Thesis (Ph. D.)--University of Technology, Sydney, 2008. / Bibliography: leaves 321-331. Also issued online.

Typescript. Includes vita and abstract. Includes bibliographical references (leaves 104-105). Also available online.

Thesis (M.Phil.)--Memorial University of Newfoundland, 2004. / Restricted until May 2005. Bibliography: leaves 88-89.

Thesis (Ph.D.)--University of Western Sydney, 2009. / Accompanied by DVD entitled: Body of knowledge. DVD can be viewed at UWS Library. A thesis presented to the University of Western Sydney, College of Arts, Social Justice and Social Change Research Group, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliographies.

Thesis (Ph.D.)--Duquesne University, 2005. / Title from document title page. Abstract included in electronic submission form. Includes bibliographical references (p. 433-456) and index.

The main focus of this dissertation is a discussion of how an artist uses her dance bodily knowledge to develop in a static art form a more bodily sense of movement. For this purpose this dissertation examines four clay sculptures by contemporary artist Mary Frank. The analysis suggests that the uncharacteristic sense of movement displayed in these works derives from her experiential knowledge of dance. This sense of movement is achieved through the considered assemblage and inextricable relationship between Frank’s dance bodily knowledge (body knowledge a dancer acquires through years of dance practice) and the manipulation of clay, the plastic medium she uses to create these forms. The study reveals that Frank’s ceramic assemblages of organic shapes resembling a figure could be related to somatic awareness of arms, legs, torso, hips, and head that dancers experience while dancing. Similarly, the fluid quality of her ceramic assemblages and their seamless coexistence with the environment can be correlated to the proprioceptic sensibilities (the reception of stimuli produced within the organism by movement or tension) that a dancer’s body senses as it navigates through the air and across the ground managing the pull of gravity. These findings are developed through a discussion of the philosophic theories on bodily knowledge (knowing in and through the body) by Maurice Merleau-Ponty, Michael Polanyi, Edward Casey, Pierre Bourdieu, and Richard Shusterman, as well as the philosophic theories on dance bodily knowledge (my own term) developed by Barbara Mettler, Maxine Sheets-Johnstone, and Jaana Parviainen. In addition, Mary’s sculptures are compared to traditionally built sculptures to illustrate the bodily sensory quality of the sense of movement of her structures. Although the scope of this study is limited to the application of dance bodily knowledge onto sculpture, perceived through the clay sculptures of Mary Frank, this research adds to the debate on the interrelationships between dance education and the arts, the body and institutions of learning, and the body and society. It suggests that dance practice and introspection of one’s body movement affects how one perceives the world around us and therefore how one reacts and expresses oneself on to the world. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-12-12T09:29:37Z No. of bitstreams: 1 Gabriela Massarra Santos Heine.pdf: 939673 bytes, checksum: a3b4b7f8cee44e6d319adfbac613448b (MD5) / Made available in DSpace on 2018-12-12T09:29:37Z (GMT). No. of bitstreams: 1 Gabriela Massarra Santos Heine.pdf: 939673 bytes, checksum: a3b4b7f8cee44e6d319adfbac613448b (MD5) Previous issue date: 2018-11-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present research results from a desire to seek other forms of relationship with the other, to see and feel it. In this sense, the emphasis of our object of study falls on the writings of the contemporary philosopher, Gilles Deleuze, in his readings in Espinosa and we search for possible connections with Jose Gil and Kuniichi Uno. It is, therefore, to think of human complexity in what it possesses of more particular: the potency of its body. Dance is proposed as a means of metamorphosis of the body and is consequently not the only form. To think about some flows and between flows that guide and permeate the Deleuze’s thought is like a kind of walk between transform and the conductor would be the body. In dance there are affectations capable of promoting the increase of power, strengthening our conservation as being. The more fit the body is, the greater will be your known its relation to the world. Thus, we seek through this dissertation to think about the relation of philosophy to dance, to literature, to theater. We understand that life is that of the body and what happens in it resounds in thought / A presente pesquisa resulta de um anseio de buscar outras formas de relação com o outro, de vê-lo e senti-lo. Neste sentido, a ênfase de nosso objeto de estudo recai sobre os escritos do filósofo contemporâneo, Gilles Deleuze, nas suas leituras em Espinosa e buscamos possíveis conexões com José Gil e Kuniichi Uno. Trata-se, portanto, de pensar a complexidade humana naquilo que ela possui de mais particular: a potência de seu corpo. A dança é proposta como um meio de metamorfose do corpo, não sendo, portanto, a única forma. Pensar em alguns fluxos e entre fluxos que norteiam e permeiam o pensamento deleuziano é como uma espécie de passeio entre devires e o condutor seria o corpo. Na dança ocorre afetações capazes de promover o aumento da potência fortalecendo nossa conservação como ser. Quanto mais apto estiver o corpo maior será seu poder de compreender sua relação com o mundo. Desta forma, procuramos por meio desta dissertação pensar sobre a relação da filosofia com a dança, com a literatura, com o teatro. Compreendemos que a vida é aquela do corpo e o que se passa nele ressoa em pensamento

Thesis (Ph. D.)--University of Oregon, 2001. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 226-236). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p3024513.

Thesis (M.A.)--Trinity International University, 2004. / Abstract. Includes bibliographical references (leaves 78-83).

Thesis (M.A.)--Trinity International University, 2004. / Abstract. Includes bibliographical references (leaves 78-83).