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Zusatztext Clearly written and carefully researched, this study systematically analyzes the semiotics of gesture. Recommended. Informationen zum Autor Carrie J. Preston is Associate Professor of English and Women's, Gender, and Sexuality Studies at Boston University. Klappentext 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. Zusammenfassung 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. Inhaltsverzeichnis 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 ...
