Decadent Aesthetics and the Acrobat in the French Fin de siècle explores the myth of the sad clown as an allegory for the unappreciated artist, examining the circus posters of Jules Chéret, Thomas Couture's Pierrot and Harlequin paintings, and Honoré Daumier's saltimbanque paintings.
Decadent Aesthetics and the Acrobat in the French Fin de siècle explores the myth of the sad clown as an allegory for the unappreciated artist, examining the circus posters of Jules Chéret, Thomas Couture's Pierrot and Harlequin paintings, and Honoré Daumier's saltimbanque paintings.
Jennifer Forrest is Professor of French at Texas State University. She is the editor of The Legend Returns and Dies Harder Another Day: Essays on Film Series (McFarland, 2008) and co-editor of Dead Ringers: The Remake in Theory and Practice (SUNY, 2002).
Inhaltsangabe
Introduction Chapter One: 1857, Part I: Plays with Sad Clowns Chapter Two: 1857, Part II: Making Clown Faces Chapter Three: 1879, Part I: Suspending Identity with the Hanlon-Lees Chapter Four: 1879, Part II: Time and Space and the Hanlon-Lees Effect Chapter Five: The Paradox of the Lady Acrobat Chapter Six: The Poetics of Pantomime and Circus, Part I: Jules Laforgue Chapter Seven: The Poetics of Pantomime and Circus, Part II: Octave Mirbeau Epilogue
Introduction Chapter One: 1857, Part I: Plays with Sad Clowns Chapter Two: 1857, Part II: Making Clown Faces Chapter Three: 1879, Part I: Suspending Identity with the Hanlon-Lees Chapter Four: 1879, Part II: Time and Space and the Hanlon-Lees Effect Chapter Five: The Paradox of the Lady Acrobat Chapter Six: The Poetics of Pantomime and Circus, Part I: Jules Laforgue Chapter Seven: The Poetics of Pantomime and Circus, Part II: Octave Mirbeau Epilogue
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