Sergei Eisenstein's cinematic adaptation of Karl Marx's Capital was never realized, yet it has haunted the imagination of many filmmakers, historians, and philosophers to the present day. Dance of Values aims to conjure the phantom of Eisenstein's Capital, presenting for the first time material from the full scope of the film project's archival body. This "visual instruction in the dialectical method," as Eisenstein called it, comprises more than five hundred pages of notes, drawings, press clippings, diagrams, negatives, theoretical reflections, and extensive quotations. Dance of Values explores the internal formal necessity underlying Eisenstein's artistic choices, and argues that its brilliant adaptation of Marx's Capital relied on the fragmentary and nonlinear state of its material. Published here for the first time, sequences from Eisenstein's archival materials are presented in this volume not as mere illustrations but as arguments in their own right, a visual theorization of value.
"The authors' approach to creating a transforming culture through use of foundations laid in the theoretical development of "Nursing As Caring" offers a solid foundation upon which to recalibrate and reconfigure toward a caring organizational health system." -Tim Porter-O'Grady, DM, EdD, APRN, FAAN, FACCWS Associate Professor, Leadership Scholar, College of Nursing and Healthcare Innovation, Arizona State University Clinical Professor, Leadership Scholar, College of Nursing, The Ohio State University This is a time-tested, practical guide for nurses and other healthcare professionals who wish to transform their healthcare systems based on caring values and the promotion of intra- and inter-professional dialogue among stakeholders. It describes a theoretically grounded model created by nurses for transforming the culture of healthcare systems at all levels, and features tested strategies that facilitate accessibility, efficiency, effectiveness, and enhanced outcomes. At its most basic level, this model, the Dance of Caring Persons, expresses the fundamental beliefs and attitudes that each person in the healthcare system lives caring meaningfully in unique and valuable ways, and the contributions of each person to the whole of the enterprise have a significant place within it. The book features successful examples of how various units of the healthcare system can apply specific strategies to their inter- and intra-professional work, and how to engage and sustain authentic dialogue among and between stakeholders. Chapters feature information from a great variety of health professionals that represent a broad range of participants in healthcare. Detailed information is presented in a variety of formats ranging from formal written responses to chapter contents to transcriptions of small group conversations relating to the topic at hand. The book reflects the interests of such major stakeholders as patients and families, nurses, physicians and other primary and adjunctive care providers, ancillary service providers, administrators and managers, and all other individuals involved in the many aspects of organizational models and delivery of health care and human resource functions and outcomes. Each chapter includes questions to consider and suggested resources to help with implementation of strategies. The text incorporates professional standards and essentials from the Joint Commission, ANCC, and AACN (DNP). Key Features: Presents a theoretically grounded, proven caring-based model for healthcare system change for all stakeholders across the continuum of care Provides practical strategies for transformation in all aspects of a healthcare system applicable across the range of health services Describes how healthcare system change happens, who initiates it, and how to sustain it through caring science Includes success stories from patients and their families, nurses, physicians, ancillary service providers, healthcare administrators, and others Promotes inter- and intra-professional dialogue and collaboration
This book investigates the role Nietzsche's dance images play in his project of "revaluing all values" alongside the religious rhetoric and subject matter evident in the work of Isadora Duncan and Martha Graham, who found justification and guidance in Nietzsche's texts for developing dance as a medium of religious expression.
""I am not a propagandist," declared the matriarch of American modern dance Martha Graham while on her State Department funded-tour in 1955. Graham's claim inspires questions: the United States government exported Graham and her company internationally to over twenty-seven countries in Europe, Eastern Europe, the Middle East, the Near and Far East, and Russia representing every seated president from Dwight D. Eisenhower through Ronald Reagan, and planned under George H.W. Bush. Although in the diplomatic field, she was titled "The Picasso of modern dance," and "Forever Modern" in later years, Graham proclaimed, "I am not a modernist." During the Cold War, the reconfigured history of modernism as apolitical in its expression of "the heart and soul of mankind," suited political needs abroad. In addition, she declared, "I am not a feminist," yet she intersected with politically powerful women from Eleanor Roosevelt, Eleanor Dulles, sister of Eisenhower's Dulles brothers in the State Department and CIA, Jackie Kennedy Onassis, Betty Ford, and political matriarch Barbara Bush. While bringing religious characters on the frontier and biblical characters to the stage in a battle against the atheist communists, Graham explained, "I am not a missionary." Her work promoted the United States as modern, culturally sophisticated, racially and culturally integrated. To her abstract and mythic works, she added the trope of the American frontier. With her tours and Cold War modernism, Graham demonstrates the power of the individual, immigrants, republicanism, and, ultimately freedom from walls and metaphorical fences with cultural diplomacy with the unfettered language of movement and dance"--
In Sharing the Dance, Cynthia Novack considers the development of contact improvisation within its web of historical, social, and cultural contexts. This book examines the ways contact improvisers (and their surrounding communities) encode sexuality, spontaneity, and gender roles, as well as concepts of the self and society in their dancing. While focusing on the changing practice of contact improvisation through two decades of social transformation, Novack’s work incorporates the history of rock dancing and disco, the modern and experimental dance movements of Merce Cunningham, Anna Halprin, and Judson Church, among others, and a variety of other physical activities, such as martial arts, aerobics, and wrestling.
