This book recovers the tradition of Delsartism, a popular international movement that promoted bodily and vocal solo performances, particularly for women. This strain of classical-antimodernism shaped dance, film, and poetics. Its central figure, the mythic pose, expressed both skepticism and nostalgia and functioned as an ambivalent break from modernity.
This book recovers the tradition of Delsartism, a popular international movement that promoted bodily and vocal solo performances, particularly for women. This strain of classical-antimodernism shaped dance, film, and poetics. Its central figure, the mythic pose, expressed both skepticism and nostalgia and functioned as an ambivalent break from modernity.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Carrie J. Preston is Associate Professor of English and Women's, Gender, and Sexuality Studies at Boston University.
Inhaltsangabe
* Series Editors' Foreword * Acknowledgments * Introduction. * I. Modern, Antimodern, and Mythic Posing * II. Gendered Identity and Embodiment * III. Biblical Typology and Classical Ritual * IV. Solo Genres * V. Modernist Kinaesthetics * Chapter 1. The Solo's Origins: Monodramas, Attitudes, Dramatic Monologues * I. Galatea's Reach: Gestures of the Monodrama * II. Veiled Motions: Emma Lyon Hamilton's Attitude * III. Goethe's Proserpina and Later Posers * IV. Barrett Browning: Naming "Aeschylus" and "The Virgin Mary" * V. Types and Housewives in Christina Rossetti and Augusta Webster * Chapter 2. Posing Modernism: Delsartism in Modern Dance and Silent Film * I. Delsarte's Aesthetics of the Attitude * II. Disseminating Delsarte * III. Performing Delsartism: Genevieve Stebbins and the Early Motions of Modern Dance * IV. Performing Delsartism (Take Two): Denishawn and Hollywood * V. The Russian Delsarte: Kuleshov and Film Montage * Chapter 3. Positioning Genre: The Dramatic Monologue in Cultures of Recitation * I. Expression, Recitation, and Literary Interpretation * II. Charlotte Mew: The Magdalene in "Madeleine in Church" * III. T. S. Eliot's "Magus": Impersonality, Objective Correlative, and Mythical Method * IV. Chautauquas, "Sextus Propertius," and Ezra Pound's History * V. Amy Lowell's Polyphonic Emma Lyon Hamilton * Chapter 4. The Motor in the Soul: Isadora Duncan's Solo Dance * I. The Shock of Solo Expression * II. The Proto-Motor: Duncan and Delsartean Posing * III. The Joints of Modernism: Conjunctures of Materialism and Metaphysics * IV. The Multiplied Body of the Motor * V. Motorized Propulsion and Modernist Ritual * VI. Repetitions of the Motor: Will and Spontaneity * VII. The Weight of a Thigh and the New Woman of (Anti)Modernism * Chapter 5. Ritualized Reception: H.D.'s Antimodernist Poetics and Cinematics * I. Imagism Unstuck: H.D.'s Dissent and Pound's Revision * II. Stepping from Stone: Dramatic Monologues of The God * The Ritual Chorus and a Soloist's Suspicion in Ion and "The Dancer" * IV. Types of Participation: H.D.'s Film Essays and Reviews * V. H.D.'s Attitudes on Film * VI. Montage, Technology for the Soul * VII. The Soloists of Trilogy * Afterword. Post-Antimodernism
* Series Editors' Foreword * Acknowledgments * Introduction. * I. Modern, Antimodern, and Mythic Posing * II. Gendered Identity and Embodiment * III. Biblical Typology and Classical Ritual * IV. Solo Genres * V. Modernist Kinaesthetics * Chapter 1. The Solo's Origins: Monodramas, Attitudes, Dramatic Monologues * I. Galatea's Reach: Gestures of the Monodrama * II. Veiled Motions: Emma Lyon Hamilton's Attitude * III. Goethe's Proserpina and Later Posers * IV. Barrett Browning: Naming "Aeschylus" and "The Virgin Mary" * V. Types and Housewives in Christina Rossetti and Augusta Webster * Chapter 2. Posing Modernism: Delsartism in Modern Dance and Silent Film * I. Delsarte's Aesthetics of the Attitude * II. Disseminating Delsarte * III. Performing Delsartism: Genevieve Stebbins and the Early Motions of Modern Dance * IV. Performing Delsartism (Take Two): Denishawn and Hollywood * V. The Russian Delsarte: Kuleshov and Film Montage * Chapter 3. Positioning Genre: The Dramatic Monologue in Cultures of Recitation * I. Expression, Recitation, and Literary Interpretation * II. Charlotte Mew: The Magdalene in "Madeleine in Church" * III. T. S. Eliot's "Magus": Impersonality, Objective Correlative, and Mythical Method * IV. Chautauquas, "Sextus Propertius," and Ezra Pound's History * V. Amy Lowell's Polyphonic Emma Lyon Hamilton * Chapter 4. The Motor in the Soul: Isadora Duncan's Solo Dance * I. The Shock of Solo Expression * II. The Proto-Motor: Duncan and Delsartean Posing * III. The Joints of Modernism: Conjunctures of Materialism and Metaphysics * IV. The Multiplied Body of the Motor * V. Motorized Propulsion and Modernist Ritual * VI. Repetitions of the Motor: Will and Spontaneity * VII. The Weight of a Thigh and the New Woman of (Anti)Modernism * Chapter 5. Ritualized Reception: H.D.'s Antimodernist Poetics and Cinematics * I. Imagism Unstuck: H.D.'s Dissent and Pound's Revision * II. Stepping from Stone: Dramatic Monologues of The God * The Ritual Chorus and a Soloist's Suspicion in Ion and "The Dancer" * IV. Types of Participation: H.D.'s Film Essays and Reviews * V. H.D.'s Attitudes on Film * VI. Montage, Technology for the Soul * VII. The Soloists of Trilogy * Afterword. Post-Antimodernism
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