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Danseuses as working women : = Ballet and female waged labor at the Paris Opera, 1830-1860.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Danseuses as working women :/
其他題名:	Ballet and female waged labor at the Paris Opera, 1830-1860.
作者:	Dawson, Jennifer Anne.
面頁冊數:	1 online resource (317 pages)
附註:	Source: Dissertations Abstracts International, Volume: 68-03, Section: A.
Contained By:	Dissertations Abstracts International68-03A.
標題:	Dance. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3210401click for full text (PQDT)
ISBN:	9780542598906

Danseuses as working women : = Ballet and female waged labor at the Paris Opera, 1830-1860.
Dawson, Jennifer Anne.

Danseuses as working women :Ballet and female waged labor at the Paris Opera, 1830-1860. - 1 online resource (317 pages)

Source: Dissertations Abstracts International, Volume: 68-03, Section: A.

Thesis (Ph.D.)--University of California, Riverside, 2005.

Includes bibliographical references

This dissertation constructs the danseuses of the nineteenth-century Paris Opera as working women. Most often the daughters of working class families, these women counted among those from whom waged labor was required for subsistence. The Paris Opera constituted one, albeit paradoxical, location in which this labor could be performed. On the one hand, the Opera afforded married women the unique opportunity to enter into legally binding contracts, offered its dancers the opportunity to upset gendered ideologies of labor, and contained the potential for social mobility in economic terms. Alternatively, asymmetrical distributions of administrative power, subordination to divisions of time, punitive measures for insubordination, subscription to male bread winning ideologies within the corps de ballet, feminization, and the sexualization of women's work rendered the experience and condition of work at the Paris Opera no different from other sites of female waged labor. The sexualization of female labor was nearly endemic to the French marketplace, bearing particular relevance to nineteenth-century Opera danseuses. Rigid employment hierarchies within the ballet company rendered dancers in need of male sponsorship for promotion. This sponsorship took the form of both financial assistance and advocacy. In exchange, dancers provided access to their intimate company. Though not regarded as prostitution in the French social imagination, these economies nonetheless positioned Opera danseuses within the terrain of nineteenth-century venality. The construction of Opera danseuses as working women enters the discipline of ballet history from a non-aesthetic perspective. The excavation of ballet as waged labor eschews aesthetic considerations, ushering a scrutiny of employment contracts, reglements, pay scales, fine scales, medical records, conge terms, and protector economies to the fore. It also requires a methodological "muddying" of the realms of dance and the socio-political, one which extends an investigative arm from ballet into the social order. The result is two fold. By examining the ideologies of work at the Paris Opera vis a vis those circulating within other sites of female waged labor, the employment structures girding nineteenth-century French ballet are illuminated alongside the general experience of work for urban women at mid century.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9780542598906Subjects--Topical Terms:

610547
Dance.
Subjects--Index Terms:

BalletIndex Terms--Genre/Form:

542853
Electronic books.

Danseuses as working women : = Ballet and female waged labor at the Paris Opera, 1830-1860.
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520 $a This dissertation constructs the danseuses of the nineteenth-century Paris Opera as working women. Most often the daughters of working class families, these women counted among those from whom waged labor was required for subsistence. The Paris Opera constituted one, albeit paradoxical, location in which this labor could be performed. On the one hand, the Opera afforded married women the unique opportunity to enter into legally binding contracts, offered its dancers the opportunity to upset gendered ideologies of labor, and contained the potential for social mobility in economic terms. Alternatively, asymmetrical distributions of administrative power, subordination to divisions of time, punitive measures for insubordination, subscription to male bread winning ideologies within the corps de ballet, feminization, and the sexualization of women's work rendered the experience and condition of work at the Paris Opera no different from other sites of female waged labor. The sexualization of female labor was nearly endemic to the French marketplace, bearing particular relevance to nineteenth-century Opera danseuses. Rigid employment hierarchies within the ballet company rendered dancers in need of male sponsorship for promotion. This sponsorship took the form of both financial assistance and advocacy. In exchange, dancers provided access to their intimate company. Though not regarded as prostitution in the French social imagination, these economies nonetheless positioned Opera danseuses within the terrain of nineteenth-century venality. The construction of Opera danseuses as working women enters the discipline of ballet history from a non-aesthetic perspective. The excavation of ballet as waged labor eschews aesthetic considerations, ushering a scrutiny of employment contracts, reglements, pay scales, fine scales, medical records, conge terms, and protector economies to the fore. It also requires a methodological "muddying" of the realms of dance and the socio-political, one which extends an investigative arm from ballet into the social order. The result is two fold. By examining the ideologies of work at the Paris Opera vis a vis those circulating within other sites of female waged labor, the employment structures girding nineteenth-century French ballet are illuminated alongside the general experience of work for urban women at mid century.
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