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Copyright of Cahiers Elisabethains: A Biannual Journal of English Renaissance Studies is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cahiers Elisabethains: A Biannual Journal of English Renaissance Studies is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cahiers Elisabethains: A Biannual Journal of English Renaissance Studies is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the context of the most recent experiments involving dance–literature relations, I would like to focus on Concordan(s)e , a fascinating literary and artistic adventure that has been ongoing since 2007. A collaborative encounter between a writer and a choreographer leads to the co-creation of a new, shared work, which is a sort of prolongation or extension of their individual artistic worlds. This 'shared artistic act' invites reflection on a possible transformation that affects not only the novel but also creativity itself. The novel is changed by the 'mutation' of the act of writing. This 'mutation' both nourishes the reader-spectator and serves as the foundation for thinking about the writer's creative process; it also gives the literary text another form. Might not this change in the act of writing be the main issue to be considered if we are to understand one of the ways the contemporary novel is developing, and to broaden the scope of studies on the relationship between dance and literature? [ABSTRACT FROM AUTHOR]

The article focuses on orientalist ballet as poetic translation and notion exemplified in his earlier reviews of famed ballet dancer Marie Taglioni. It mentions efficacy of dance as a poetic language, and the growing international trade in exotic perfumes in the nineteenth century and connection between dance and visual art. It also mentions connections between Indian dance and traditional middle eastern dances and connections between dance and literature.

Dancing bodies and scenes of dance appear throughout the 19th-century literature. Bringing the dance historical perspective to literary studies helps to situate texts within important social and cultural contexts and also raises questions about the presence of moving bodies within texts and how those bodies might have been deployed by the 19th-century writers. Recently, scholars have attempted to bridge the gap between dancing bodies and textual bodies by bringing dance history and criticism into conversation with the article of the 19th-century literary texts, creating the field of dance and literature studies. This field has rich potential for interdisciplinary studies and also much to offer both literary studies and dance history. [ABSTRACT FROM AUTHOR]

An introduction is presented in which the editor discusses various articles within the issue on topics including dance and literature, choreography, and origins of dance form Kathakali.

An essay is presented on the literary works of poet C. Subramaniya Bharati. Noted is the dance drama of Bharati entitled "The Vow of Pāñcāli" The interrelated goals of the work such as its gendering text on nationalist project and goddess worship are noted. Also mentioned is the feminine identity of goddess Draupadī.

The article offers a report from an October 24-26, 2013 conference in Kassel, Germany on the relationship between gender and mass media. Topics of presentations delivered included the role of television in subjectivizing gender relations, philosophical aspects of gender in writings on dance, and sexuality in a music video by Lady Bitch Ray.

The beginnings of ballet as theatrical dance coincide with the beginnings of recording movement, at first in the form of notational systems, which reach their peak at the turn of the nineteenth and twentieth centuries, when it is becoming increasingly evident that dance notation systematization is a utopian task. Each recording of movement proves to be a unique analytical system allowing insights both in movement representations of a certain time and at the same time in the problematic of movement as such. The recording of contemporary dance outside the ballet institution is thus defined primarily with the particularity of own (auto)biographical writing and with education and the establishment of dance schools that see to the preservation of dance languages. Both these moments are important for the development of Slovene contemporary dance; whereas the present recording of dance is entirely subjected to particular patterns of seeing and intellectualisation of the seen. [ABSTRACT FROM AUTHOR]

With its initial desire to articulate contemporary dance history in Eastern Europe, the collection Parallel Slalom steps directly into the moment of the encounter between history and the present, the East and the West, and it touches upon numerous ideological categories that appear in these encounters as a consequence of the hierarchical matrix of the western narrative. It explores dance in its emancipatory and transformative potential as a constant articulation and re-articulation; it emphasizes the potentiality of heterogeneity of local practices, contexts, principles and criteria; and it directs mental efforts towards the possibilities of creating one's own, specific and potentially rebellious or innovative forms of life and work. [ABSTRACT FROM AUTHOR]

Dancer, choreographer and dance pedagogue Ingo Diehl gives an interview about the network project Tanzplan Deutschland, which, between 2005 and 2010, connected dance schools, universities, academies, artists and local communities. The German Federal Cultural Foundation has approved funds of EUR 12.5 million for the project for a period of five years: the result was the participation of 70 internationally renowned artists, 70 universities, 180 participants. How to address politicians, the broader public and the local community? Ingo Diehl talks about networking, solidarity and the common good. And about how contemporary dance can contribute to all this. [ABSTRACT FROM AUTHOR]

This article examines French choreographer Roland Petit's ballet adaptation of À la recherche du temps perdu as an example of the little-researched interartistic relations between literature and dance. Drawing on translation theory and recent dance scholarship, it argues that Petit's ‘lecture dancée’, Proust ou les intermittences du cœur, offers a bold critical reading of the source text that challenges conservative public perceptions of Proust through its foregrounding of the darker side of human passions in the text and its focus on homosexuality as a major theme. By lifting the novel out of its traditional medium, the ballet brings to the fore aspects of the work that criticism tends to overlook: Proust's interest in the body in motion, the gestural and choreographic qualities of his writing, the marked theatricality of some of the text's most prominent scenes. Not bound by the strictures of faithfulness, Petit signs a performance that extracts Proustian ‘essences’ in the interstices between text and performance. [ABSTRACT FROM PUBLISHER]

In masques in which Queen Anna and her ladies performed, such as Samuel Daniel's "Fethys Festival" and the Vision of the Twelve Goddesses," the dancing female body comes to represent the soul visually and thematically. This bodily representation of the soul constitutes a political statement about women's exclusion from affairs of government. It transgresses assumptions about gender roles without hinging on an aggressive display of sexuality, a topic that past feminist masque criticism has foregrounded. To support this argument, I draw on seventeenth-century concepts of the soul-body divide and early modern theories of dance. [ABSTRACT FROM AUTHOR]

