Gendering bodies/performing art: dance and literature in early-twentieth-century culture

Table of Contents

• Frontmatter

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• Introduction (page 1)

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• Part 1. Women Who Dance (page 13)
  • 1. Moving Violations: Dance in the London Music Hall, 1800-1910 (page 15)

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  • 2. The Dancer and Woman's Place: Maud Allan and Isadora Duncan (page 31)

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• Part 2. Removing the Dancer from the Dance (page 57)
  • 3. The Symbolist Dancer: The Performance Aesthetics of Isadora Duncan, Arthur Symons, and Edward Gordon Craig (page 59)

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  • 4. Oscar Wilde's Salomé: Rewriting the Fatal Woman (page 75)

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  • 5. Dance and Gender in Yeat's Early Plays for Dancers (page 87)

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• Part 3. The Rise of the Author (page 101)
  • 6. The Aesthetic of Control: G. B. Shaw and the Performer (page 103)

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  • 7. Usurping High Culture: The Russian Ballet, I (page 119)

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• Part 4. Performing Modernism (page 135)
  • 8. Disappearing Acts: Ideology and the Performer in T. S. Eliot's Early Criticism (page 137)

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  • 9. Massine and Modernism: The Russian Ballet, II (page 155)

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• Notes (page 175)

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• Works Cited (page 201)

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• Index (page 215)

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