{"id":{"repo_id":"brazil-uff","oai_identifier":"oai:app.uff.br:1/18854"},"canonical_url":"https://search.dev.ndltd.org/etd/brazil-uff/oai:app.uff.br:1/18854","repository":{"repo_id":"brazil-uff","name":"Brazil UFF","base_url":"https://app.uff.br/oai/request"},"display":{"title":"A dança espetáculo : uma análise semiótica","abstract":"The thesis provides theoretical basis for dance-show semiotics. First, the presence of the body in semiotics is discussed, in addition to the importance of sensitive body creating synesthesias in dance. Then, aesthetic effects in dance are defined, as per Greimas' postulations in \"De l' imperfection\" (\"Da Imperfeição\"), in order to differentiate classical, modern and contemporaneous styles in an aesthetic manner. And, fina lly, a discussion about syncretic text is proposed, based on Floch's studies (1985), in order to further show how syncretism in dance takes place, through language overlaps. In order to analyse dance-show in its different styles, a large paradigmatic line, which works as deeper isotopy that conducts the others, is considered: movement. Therefor, space and time are established as two main paradigms responsible for assuring the relationship between elements of semiotic syncretism in dance. In all languages involved in dance-show discourse, space and time are responsible for creating moviment, which takes place not only in gestures, but also in music, lighting, costumes and scenes. In addition to theoretical semiotics basis, the thesis also provides parameters proposed by Helenita Sá Earp (1989) and Rudolf Laban (1990) who analyze space, form, dynamics and time issues. Finally, the thesis provides a reflection on the relationship between aesthetic function and syncretism in dance.","abstract_html":"The thesis provides theoretical basis for dance-show semiotics. First, the presence of the body in semiotics is discussed, in addition to the importance of sensitive body creating synesthesias in dance. Then, aesthetic effects in dance are defined, as per Greimas' postulations in "De l' imperfection" ("Da Imperfeição"), in order to differentiate classical, modern and contemporaneous styles in an aesthetic manner. And, fina lly, a discussion about syncretic text is proposed, based on Floch's studies (1985), in order to further show how syncretism in dance takes place, through language overlaps. In order to analyse dance-show in its different styles, a large paradigmatic line, which works as deeper isotopy that conducts the others, is considered: movement. Therefor, space and time are established as two main paradigms responsible for assuring the relationship between elements of semiotic syncretism in dance. In all languages involved in dance-show discourse, space and time are responsible for creating moviment, which takes place not only in gestures, but also in music, lighting, costumes and scenes. In addition to theoretical semiotics basis, the thesis also provides parameters proposed by Helenita Sá Earp (1989) and Rudolf Laban (1990) who analyze space, form, dynamics and time issues. Finally, the thesis provides a reflection on the relationship between aesthetic function and syncretism in dance.","abstract_has_math":false,"creators":["Trotta, Mariana de Rosa"],"institution":"Programa de Pós-graduação em Letras","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2010,"date_issued":"2010-04-26","date_published":"2010-04-26","updated_at":"2026-07-27T19:01:04Z","subjects":["Semiótica","Dança moderna","Dança clássica","Dança contemporânea","Estética","Sincretismo","Efeitos estéticos","Semiotics","Dance","Syncretism","Aesthetic effects","Classical dance","Modern dance","Contemporaneous dance"],"languages":["por"],"rights":["Acesso Aberto"],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://app.uff.br/riuff/handle/1/18854","outbound_label":"Repository record","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Trotta, Mariana de Rosa"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2021-03-10T20:45:47Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2010-05-26","2021-03-10T20:45:47Z"]},{"key":"dc:date.issued","label":"Date","values":["2010-04-26"]},{"key":"dc:publisher.department","label":"Dc Publisher Department","values":["letras"]},{"key":"dc:type","label":"Dc Type","values":["Tese"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Semiótica","Dança moderna","Dança clássica","Dança contemporânea","Estética","Sincretismo","Efeitos estéticos","Semiotics","Dance","Syncretism","Aesthetic effects","Classical dance","Modern dance","Contemporaneous dance"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["por"]},{"key":"dc:rights","label":"Dc Rights","values":["Acesso Aberto"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://app.uff.br/riuff/handle/1/18854"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["The thesis provides theoretical basis for dance-show semiotics. First, the presence of the body in semiotics is discussed, in addition to the importance of sensitive body creating synesthesias in dance. Then, aesthetic effects in dance are defined, as per Greimas' postulations in \"De l' imperfection\" (\"Da Imperfeição\"), in order to differentiate classical, modern and contemporaneous styles in an aesthetic manner. And, fina lly, a discussion about syncretic text is proposed, based on Floch's studies (1985), in order to further show how syncretism in dance takes place, through language overlaps. In order to analyse dance-show in its different styles, a large paradigmatic line, which works as deeper isotopy that conducts the others, is considered: movement. Therefor, space and time are established as two main paradigms responsible for assuring the relationship between elements of semiotic syncretism in dance. In all languages involved in dance-show discourse, space and time are responsible for creating moviment, which takes place not only in gestures, but also in music, lighting, costumes and scenes. In addition to theoretical semiotics basis, the thesis also provides parameters proposed by Helenita Sá Earp (1989) and Rudolf Laban (1990) who analyze space, form, dynamics and time issues. Finally, the thesis provides a reflection on the relationship between aesthetic function and syncretism in dance."]},{"key":"dc:format","label":"Dc Format","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["A dança espetáculo : uma análise semiótica"]}]}],"canonical_facts":{"dc:creator":["Trotta, Mariana de Rosa"],"dc:date.accessioned":["2021-03-10T20:45:47Z"],"dc:date.available":["2010-05-26","2021-03-10T20:45:47Z"],"dc:date.issued":["2010-04-26"],"dc:description.abstract":["The thesis provides theoretical basis for dance-show semiotics. First, the presence of the body in semiotics is discussed, in addition to the importance of sensitive body creating synesthesias in dance. Then, aesthetic effects in dance are defined, as per Greimas' postulations in \"De l' imperfection\" (\"Da Imperfeição\"), in order to differentiate classical, modern and contemporaneous styles in an aesthetic manner. And, fina lly, a discussion about syncretic text is proposed, based on Floch's studies (1985), in order to further show how syncretism in dance takes place, through language overlaps. In order to analyse dance-show in its different styles, a large paradigmatic line, which works as deeper isotopy that conducts the others, is considered: movement. Therefor, space and time are established as two main paradigms responsible for assuring the relationship between elements of semiotic syncretism in dance. In all languages involved in dance-show discourse, space and time are responsible for creating moviment, which takes place not only in gestures, but also in music, lighting, costumes and scenes. In addition to theoretical semiotics basis, the thesis also provides parameters proposed by Helenita Sá Earp (1989) and Rudolf Laban (1990) who analyze space, form, dynamics and time issues. Finally, the thesis provides a reflection on the relationship between aesthetic function and syncretism in dance."],"dc:format":["application/pdf"],"dc:identifier.uri":["https://app.uff.br/riuff/handle/1/18854"],"dc:language":["por"],"dc:publisher.department":["letras"],"dc:rights":["Acesso Aberto"],"dc:subject":["Semiótica","Dança moderna","Dança clássica","Dança contemporânea","Estética","Sincretismo","Efeitos estéticos","Semiotics","Dance","Syncretism","Aesthetic effects","Classical dance","Modern dance","Contemporaneous dance"],"dc:title":["A dança espetáculo : uma análise semiótica"],"dc:type":["Tese"]},"updated_at":"2026-07-27T19:01:04Z"}