As a form of reverse ekphrasis , a piece of music or a dance may re(-)present a literary text. This paper proposes an analysis on the measure in which the semio-narrative categories and the Greimasian actantial model are relevant for the understanding of choreographic discourse as reverse ekphrasis. In particular, the study considers choreographies inspired by literary (pre)text or pre-established narrative frames. In dance, gestural statements can be narratively semantized, caught - and thus clarified - within a story and within a constitutive aesthetics of ambiguity. [ABSTRACT FROM AUTHOR]

The article discusses a version of the play "The Seagull," by Anton Chekhov, choreographed and adapted by John Neumeier, the artistic director and chief choreographer at the Hamburg Ballet in Germany. It examines narrative ballet as multimedial art, reflecting on intersections of dance, music, and literature. The author comments on the distinct dance styles of the various characters. Other topics explored by the author include Neumeier's use of audiovisual irony, echo characters, and seagull imagery.

The article presents literary criticism of the books "Emily of New Moon," "Emily Climbs," and "Emily's Quest" by L. M. Montgomery, all part of the Emily of New Moon book series. It explores the connections between health, dance, and creativity in the novels. The author suggests that the books might have been influenced by the theories of modern dancer Isabella Duncan. Other topics include nature, expression, and strength.

The article discusses Faroese and Danish dance ballads and folk dancing in the Faroe Islands. The author discusses the Faroese oral poem "Sjúrðar kvæði," or "The Ballads of Sigurd the Dragon Slayer," and suggests that the depiction of gender in the ballad and ballad dancing offered norms for gender roles. Topics include the depiction of the character Brynhild in the "Brynhildar táttur" section of "Sjúrðar kvæði," women informants for the collection of Faroese ballads such as an 1840s collection by V. U. Hammershaimb, and female informant Birita á Mýri who informed the ballad "Mirmants kvæði," or the "Ballad of Mirmant."

An interview with Cheryl A. Wilson, an assistant professor of English at Indiana University of Pennsylvania, is presented. When asked about the reason that leads her to write a book about dance, she refers to the opportunity of doing a dance history research which motivated her to write more topics about dances. She has said that the dance manuals which she found at the Library of Congress helped her in her research. Wilson believes that dance history research is well-established.

Die Studie versucht Heinrich Heines Doppelargument zu klären: sein Tanzpoem, Der Doktor Faust, werde erstens der historischen Sage gerechter und zweitens sei es der Moderne angemessener als Goethes Faustprojekt. Heine stützt seine These mit dem Hinweis auf die wachsende Bedeutung der im Klassizismus noch beargwöhnten Kunst des Tanzes im gegenwärtigen 19. Jahrhundert. Der Tanz sei das Medium, um die anhaltende Modernität des Faustthemas, die Geschichte des Begehrens und Verführens in angemessen performativer Form vorzustellen. An diesem Aufstieg des Tanzes zu einer der Leitkünste im 19. Jahrhundert thematisiert Heine exemplarisch Chance und Problematik von Virtuosität. In seinen Kritiken notiert Heine, dass ohne Poesie und geschichtliche Tiefendimension Künste wie der Tanz zu bloßem Effekt verkommen. Diese Einsicht setzt er produktionsästhetisch in seinem Tanzpoem um. Er zeigt wie es möglich ist, eine welthistorische Gesamtschau verschiedenster ästhetischer Manieren und unterschiedlichster Weltentwürfe virtuos zu inszenieren, und gleichwohl in kritischer Distanz zu einer bloß auf Effekt zielenden Virtuosität zu bleiben. [ABSTRACT FROM AUTHOR]

Copyright of Croatian Journal of Ethnology & Folklore Research / Narodna Umjetnost is the property of Institute of Ethnology & Folklore Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article presents multiple perspectives of petit battement sur le cou de pied. These perspectives include historical, biomechanical, and pedagogic points of view. The article offers useful information for ballet specialists and applied research studies aimed at ballet pedagogy. [ABSTRACT FROM AUTHOR]

This article tries to rethink the ways in which the bundle of audio-video documentation and written material entitled A Choreographer's Score approaches the early dance and choreographic practice of Anne Teresa De Keersmaeker and her contemporary dance group Rosas. As I wish to propose, this hybrid bundle, which came about as a dialogical meeting between the aforementioned choreographer and the theoretician Bojana Cvejić, remains 'faithful' to the materiality of dance by not inscribing it in normative registers of writing on dance and dance-writing, but by attempting the rethinking of the contextual redefinitions of both - and other - dance-specific concepts precisely through the practice of writing on dance. [ABSTRACT FROM AUTHOR]

The current editorial board of Maska first raised the issue of the concerns of contemporary dance already in March 2012; almost exactly a year ago, this was followed by the first drafts for the present issue and finally by the decision that the contemporary dance issue should be addressed thoroughly and systematically. The long and highly inspiring discussions with editorial board members gradually provided the focus for our contemplation, understanding and reading of dance through social contexts. We set an ambitious task of drawing the views of contemporary dance from different perspectives: historical, educational, infrastructural, performative, curatorial, production, theoretical, conceptual, interpretational... that are rhizomatically embedded within inter-genre and international transitions. Our broadly defined topic about the movements in contemporary dance will spill over into the next issue of Maska to be published in Spring 2014. [ABSTRACT FROM AUTHOR]

The article announces a call for nominations for the Selma Jeanne Cohen Dance Prize. The award will be given in honor of a published work in the philosophy, theory, or aesthetics of dance. The article includes information on eligibility, the selection committee, submission requirements, and contact information.