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Postmodern reflections on dance mode...

Hill, Mary Carol.

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Postmodern reflections on dance modernism: Modernist currents of primitivism, dimensional reality, and the artist as seer on Martha Graham's "Heretic", "Lamentation", and "Primitive Mysteries".

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Postmodern reflections on dance modernism: Modernist currents of primitivism, dimensional reality, and the artist as seer on Martha Graham's "Heretic", "Lamentation", and "Primitive Mysteries"./
Author:	Hill, Mary Carol.
Description:	213 p.
Notes:	Chair: Joellen Meglin.
Contained By:	Dissertation Abstracts International62-05A.
Subject:	Dance. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3014444
ISBN:	0493248269

Postmodern reflections on dance modernism: Modernist currents of primitivism, dimensional reality, and the artist as seer on Martha Graham's "Heretic", "Lamentation", and "Primitive Mysteries".
Hill, Mary Carol.

Postmodern reflections on dance modernism: Modernist currents of primitivism, dimensional reality, and the artist as seer on Martha Graham's "Heretic", "Lamentation", and "Primitive Mysteries". - 213 p.

Chair: Joellen Meglin.

Thesis (Ph.D.)--Temple University, 2001.

In the chapters that follow I present broad modernist discourses of primitivism, dimensional reality, and the artist-as-seer as these discourses were constructed through the lens of modernism, and as they are deconstructed through postmodern criticism. Next, I use these discourses to frame Graham's early choreographies, <italic> Heretic, Lamentation</italic>, and <italic>Primitive Mysteries</italic>. I apply, as an overarching theoretical framework, Catherine Bell's concept of ritual practice to these three modernist discourses in general and to Graham's three choreographies specifically. I argue that the concept of dissonance is a thread which runs not only through modernist concepts of primitivism, dimensional reality, and the artist-as-seer, but it is also a link connecting modernism to postmodernism.

ISBN: 0493248269Subjects--Topical Terms:

610547
Dance.

Postmodern reflections on dance modernism: Modernist currents of primitivism, dimensional reality, and the artist as seer on Martha Graham's "Heretic", "Lamentation", and "Primitive Mysteries".
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245 1 0 $a Postmodern reflections on dance modernism: Modernist currents of primitivism, dimensional reality, and the artist as seer on Martha Graham's "Heretic", "Lamentation", and "Primitive Mysteries".
300 $a 213 p.
500 $a Chair: Joellen Meglin.
500 $a Source: Dissertation Abstracts International, Volume: 62-05, Section: A, page: 1617.
502 $a Thesis (Ph.D.)--Temple University, 2001.
520 $a In the chapters that follow I present broad modernist discourses of primitivism, dimensional reality, and the artist-as-seer as these discourses were constructed through the lens of modernism, and as they are deconstructed through postmodern criticism. Next, I use these discourses to frame Graham's early choreographies, <italic> Heretic, Lamentation</italic>, and <italic>Primitive Mysteries</italic>. I apply, as an overarching theoretical framework, Catherine Bell's concept of ritual practice to these three modernist discourses in general and to Graham's three choreographies specifically. I argue that the concept of dissonance is a thread which runs not only through modernist concepts of primitivism, dimensional reality, and the artist-as-seer, but it is also a link connecting modernism to postmodernism.
520 $a In Chapter 3 I argue that Graham embodied, yet challenged the primitivist rhetoric of Freud. In <italic>Primitive</italic> cultural ceremonies, even as she represented herself as a modern primitive. In Chapter 4 I show how Graham created a new sense of space in her choreographies of <italic>Heretic </italic> and <italic>Lamentation</italic>. I argue that this new sense of space was directly influenced by ideas which came to her as a result of her association with Louis Horst and Dane Rudhyar, and indirectly influenced by larger cultural discourses articulated in particular by Constructivist sculptor Naum Gabo and hyperspace philosophers Albert Einstein and P. D. Ouspensky. Chapter 5 discusses the concept of dissonance theorized by Horst and Rudhyar and its relation to Gabo's Constructivist theories of direction-as-line, space-as-volume, and time-as-kinetic rhythm. I proceed to examine how these theories and the larger cultural discourses they epitomized may be used to illuminate Graham's <italic> Lamentation</italic>.
520 $a I discovered that modernist concepts of dissonance run through postmodernist discourses, as dissonance challenges individuals and societies to integrate diverse cultural fields, and to transform themselves through the process of reintegration. This investigation ends up finding the seeds of postmodernism in modernism, through the concept of dissonance, offering specific insight into Martha Graham's early choreographies <italic>Heretic, Lamentation</italic>, and <italic>Primitive Mysteries</italic>, as they were related to the three contemporary discourses of primitivism, dimensional reality, and the artist-as-seer.
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