclusion: BC showed lower CR responses than BR, nevertheless, BC was more intense concerning the cell damage parameters. It appears that the dancers evaluated are well adapeted in relation to cell damage parameters, but they need more specific training from the CR point of view.