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Light in the heels: The emergence o...

Jordan, John Bryce.

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Light in the heels: The emergence of the effeminate male dancer in eighteenth-century English history (William Hogarth).

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Light in the heels: The emergence of the effeminate male dancer in eighteenth-century English history (William Hogarth)./
作者:	Jordan, John Bryce.
面頁冊數:	311 p.
附註:	Chairperson: Susan L. Foster.
Contained By:	Dissertation Abstracts International62-12A.
標題:	Dance. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3034703
ISBN:	0493475788

Light in the heels: The emergence of the effeminate male dancer in eighteenth-century English history (William Hogarth).
Jordan, John Bryce.

Light in the heels: The emergence of the effeminate male dancer in eighteenth-century English history (William Hogarth). - 311 p.

Chairperson: Susan L. Foster.

Thesis (Ph.D.)--University of California, Riverside, 2001.

This project investigates the history of the connections between dance and male effeminacy by examining portrayals of male dancers in three bodies of source materials from the English Restoration and eighteenth century: dramatic comedy, Addison and Steele's periodical the <italic>Spectator</italic>, and the visual and written works of William Hogarth. These sources shed light on the early history of effeminacy and demonstrate the importance of dance to the construction of the effeminate man as a recognizable type in English culture.

ISBN: 0493475788Subjects--Topical Terms:

610547
Dance.

Light in the heels: The emergence of the effeminate male dancer in eighteenth-century English history (William Hogarth).
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245 1 0 $a Light in the heels: The emergence of the effeminate male dancer in eighteenth-century English history (William Hogarth).
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500 $a Source: Dissertation Abstracts International, Volume: 62-12, Section: A, page: 3975.
502 $a Thesis (Ph.D.)--University of California, Riverside, 2001.
520 $a This project investigates the history of the connections between dance and male effeminacy by examining portrayals of male dancers in three bodies of source materials from the English Restoration and eighteenth century: dramatic comedy, Addison and Steele's periodical the <italic>Spectator</italic>, and the visual and written works of William Hogarth. These sources shed light on the early history of effeminacy and demonstrate the importance of dance to the construction of the effeminate man as a recognizable type in English culture.
520 $a The three types of source materials examined in this project, from three succeeding periods, each present a slightly different though related perspective on dance and the male dancer in English culture. The Restoration comedies examined here pay particular attention to the growing influence of French aristocratic culture on London's upper class, and the playwrights use the effeminate male dancer as a focal point for their ridiculing critique. The <italic> Spectator</italic> focuses much of its attention on the proper bourgeois Englishman, with the failings and excesses of the dancing man helping to delineate the boundaries of this newly important subject position. In Hogarth's work, dance and the male dancer often function as symbols of mistaken aesthetic judgment, a bad taste that he portrays as widespread in London society at this time. Hogarth deploys effeminacy, and significantly sodomy, as part of his critique of these aesthetic trends in the service of his attempts at reform.
520 $a In each of the source materials examined for this project, the dancing man plays a noticeable and relatively consistent role. Rarely, if ever, a noble or dignified character, the male dancer instead serves again and again as the butt of satire, demonstrating, in significant part through his dancing, his failings as a man. Each of the sources relies on a connection between effeminacy and the male dancer to further its various rhetorical agendas. These examples thus clearly establish the existence of an association between men who dance and effeminacy in a period much earlier than has typically been acknowledged in twentieth-century writings on dance.
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