Modernisms Mythic Pose: Gender, Genre, Solo Performance

Paperback | September 5, 2014

byCarrie J. Preston

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Winner of the de la Torre Bueno prize, Society of Dance History Scholars.The ancient world served as an unconventional source of inspiration for a generation of modernists. Drawing on examples from literature, dance, photography, and film, Modernism's Mythic Pose argues that a strain of antimodern-classicism permeates modernist celebrations of novelty, shock, andtechnology.The touchstone of Preston's study is Delsartism - the popular transnational movement which promoted mythic statue - posing, poetic recitation, and other hybrid solo performances for health and spiritual development. Derived from nineteenth-century acting theorist Francois Delsarte and largelyorganized by women, Delsartism shaped modernist performances, genres, and ideas of gender. Even Ezra Pound, a famous promoter of the "new," made ancient figures speak in the "old" genre of the dramatic monologue and performed public recitations. Recovering precedents in nineteenth-century popularentertainments and Delsartism's hybrid performances, this book considers the canonical modernists Pound and T. S. Eliot, lesser-known poets like Charlotte Mew, the Russian filmmaker Lev Kuleshov, Isadora Duncan the international dance star, and H.D. as poet and film actor. Preston's interdisciplinary engagement with performance, poetics, modern dance, and silent film demonstrates that studies of modernism often overemphasize breaks with the past. Modernism also posed myth in an ambivalent relationship to modernity, a halt in the march of progress that could functionas escapism, skeptical critique, or a figure for the death of gods and civilizations.

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Winner of the de la Torre Bueno prize, Society of Dance History Scholars.The ancient world served as an unconventional source of inspiration for a generation of modernists. Drawing on examples from literature, dance, photography, and film, Modernism's Mythic Pose argues that a strain of antimodern-classicism permeates modernist celebra...

Carrie J. Preston is Associate Professor of English and Women's, Gender, and Sexuality Studies at Boston University.

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Format:PaperbackDimensions:384 pages, 9.21 × 6.14 × 0.68 inPublished:September 5, 2014Publisher:Oxford University PressLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0199384584

ISBN - 13:9780199384587

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Table of Contents

Series Editors' ForewordAcknowledgmentsIntroductionI. Modern, Antimodern, and Mythic PosingII. Gendered Identity and EmbodimentIII. Biblical Typology and Classical RitualIV. Solo GenresV. Modernist Kinaesthetics1. The Solo's Origins: Monodramas, Attitudes, Dramatic MonologuesI. Galatea's Reach: Gestures of the MonodramaII. Veiled Motions: Emma Lyon Hamilton's AttitudeIII. Goethe's Proserpina and Later PosersIV. Barrett Browning: Naming "Aeschylus" and "The Virgin Mary"V. Types and Housewives in Christina Rossetti and Augusta Webster2. Posing Modernism: Delsartism in Modern Dance and Silent FilmI. Delsarte's Aesthetics of the AttitudeII. Disseminating DelsarteIII. Performing Delsartism: Genevieve Stebbins and the Early Motions of Modern DanceIV. Performing Delsartism (Take Two): Denishawn and HollywoodV. The Russian Delsarte: Kuleshov and Film Montage3. Positioning Genre: The Dramatic Monologue in Cultures of RecitationI. Expression, Recitation, and Literary InterpretationII. Charlotte Mew: The Magdalene in "Madeleine in Church"III. T. S. Eliot's "Magus": Impersonality, Objective Correlative, and Mythical MethodIV. Chautauquas, "Sextus Propertius," and Ezra Pound's HistoryV. Amy Lowell's Polyphonic Emma Lyon Hamilton4. The Motor in the Soul: Isadora Duncan's Solo DanceI. The Shock of Solo ExpressionII. The Proto-Motor: Duncan and Delsartean PosingIII. The Joints of Modernism: Conjunctures of Materialism and MetaphysicsIV. The Multiplied Body of the MotorV. Motorized Propulsion and Modernist RitualVI. Repetitions of the Motor: Will and SpontaneityVII. The Weight of a Thigh and the New Woman of (Anti)Modernism5. Ritualized Reception: H.D.'s Antimodernist Poetics and CinematicsI. Imagism Unstuck: H.D.'s Dissent and Pound's RevisionII. Stepping from Stone: Dramatic Monologues of The GodIII. The Ritual Chorus and a Soloist's Suspicion in Ion and "The Dancer"IV. Types of Participation: H.D.'s Film Essays and ReviewsV. H.D.'s Attitudes on FilmVI. Montage, Technology for the SoulVII. The Soloists of TrilogyAfterword. Post-Antimodernism