Brenda McCutchen provides an integrated approach to dance education, using four cornerstones: dancing and performing, creating and composing, historical and cultural inquiry and analysing and critiquing. She also illustrates the main developmental aspects of dance.
This book takes its start from a series of attempts to use Caravaggio’s works for contemporary humanitarian communications. How did his Sleeping Cupid (1608) end up on the island of Lampedusa, at the heart of the Mediterranean migrant crisis? And why was his painting The Seven Works of Mercy (1607) requested for display at a number of humanitarian public events? After critical reflection on these significant transfers of Caravaggio’s work, Francesco Zucconi takes Baroque art as a point of departure to guide readers through some of the most haunting and compelling images of our time. Each chapter analyzes a different form of media and explores a problem that ties together art history and humanitarian communications: from Caravaggio’s attempt to represent life itself as a subject of painting to the way bodies and emotions are presented in NGO campaigns. What emerges from this probing inquiry at the intersection of art theory, media studies and political philosophy is an original critical path in humanitarian visual culture.
National Dance Education Organization Ruth Lovell Murray Book Award UNCG | Susan W. Stinson Book Award for Dance Education An African American art form, jazz dance has an inaccurate historical narrative that often sets Euro-American aesthetics and values at the inception of the jazz dance genealogy. The roots were systemically erased and remain widely marginalized and untaught, and the devaluation of its Africanist origins and lineage has largely gone unchallenged. Decolonizing contemporary jazz dance practice, this book examines the state of jazz dance theory, pedagogy, and choreography in the twenty-first century, recovering and affirming the lifeblood of jazz in Africanist aesthetics and Black American culture. Rooted Jazz Dance brings together jazz dance scholars, practitioners, choreographers, and educators from across the United States and Canada with the goal of changing the course of practice in future generations. Contributors delve into the Africanist elements within jazz dance and discuss the role of Whiteness, including Eurocentric technique and ideology, in marginalizing African American vernacular dance, which has resulted in the prominence of Eurocentric jazz styles and the systemic erosion of the roots. These chapters offer strategies for teaching rooted jazz dance, examples for changing dance curricula, and artist perspectives on choreographing and performing jazz. Above all, they emphasize the importance of centering Africanist and African American principles, aesthetics, and values. Arguing that the history of jazz dance is closely tied to the history of racism in the United States, these essays challenge a century of misappropriation and lean into difficult conversations of reparations for jazz dance. This volume overcomes a major roadblock to racial justice in the dance field by amplifying the people and culture responsible for the jazz language. Contributors: LaTasha Barnes | Lindsay Guarino | Natasha Powell | Carlos R.A. Jones | Rubim de Toledo | Kim Fuller | Wendy Oliver | Joanne Baker | Karen Clemente | Vicki Adams Willis | Julie Kerr-Berry | Pat Taylor | Cory Bowles | Melanie George | Paula J Peters | Patricia Cohen | Brandi Coleman | Kimberley Cooper | Monique Marie Haley | Jamie Freeman Cormack | Adrienne Hawkins | Karen Hubbard | Lynnette Young Overby | Jessie Metcalf McCullough | E. Moncell Durden Publication of this work made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.
This is the first introductory statistics text to use an estimation approach from the start to help readers understand effect sizes, confidence intervals (CIs), and meta-analysis (‘the new statistics’). It is also the first text to explain the new and exciting Open Science practices, which encourage replication and enhance the trustworthiness of research. In addition, the book explains NHST fully so students can understand published research. Numerous real research examples are used throughout. The book uses today’s most effective learning strategies and promotes critical thinking, comprehension, and retention, to deepen users’ understanding of statistics and modern research methods. The free ESCI (Exploratory Software for Confidence Intervals) software makes concepts visually vivid, and provides calculation and graphing facilities. The book can be used with or without ESCI. Other highlights include: - Coverage of both estimation and NHST approaches, and how to easily translate between the two. - Some exercises use ESCI to analyze data and create graphs including CIs, for best understanding of estimation methods. -Videos of the authors describing key concepts and demonstrating use of ESCI provide an engaging learning tool for traditional or flipped classrooms. -In-chapter exercises and quizzes with related commentary allow students to learn by doing, and to monitor their progress. -End-of-chapter exercises and commentary, many using real data, give practice for using the new statistics to analyze data, as well as for applying research judgment in realistic contexts. -Don’t fool yourself tips help students avoid common errors. -Red Flags highlight the meaning of "significance" and what p values actually mean. -Chapter outlines, defined key terms, sidebars of key points, and summarized take-home messages provide a study tool at exam time. -http://www.routledge.com/cw/cumming offers for students: ESCI downloads; data sets; key term flashcards; tips for using SPSS for analyzing data; and videos. For instructors it offers: tips for teaching the new statistics and Open Science; additional homework exercises; assessment items; answer keys for homework and assessment items; and downloadable text images; and PowerPoint lecture slides. Intended for introduction to statistics, data analysis, or quantitative methods courses in psychology, education, and other social and health sciences, researchers interested in understanding the new statistics will also appreciate this book. No familiarity with introductory statistics is assumed.
In her remarkable book, Sondra Horton Fraleigh examines and describes dance through her consciousness of dance as an art, through the experience of dancing, and through the existential and phenomenological literature on the lived body. She describes, with performance photographs, specific imagery in dance masterworks by Doris Humphrey, Anna Sokolow, Viola Farber, Nina Weiner, and Garth Fagan.
