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Aesthetic dissidence: Feminist balle...

Harris, Andrea.

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Aesthetic dissidence: Feminist ballet historiography and the boundaries of the classical (Marie Salle, Ruth Page, Josephine Baker).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Aesthetic dissidence: Feminist ballet historiography and the boundaries of the classical (Marie Salle, Ruth Page, Josephine Baker)./
作者:	Harris, Andrea.
面頁冊數:	186 p.
附註:	Source: Dissertation Abstracts International, Volume: 66-12, Section: A, page: 4218.
Contained By:	Dissertation Abstracts International66-12A.
標題:	Dance. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3200048
ISBN:	9780542467219

Aesthetic dissidence: Feminist ballet historiography and the boundaries of the classical (Marie Salle, Ruth Page, Josephine Baker).
Harris, Andrea.

Aesthetic dissidence: Feminist ballet historiography and the boundaries of the classical (Marie Salle, Ruth Page, Josephine Baker). - 186 p.

Source: Dissertation Abstracts International, Volume: 66-12, Section: A, page: 4218.

Thesis (Ph.D.)--The University of Wisconsin - Madison, 2005.

In the mid-twentieth century, feminist dance scholars turned a critical eye on ballet. In this scholarly discourse, ballet was seen as the very representation of patriarchy and the ballerina as its complicit victim. Responding to the critical dismissal of ballet, more recent dance scholarship has suggested that feminist historians examine how the ballerina's individual agency resists patriarchal meaning, or that they integrate a more diverse amount of ballet works and women's roles into the historical canon. Yet the idea that ballet is untouchable territory for feminist analysis remains persistent in dance scholarship.

ISBN: 9780542467219Subjects--Topical Terms:

610547
Dance.

Aesthetic dissidence: Feminist ballet historiography and the boundaries of the classical (Marie Salle, Ruth Page, Josephine Baker).
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245 1 0 $a Aesthetic dissidence: Feminist ballet historiography and the boundaries of the classical (Marie Salle, Ruth Page, Josephine Baker).
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500 $a Source: Dissertation Abstracts International, Volume: 66-12, Section: A, page: 4218.
500 $a Supervisor: Michael Vanden Heuvel.
502 $a Thesis (Ph.D.)--The University of Wisconsin - Madison, 2005.
520 $a In the mid-twentieth century, feminist dance scholars turned a critical eye on ballet. In this scholarly discourse, ballet was seen as the very representation of patriarchy and the ballerina as its complicit victim. Responding to the critical dismissal of ballet, more recent dance scholarship has suggested that feminist historians examine how the ballerina's individual agency resists patriarchal meaning, or that they integrate a more diverse amount of ballet works and women's roles into the historical canon. Yet the idea that ballet is untouchable territory for feminist analysis remains persistent in dance scholarship.
520 $a While the dancer's agency and archival recovery are valuable to dance research, in this dissertation I advocate a more politically potent agenda for feminist criticism. Drawing on Alan Sinfield's concept that dissidence arises from the inevitable conflicts and contradictions within the dominant order itself, I propose a feminist methodology that critiques the ideological boundaries of the received historiography. Modernist historic and theoretical accounts of classical ballet describe the evolution and development of a high art that privileges the academic form and the aesthetic qualities of transcendence and self-referentiality. By focusing on the places where the smooth construction of classicism fails or is countered, the feminist historian can interrogate how the story of classical ballet constitutes itself and what alternative stories it excludes.
520 $a One of these faultlines is the persistent conflict between the high and low, or popular ballet. Moving from Andreas Huyssen's notion of the "great divide," the discursive boundary categorically separating high and mass culture, I address how the classical construction of ballet is constituted in opposition to its popular "other." The dissertation focuses on the works of three women ballet choreographers that contested, diverted, or disrupted classical aesthetics: Marie Salle's Pygmalion, Ruth Page's Frankie and Johnny and American Pattern, and Josephine Baker's ballet parodies. These dances present a model of ballet as social praxis that counters the dominant conception of classical ballet as high, formalist, and autonomous. They offer the feminist critic a glimpse of what is suppressed by the boundaries of the classical and an opportunity to shift the gendered conditions of its authority.
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