Zugl.: Toruń (Polen), Univ., Diss., 2005

Thesis (M.Ed.)--Memorial University of Newfoundland, 1997. / Bibliography: leaves 163-174.

Thesis (doctoral)--Universität Innsbruck. / Includes bibliographical references (p. 395-401).

Thesis (doctoral) - Universität Innsbruck. / Includes bibliographical references (p. 395-401).

Notre travail de recherche propose d'envisager et d'étudier la danse en tant qu'activité constructrice de sens. Cette notion complexe a été diversement thématisée et explorée au cours de l'histoire de la danse, mais n'a que rarement été questionnée frontalement. Nous nous appuyons, pour mener à bien cette entreprise, sur les travaux de Susanne Langer, philosophe américaine du XXe siècle dont les ouvrages explorent la question du symbolique. Elle a développé au sujet de la danse une pensée originale, et élaboré des concepts proposant de circonscrire au mieux les processus symboliques à l'oeuvre dans les pratiques non discursives, et en particulier dans l'art. Nous choisissons, plutôt que d’aborder la danse d’un point de vue ontologique, comme une catégorie en soi sous laquelle seraient subsumés certains mouvements, de la considérer comme un événement, dont la survenue peut être intermittente. Approcher la danse sous cet angle offre la possibilité de rendre compte de son éventuelle apparition dans toute forme de mouvement, de la danse artistique à la danse festive, du mime au cinéma, du rite à la création numérique. Ce choix de ne pas réduire a priori le champ d'étude permet a posteriori de redessiner une frontière nette entre la danse et les autres formes de mouvement ou de pratiques corporelles. En effet, notre travail tend à réaffirmer la spécificité fondamentale de la danse, quels que soient les environnements, moments et corps dans lesquels elle apparaît – une spécificité tenant à ses processus symboliques uniques, et aux sens qu'elle peut ainsi construire ou faire émerger. / The aim of our work is to consider and study dance as a sense-Building activity. Sense is a complex notion, which has been variously conceptualized in the course of dance history but merely investigated. In order to do so, we build upon the works of Suzanne Langer, a 20th century American philosopher whose writings explore the concept of “symbol”. She elaborated an original thought about dance and came up with concepts that allowed her to circumscribe the symbolic processes happening during the non-Discursive practices, in art especially. Rather than looking at dance from an ontological point of view or as a category that gathers certain types of moves, we choose to study it as something that may appear on an intermittent basis. Watching dance this way makes it possible for us to give an account of the possibility of its emergence in any kind of movement, whether it happens in the course of artistic dance, festal dance, mime, cinema, rite or within a digital creation. This decision not to reduce a priori the field of study allows us to draw a posteriori a clear distinction between dance and any other kind of moves or bodily practices. Indeed, our work tends to claim the fundamental specificity of dance, whatever environments, moments or bodies in or during which it occurs – a specificity that may be explained by its unique symbolic processes and the meanings or senses it may build or give birth to.

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Thesis (M.F.A.)--Rochester Institute of Technology, 1984. / Typescript. Includes bibliographical references (leaves 39-40).

