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✏The Art of Dancing Explained by Reading and Figures Book Summary : The title page indicates the book was completed in 1724. However, the cost of the thirty-five full-page plates precluded publication until 1735. In this treatise of two parts, Tomlinson (c. 1690-1753?) sets forth the principles of Baroque dance. Book one covers description of twenty nine steps; book two discusses the minuet, including four methods of performing the minuet step.
📒Writing Dancing In The Age Of Postmodernism ✍ Sally Banes
✏Writing Dancing in the Age of Postmodernism Book Summary : A leading critic traces three decades of contemporary dance from Balanchine to breakdancing
📒Dancing At Lughnasa ✍ Joan Fitzpatrick Dean
✏Dancing at Lughnasa Book Summary : * Lucid and accessible style makes the series appealing to the general reader * Liberally illustrated throughout with stills from the film under discussion. * Collaboration between Cork University Press and the Film Institute of Ireland. Between the premi�re of Brian Friel's stage play "Dancing at Lughnasa" in 1990 and Pat O'Connor's cinematic adaptation in 1998, Ireland experienced seismic economic and social changes, as well as "Riverdance", "Angela's Ashes" and an international vogue for all things Irish. Set in 1936, "Dancing at Lughnasa", as both film and play, imagines an anachronistic past in which the loss of joyous communal ritual is symptomatic of the cultural malaise so often associated with Ireland in the 1930s. Drawing upon unpublished material from the Friel archive at the National Library of Ireland, Joan FitzPatrick Dean contrasts the expressly theatrical elements of Friel's play and their cinematic counterparts
📒Twelve Dancing Princesses ✍ I. E. Clark
✏Twelve Dancing Princesses Book Summary :
📒Dancing As An Art And Pastime ✍ Edward Scott
✏Dancing as an Art and Pastime Book Summary :
📒Dancing At Lughnasa ✍ Brian Friel
✏Dancing at Lughnasa Book Summary : THE STORY: This extraordinary play is the story of five unmarried sisters eking out their lives in a small village in Ireland in l936. We meet them at the time of the festival of Lughnasa, which celebrates the pagan god of the harvest with drunken
📒Dancing In The Streets ✍ Barbara Ehrenreich
✏Dancing in the Streets Book Summary : From the bestselling social commentator and cultural historian, a fascinating exploration of one of humanity's oldest traditions: the celebration of communal joy In the acclaimed Blood Rites, Barbara Ehrenreich delved into the origins of our species' attraction to war. Here, she explores the opposite impulse, one that has been so effectively suppressed that we lack even a term for it: the desire for collective joy, historically expressed in ecstatic revels of feasting, costuming, and dancing. Ehrenreich uncovers the origins of communal celebration in human biology and culture. Although sixteenth-century Europeans viewed mass festivities as foreign and "savage," Ehrenreich shows that they were indigenous to the West, from the ancient Greeks' worship of Dionysus to the medieval practice of Christianity as a "danced religion." Ultimately, church officials drove the festivities into the streets, the prelude to widespread reformation: Protestants criminalized carnival, Wahhabist Muslims battled ecstatic Sufism, European colonizers wiped out native dance rites. The elites' fear that such gatherings would undermine social hierarchies was justified: the festive tradition inspired French revolutionary crowds and uprisings from the Caribbean to the American plains. Yet outbreaks of group revelry persist, as Ehrenreich shows, pointing to the 1960s rock-and-roll rebellion and the more recent "carnivalization" of sports. Original, exhilarating, and deeply optimistic, Dancing in the Streets concludes that we are innately social beings, impelled to share our joy and therefore able to envision, even create, a more peaceable future.
📒Dancing The Data ✍ Carl Bagley
✏Dancing the Data Book Summary : Dancing the Data and its interrelated CD-ROM, Dancing the Data Too, show the ways in which educational research and the visual and performing arts can embrace each other to engender a culture of feeling and meaning and in so doing evoke new ways of knowing, learning, and teaching. It draws on the artistic mediums of dance, collage, poetry, music, and drama and invites the reader to engage with the educational research endeavors of the contributors as they seek to move beyond the traditions of established approaches to represent and reflect on their work in artistic forms. Dancing the Data seeks to open up conversational beginnings with teachers, researchers, and students, and to tempt them to discuss and reflect on the ways in which established methodological and pedagogical boundaries might be crossed and new ways of seeing and doing valued and explored. Contents: Carl Bagley/Mary Beth Cancienne: Educational Research and Intertextual Forms of (Re)Presentation: The Case for Dancing the Data--Celeste Snowber: Bodydance: Enfleshing Soulful Inquiry through Improvisations--Jim Mienczakowski/Lynn Smith/Steve Morgan: Seeing Words--Hearing Feelings: Ethnodrama and the Performance of Data--Dwight Rogers/Paul Frellick/Leslie Babinski: Staging a Study--Performing the Personal and Professional Struggles of Beginning Teachers--Terry Jenoure: Sweeping the Temple: A Perform-for the legal content in his works, which found fit audiences among jurists at the Inns of Court law schools and in King James' Court. Shakespeare pleased the king on these matters enough to have him command his plays to be repeated on an occasion. For himself, Shakespeare learned from his own writing how to deal with the languageof law theoretically and conceptually with such concepts as equity and mercy in Chancery. He used his own family life, personal documents, and legal problems to give impetus to his version of borrowed characters, plots, plays, and history. These personal events, from the placement of the references, give his plays, which sometimes end with a fictionalized, wish-fulfillment, or literary compensation, an autobiographical initial compulsion. - From November 1604 until Shrove Tuesday 1605 the Master of the Revels chose to stage seven of Shakespeare's plays, all dealing with justice and law, equity and mercy, courts and jurisdiction: 'Othello', 'Merry Wives of Windsor', 'Measure for Measure', 'Comedy of Errors', 'Loves Labours Lost', 'Henry V', and 'Merchant of Venice'. W. Nicholas Knight argues this was no coincidence: Tilney used the plays to teach the proper use of law to the new King James. In this pioneering study of Shakespeare's life and work, Knight discovers new sources for the plays--the lawsuits and family concerns of Shakespeare himself, matters which may well have inspired Shakespeare then and heighten certain fresh thematics now. This is a unique work of legal history and theater criticism showing how each may illuminate the other. (Arthur F. Kinney, Director, Massachusetts Center for Renaissance Studies, University of Massachusetts, Amberst) - W. Nicholas Knight has made exciting discoveries where law and literature intersect in Shakespeare's plays. This book persuades me that the 'allegory' Shakespeare made of his life carries important and dynamic traces of the troubles, legal and familial, that beset the playwright's daily thoughts in the 1590s and beyond. Thisis a pioneering work of scholarship and detection in the field! (Tony Connor, Department of English, Wesleyan University, Connecticut)"
📒Dancing At The Edge Of The World ✍ Ursula K. Le Guin
✏Dancing at the Edge of the World Book Summary : The celebrated author offers her thoughts on a broad range of subjects, including literary criticism, the state of science fiction writing today, and government and governmental policies
📒A Treatise On The Art Of Dancing ✍ Giovanni-Andrea Gallini
✏A Treatise on the Art of Dancing Book Summary :