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The choreography of modernism in Fra...

Townsend, Julie Ann.

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The choreography of modernism in France: The female dancer in artistic production and aesthetic consumption, 1830--1925.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	The choreography of modernism in France: The female dancer in artistic production and aesthetic consumption, 1830--1925./
Author:	Townsend, Julie Ann.
Description:	210 p.
Notes:	Chair: Emily Apter.
Contained By:	Dissertation Abstracts International62-08A.
Subject:	Cinema. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3024098
ISBN:	0493361146

The choreography of modernism in France: The female dancer in artistic production and aesthetic consumption, 1830--1925.
Townsend, Julie Ann.

The choreography of modernism in France: The female dancer in artistic production and aesthetic consumption, 1830--1925. - 210 p.

Chair: Emily Apter.

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

Mythical dancers, choreographic innovations, and music-hall performances populate Modernist literature, visual arts, and aesthetic theories. In a period of cultural and aesthetic turbulence, turn-of-the-century representations of the female dancer serve to solidify and disrupt notions of corporeal coherence, narrative stability, and models of the work of art. Considering the proliferation of dancers as both a formal enigma and a cultural phenomenon, I combine canonical, popular, and archival sources to explore figures of dance in Realist, Decadent, Symbolist, and Modernist artistic production. Chapter 1 constructs a genealogy of the dancer in Romantic ballet as well as late-nineteenth-century representations of dancers by Edgar Degas, Émile Zola, Henri de Toulouse-Lautrec, and J.-K. Huysmans. Chapter 2 explores the poetry and poetics of Stéphane Mallarmé and Paul Valéry within the context of Symbolist criticism. The attempts of Mallarmé and Valéry to harmonize aesthetic and cultural disunities reveal an irresolvable rupture exemplified in the sexed body of the female dancer. Chapter 3 develops a theory of improvisational aesthetics through the dances and autobiographies of Colette and Loïe Fuller. By re-staging the literary subject in relationship to the reader, Fuller and Colette glide between commercial, theatrical, and intimate spaces as they reconstruct the morphology of the dancing body in relation to nineteenth-century notions of the female dancer. In chapter 4, I argue that the collaborative spectacle of the Ballets Suédois constitutes an avant-garde development and a masculine recuperation of modern dance. Drawing on the principles of <italic> l'art pour l'art</italic>, commercial and “high” art, as well as a confessional mode of exposition, avant-garde artists Fernand Léger, Francis Picabia, and René Clair combine, in a sense, aspects of Decadence, Symbolism, and Modernist autobiography in their representations of performing bodies.

ISBN: 0493361146Subjects--Topical Terms:

854529
Cinema.

The choreography of modernism in France: The female dancer in artistic production and aesthetic consumption, 1830--1925.
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035 $a (UnM)AAI3024098
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100 1 $a Townsend, Julie Ann. $3 1254896
245 1 0 $a The choreography of modernism in France: The female dancer in artistic production and aesthetic consumption, 1830--1925.
300 $a 210 p.
500 $a Chair: Emily Apter.
500 $a Source: Dissertation Abstracts International, Volume: 62-08, Section: A, page: 2754.
502 $a Thesis (Ph.D.)--University of California, Los Angeles, 2001.
520 $a Mythical dancers, choreographic innovations, and music-hall performances populate Modernist literature, visual arts, and aesthetic theories. In a period of cultural and aesthetic turbulence, turn-of-the-century representations of the female dancer serve to solidify and disrupt notions of corporeal coherence, narrative stability, and models of the work of art. Considering the proliferation of dancers as both a formal enigma and a cultural phenomenon, I combine canonical, popular, and archival sources to explore figures of dance in Realist, Decadent, Symbolist, and Modernist artistic production. Chapter 1 constructs a genealogy of the dancer in Romantic ballet as well as late-nineteenth-century representations of dancers by Edgar Degas, Émile Zola, Henri de Toulouse-Lautrec, and J.-K. Huysmans. Chapter 2 explores the poetry and poetics of Stéphane Mallarmé and Paul Valéry within the context of Symbolist criticism. The attempts of Mallarmé and Valéry to harmonize aesthetic and cultural disunities reveal an irresolvable rupture exemplified in the sexed body of the female dancer. Chapter 3 develops a theory of improvisational aesthetics through the dances and autobiographies of Colette and Loïe Fuller. By re-staging the literary subject in relationship to the reader, Fuller and Colette glide between commercial, theatrical, and intimate spaces as they reconstruct the morphology of the dancing body in relation to nineteenth-century notions of the female dancer. In chapter 4, I argue that the collaborative spectacle of the Ballets Suédois constitutes an avant-garde development and a masculine recuperation of modern dance. Drawing on the principles of <italic> l'art pour l'art</italic>, commercial and “high” art, as well as a confessional mode of exposition, avant-garde artists Fernand Léger, Francis Picabia, and René Clair combine, in a sense, aspects of Decadence, Symbolism, and Modernist autobiography in their representations of performing bodies.
590 $a School code: 0031.
650 4 $a Cinema. $3 854529
650 4 $a Dance. $3 610547
650 4 $a Literature, Comparative. $3 530051
650 4 $a Literature, Modern. $3 624011
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710 2 0 $a University of California, Los Angeles. $3 626622
773 0 $t Dissertation Abstracts International $g 62-08A.
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790 1 0 $a Apter, Emily, $e advisor
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