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Gendering bodies/performing art: dance and literature in early-twentieth-century culture
Amy Koritz-
Frontmatter
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Introduction (page 1)
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Part 1. Women Who Dance (page 13)
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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)
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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)
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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)
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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)
Journal Abbreviation | Label | URL |
---|---|---|
TDR | 41.1 (Spring 1997): 152-154 | http://www.jstor.org/stable/1146578 |
DRJ | 28.2 (Autumn 1996): 80-83 | http://www.jstor.org/stable/1478592 |
DR | 16.2 (Winter 1998): 29-43 | http://www.jstor.org/stable/1291023 |
SIG | 23.4 (Summer 1998): 1075-1077 | http://www.jstor.org/stable/3175207 |
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Citable Link
Published: c1995
Publisher: University of Michigan Press
- 9780472106165 (hardcover)