Meaning in Motion New Cultural Studies of Dance

ISBN-10: 082231942X
ISBN-13: 9780822319429
Edition: N/A
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Book details

List price: $28.95
Publisher: Duke University Press
Publication date: 4/30/1997
Binding: Paperback
Pages: 408
Size: 6.25" wide x 9.50" long x 1.25" tall
Weight: 1.496
Language: English

Stanley Eugene Fish, who writes on law and literary criticism and history, was born on April 19, 1938, in Providence, Rhode Island. He was educated at the University of Pennsylvania and Yale University. Fish holds a Ph.D. from Yale. During his career, he has held major academic posts, serving as Kenan Professor of English at Johns Hopkins University from 1974 to 1985 and as Arts and Sciences Distinguished Professor of English and Law at Duke University since 1985. He is known for his expertise in English literature and literary theory, particularly the subjectivity of textual interpretation. Fish's works include Is There a Text in This Class?: The Authority of Interpretative Communities, 1980 and Doing What Comes Naturally: Change, Rhetoric, and the Practice of Theory in Literary and Legal Studies, 1989. He received a Guggenheim fellowship in 1969.

Fredric R. Jameson, Marxist theorist and professor of comparative literature at Duke University, was born in Cleveland in 1934. He earned a Ph.D. from Harvard University and taught at Harvard, the University of California at San Diego, and Yale University before moving to Duke in 1985. He most famous work is Postmodernism, or the Cultural Logic of Late Capitalism, which won the Modern Language Association's Lowell Award. Jameson was among the first to associate a specific set of political and economic circumstances with the term postmodernism. His other books include Sartre: The Origin of a Style, The Seeds of Time, and The Cultural Turn.

Acknowledgments
Introduction
Dance and Cultural Studies
Embodying Difference: Issues in Dance and Cultural Studies
Cultural Studies and Dance History
Social Lives, Social Bodies
Reinstating Corporeality: Feminism and Body Politics
"The Story Is Told as a History of the Body": Strategies of Mimesis in the Work of Irigaray and Bausch
Classical Ballet: A Discourse of Difference
Ballet as Ideology: Giselle, Act 2
Dancing the Orient for England: Maud Allan's The Vision of Salome
The Female Dancer and the Male Gaze: Feminist Critiques of Early Modern Dance
Some Thoughts on Choreographing History
Auto-Body Stories: Blondell Cummings and Autobiography in Dance
Dance Narratives and Fantasies of Achievement
Expanding Agendas for Critical Thinking
Dancing Bodies
Spectacle and Dancing Bodies That Matter: Or, If It Don't Fit, Don't Force It
Sense, Meaning, and Perception in Three Dance Cultures
Some Notes on Yvonne Rainer, Modernism, Politics, Emotion, Performance, and the Aftermath
Homogenized Ballerinas
Dance Ethnography and the Limits of Representation
Vodou, Nationalism, and Performance: The Staging of Folklore in Mid-Twentieth-Century Haiti
Notes on Contributors
Permissions
Index

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