By Rainer Emig, Antony Rowland
This interdisciplinary learn analyses the ways that symptoms of masculinity have been played throughout a wide selection of contexts and genres -- including literature, classical ballet, activities, rock track, movies and machine video games -- from the early 19th century to the current day.
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Extra info for Performing Masculinity
Disraeli: A Biography. London: Hamish Hamilton, 1993. West, Shearer. The Image of the Actor: Verbal and Visual Representation in the Age of Garrick and Kemble. London: Pinter, 1991. Youngquist, Paul. Monstrosities: Bodies and British Romanticism. Minneapolis: U of Minnesota P, 2003. com - licensed to National United University - PalgraveConnect - 2011-03-18 Diego Saglia 2 Gerald Siegmund Abstract This essay starts from the observation that in the course of the nineteenth century male dancers were, at least in the Paris Opera, gradually removed from ballets.
Ed. Jerome J. McGann. Lincoln: U of Nebraska P, 1972. Chorley, Henry Fothergill. Autobiography, Memoir, and Letters. Comp. by Henry G. Lewett. London: Richard Bentley and Son, 1873. Crompton, Louis. Byron and Greek Love: Homophobia in 19th-century England. Berkeley and Los Angeles: U of California P, 1985. Davidoff, Leonore and Hall, Catherine. Family Fortunes: Men and Women of the English Middle Class 1780–1850. Rev. edn. London and New York: Routledge, 2002. Disraeli, Benjamin. Vivian Grey. Ed.
The desire they speak off consequently casts men and women alike in specific gender roles that play off one against the other. In the present essay I would like to concentrate on the contradiction that men in classical ballet are needed on the one hand, but are relegated into the background on the other. First I would like to offer some explanations for the male dancers’ fall from grace during the nineteenth century. What happened to masculinity or a specific kind of masculinity that turned it into something nobody was allowed to see anymore?
Performing Masculinity by Rainer Emig, Antony Rowland