• Produktbild: Modernism's Mythic Pose
  • Produktbild: Modernism's Mythic Pose

Modernism's Mythic Pose Gender, Genre, Solo Performance

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Beschreibung

Produktdetails

Einband

Taschenbuch

Erscheinungsdatum

22.08.2014

Verlag

Oxford University Press

Seitenzahl

372

Maße (L/B/H)

23.4/15.6/2.2 cm

Gewicht

572 g

Sprache

Englisch

ISBN

978-0-19-938458-7

Beschreibung

Produktdetails

Einband

Taschenbuch

Erscheinungsdatum

22.08.2014

Verlag

Oxford University Press

Seitenzahl

372

Maße (L/B/H)

23.4/15.6/2.2 cm

Gewicht

572 g

Sprache

Englisch

ISBN

978-0-19-938458-7

Herstelleradresse

Libri GmbH
Europaallee 1
36244 Bad Hersfeld
DE

Email: gpsr@libri.de

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  • Produktbild: Modernism's Mythic Pose
  • Produktbild: Modernism's Mythic Pose
    • 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