Orientador: Sayonara Sousa Pereira / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T13:35:56Z (GMT). No. of bitstreams: 1 Banov_LuizaRomaniFerreira_M.pdf: 4750212 bytes, checksum: 0215d5e424f53829722f14daeed64208 (MD5) Previous issue date: 2011 / Resumo: O presente estudo visou pesquisar as características e peculiaridades da Dança Teatral Alemã. Desta maneira, apresenta-se aqui uma abordagem sobre a Dança Teatral e o universo em que ela foi germinada, a fim de conhecê-la e analisá-la. A pesquisa de campo envolveu dois meses de estudos na Folkwang Hochschule, Essen/Alemanha; o que possibilitou contatar protagonistas da dança moderna alemã, como Susanne Linke e Lutz Förster. Assim, o trabalho apresenta considerações sobre o material pedagógico de três mestres da Escola Folkwang, refletindo sobre a abordagem teórico-prática aplicada ao treinamento dos bailarinos desta escola. O apoio para a compreensão teórica da pesquisa em questão foi encontrada em autores, como Servos (2009), Lomakine (1999), Pereira (2007), entre outros. O espetáculo cênico "Aos que aqui estiveram..." foi elaborado como resultante sinestésica dessa experiência, composto por influências do material pesquisado: inspirado em células de movimento obtidas a partir da pesquisa de campo e com alusão aos vídeos e características da Dança Teatral alemã estudadas / Abstract: The present study searched for the characteristics and peculiarity of the German Tanztheater. It presents a reflection about the Tanztheater and the universe from where it emerged, in the aim to understand and analyze it. The research study involved two months at Folkwang Hochschule, Essen/Germany; responsible for the direct contact with protagonists of the German modern dance such as Susanne Linke and Lutz Förster. In this way, the work presents considerations about the pedagogic material from three masters of Folkwang, and reflects about the practical - theoretical approach applied to the dancers of that school. The support for the theoretical comprehension of the research was founded through the authors Servos 2009, Lomakine, 1999 Pereira, 2007 and other. The performance "For those who were here¿" was elaborated as a kinesthetic result of the experience, composed from the influences of the researched material: inspired in cells of movements learned during the research study in Germany and also with allusion in videos and the studied characteristics of Tanztheater / Mestrado / Artes Cenicas / Mestre em Artes

(in English): The thesis is attempting to present theory of art by Susanne Langer. In the first phase it presents her view of perception, which is deeply intertwined with other processes of our mind. Therefore, the thesis is focusing, in her view of perception, on basic principles of human communication and expression, which are all regulated in perspective of this theory by a concept of a symbol. A symbol is presented here as an element, which we revive through perception on one hand and project it into the perceived at other. Therefore the attempt is accompanied by explanation of all aspects of the symbol as one of the basic units operating in the mind, before focusing on perception in general. The thesis then proceeds to narrow perception, to a perception of art, in distinguishing a discoursive and non-discoursive symbol, and a specific non-discoursive symbol in art. On the basis of this distinction, the aim is to explain how Langer views the art, art creation and its value in such a realm of symbolism. In parallel with this development, from the general perception to the definition of art, the term feeling will be increasingly employed in the text. The concept will be presented also as a necessary part of our actions, communication and perception, although feeling is commonly understood as...

The purpose of this dissertation is to develop explanatory theory for the learning processes facilitated by art-based methods in management education (ABMs). Such theory is important because managerial educators increasingly use ABMs, and without a well-developed theory it may be difficult to realise these methods’ full potential. Current research on ABMs uses theories from other fields but generally sees ABMs as methods for making important information available for reflection, e.g. information about unconscious assumptions, aesthetic experience, or non-propositional or tacit knowledge. This shows that the field is grounded in a representationalist view of cognition. This view of cognition makes it difficult to explain certain themes in the research field, such as, the importance of staying with the senses without reflecting, aesthetic agency, and the process of making. I therefore asked: What insights can be gained from exploring ABMs, using theories grounded in the embodied view of cognition, in particular Conceptual Metaphor Theory (CMT) (Lakoff & Johnson, 1999) and simulation theories (Barsalou, 2008). For the empirical work, I used an experimental design with 60 managers from Danish companies. All participants selected problems from their work they perceived as important, yet unsolvable. They were randomly divided into three groups: Two groups using different ABMs to address problems and a comparison group where no ABM was used. The experiment indicated that 1) creating new metaphors for a problem based on different sensory metaphors enabled the participants to import behaviour from contexts unrelated to the problematic situation, and 2) focusing on sensory experience enabled participants to remove judgments about self or others. Furthermore, the experiment indicated that learning outcomes reflected participants’ experience of the concrete learning intervention. These findings contribute to CMT by suggesting that it is possible to formulate relationships between changes in metaphors and specific learning outcomes. They contribute to ABM by suggesting that experiences that participants have during ABMs are later used as tools for structuring other experiences – not merely as data for reflection.