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  3. Modernism's mythic pose: gender, genre, solo performance

Modernism's mythic pose: gender, genre, solo performance

Carrie J. Preston
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  • Contents

  • Reviews

  • Frontmatter
  • Foreword (page vii)
  • Acknowledgments (page xi)
  • List of Figures (page xiii)
  • Introduction (page 3)
    • I. Modern, Antimodern, and Mythic Posing (page 3)
    • II. Gendered Identity and Embodiment (page 11)
    • III. Biblical Typology and Classical Ritual (page 14)
    • IV. Solo Genres (page 18)
    • V. Modernist Kinesthetics (page 21)
  • 1. The Solo's Origins: Monodramas, Attitudes, Dramatic Monologues (page 26)
    • I. Galatea's Reach: Gestures of the Monodrama (page 28)
    • II. Veiled Motions: Emma Lyon Hamilton's Attitude (page 32)
    • III. Goethe's Proserpina and Later Posers (page 39)
    • IV. Barrett Browning: Naming "Aeschylus" and "The Virgin Mary..." (page 44)
    • V. Types and Housewives in Christina Rossetti and Augusta Webster (page 51)
  • 2. Posing Modernism: Delsartism in Modern Dance and Silent Film (page 58)
    • I. Delsarte's Aesthetics of the Attitude (page 60)
    • II. Disseminating Delsarte (page 67)
    • III. Performing Delsartism: Genevieve Stebbins and the Early Motions of Modern Dance (page 73)
    • IV. Performing Delsartism (Take Two): Denishawn and Hollywood (page 82)
    • V. The Russian Delsarte: Kuleshov and Film Montage (page 91)
  • 3. Positioning Genre: The Dramatic Monologue in Cultures of Recitation (page 100)
    • I. Expression, Recitation, and Literary Interpretation (page 102)
    • II. Charlotte Mew: The Magdalene in "Madeleine in Church" (page 110)
    • III. T.S. Eliot's "Magus": Impersonality, Objective Correlative, and Mythical Method (page 117)
    • IV. Chautauquas, "Sextus Propertius," and Ezra Pound's History (page 125)
    • V. Amy Lowell's Polyphonic Emma Lyon Hamilton (page 134)
  • 4. The Motor in the Soul: Isadora Duncan's Solo Dance (page 144)
    • I. The Shock of Solo Expression (page 147)
    • II. The Proto-Motor: Duncan and Delsartean Posing (page 152)
    • III. The Joints of Early Modernism: Conjunctures of Materialism and Metaphysics (page 160)
    • IV. The Multiplied Body of the Motor (page 167)
    • V. Motorized Propulsion and Modernist Ritual (page 173)
    • VI. Repetitions of the Motor: Will and Spontaneity (page 177)
    • VII. The Weight of a Thigh and the "New Woman" of Modernism (page 182)
  • 5. Ritualized Reception: H.D.'s Antimodern Poetics and Cinematics (page 191)
    • I. Imagism Unstuck: H.D.'s Dissent and Pound's Revision (page 194)
    • II. Stepping from Stone: Dramatic Monologues of The God (page 198)
    • III. The Ritual Chorus and a Soloist's Suspicion in Ion and "The Dancer" (page 204)
    • IV. Types of Participation: H.D.'s Film Essays and Reviews (page 212)
    • V. H.D.'s Attitudes on Film (page 218)
    • VI. Montage, a Classical Technology (page 225)
    • VII. The Soloists of Trilogy (page 231)
  • Afterword (page 239)
  • Notes (page 250)
  • Bibliography (page 319)
  • Index (page 343)
Reviews
Journal AbbreviationLabelURL
MD 56.3 (Fall 2013): 408-411 http://muse.jhu.edu/journals/modern_drama/v056/56.3.quigley.html
Citable Link
Published: c2011
Publisher: Oxford University Press
ISBN(s)
  • 9780199877447 (ebook)
  • 9780199384587 (paper)
  • 9780199766260 (hardcover)
Subject
  • Dance & Performance History
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