東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁 到查詢結果 [ null ]

切換: 標籤 | MARC模式 | ISBD

Beauchamps on Broadway: Ballet's Tra...

Kaufman, Eric,

FindBook

Google Book

Amazon

博客來

Beauchamps on Broadway: Ballet's Transition From Royal Privilege to American Popular Culture /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Beauchamps on Broadway: Ballet's Transition From Royal Privilege to American Popular Culture // Eric Kaufman.
作者:	Kaufman, Eric,
面頁冊數:	1 electronic resource (344 pages)
附註:	Source: Dissertations Abstracts International, Volume: 86-04, Section: A.
Contained By:	Dissertations Abstracts International86-04A.
標題:	Theater. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31674012
ISBN:	9798384088530

Beauchamps on Broadway: Ballet's Transition From Royal Privilege to American Popular Culture /
Kaufman, Eric,

Beauchamps on Broadway: Ballet's Transition From Royal Privilege to American Popular Culture /Eric Kaufman. - 1 electronic resource (344 pages)

Source: Dissertations Abstracts International, Volume: 86-04, Section: A.

Even as ballet is often associated with elite, dominant-class culture, it has become popularized through artistic, political, and social mechanisms beginning in the eighteenth century in Europe and continuing into the twentieth century in the United States. Utilizing visual, textual, and critical archival sources, and ethnographic and choreomusicological method, I argue that American musical theatre dance and its offshoots in the twentieth century popularized ballet as dance form in the United States. The choreomusicological concept of diegetic dance is useful in the revealing of musical theatre audiences' willingness to accept balletic form when characters "know they are dancing."Although US society has difficulty grappling with issues of class generally and working-class experience and values more specifically, working-class content has been embraced in musical theatre toward the presentation of a common Americanness. This imagery of universality, in contrast to the realities of structural class inequality, created both the acceptance of ballet by a class-diverse audience, and its contribution to the definition of dance in the popular imagination-in evidence in a vast range of seemingly-divergent, non-ballet dance genres.From its origins in the sixteenth-century French royal court, through bourgeois-democratic and socialist revolution, and liberal democracy in France, the Soviet Union, and the United States, ballet form has endured. A significant body of scholarship deals with ballet institutions in the face of cultural change. I seek to understand how the physical technique has endured in societies that rhetorically reject monarchic and aristocratic assumptions.In coming to terms with the ways in which ballet informs definitions of dance and the genre's popular reception, I suggest that transitions in this small corner of the cultural landscape help to explain tendencies in American culture to both invest in hierarchic systems and appropriate elite privileges as universal rights.

English

ISBN: 9798384088530Subjects--Topical Terms:

522973
Theater.
Subjects--Index Terms:

Dominant-class culture

Beauchamps on Broadway: Ballet's Transition From Royal Privilege to American Popular Culture /
LDR:03538nmm a22004453i 4500 001 2436901
005 20251117053649.5
006 m o d
007 cr|nu||||||||
008 261011s2024 miu||||||m |||||||eng d
020 $a 9798384088530
035 $a (MiAaPQD)AAI31674012
035 $a (MiAaPQD)OhioLINKosu1704297292729721
035 $a AAI31674012
040 $a MiAaPQD $b eng $c MiAaPQD $e rda
100 1 $a Kaufman, Eric, $e author. $3 3827724
245 1 0 $a Beauchamps on Broadway: Ballet's Transition From Royal Privilege to American Popular Culture / $c Eric Kaufman.
264 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2024
300 $a 1 electronic resource (344 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 86-04, Section: A.
500 $a Advisors: Steigerwald, David Committee members: Liu, Morgan; Eliot, Karen; Baker, Paula.
502 $b Ph.D. $c The Ohio State University $d 2024.
520 $a Even as ballet is often associated with elite, dominant-class culture, it has become popularized through artistic, political, and social mechanisms beginning in the eighteenth century in Europe and continuing into the twentieth century in the United States. Utilizing visual, textual, and critical archival sources, and ethnographic and choreomusicological method, I argue that American musical theatre dance and its offshoots in the twentieth century popularized ballet as dance form in the United States. The choreomusicological concept of diegetic dance is useful in the revealing of musical theatre audiences' willingness to accept balletic form when characters "know they are dancing."Although US society has difficulty grappling with issues of class generally and working-class experience and values more specifically, working-class content has been embraced in musical theatre toward the presentation of a common Americanness. This imagery of universality, in contrast to the realities of structural class inequality, created both the acceptance of ballet by a class-diverse audience, and its contribution to the definition of dance in the popular imagination-in evidence in a vast range of seemingly-divergent, non-ballet dance genres.From its origins in the sixteenth-century French royal court, through bourgeois-democratic and socialist revolution, and liberal democracy in France, the Soviet Union, and the United States, ballet form has endured. A significant body of scholarship deals with ballet institutions in the face of cultural change. I seek to understand how the physical technique has endured in societies that rhetorically reject monarchic and aristocratic assumptions.In coming to terms with the ways in which ballet informs definitions of dance and the genre's popular reception, I suggest that transitions in this small corner of the cultural landscape help to explain tendencies in American culture to both invest in hierarchic systems and appropriate elite privileges as universal rights.
546 $a English
590 $a School code: 0168
650 4 $a Theater. $3 522973
650 4 $a History. $3 516518
650 4 $a Dance. $3 610547
650 4 $a Rhetoric. $3 516647
653 $a Dominant-class culture
653 $a Working-class experience
653 $a Cultural change
653 $a Aristocratic assumptions
690 $a 0465
690 $a 0578
690 $a 0378
690 $a 0681
710 2 $a The Ohio State University. $b History. $e degree granting institution. $3 3827725
720 1 $a Steigerwald, David $e degree supervisor.
773 0 $t Dissertations Abstracts International $g 86-04A.
790 $a 0168
791 $a Ph.D.
792 $a 2024
856 4 0 $u https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31674012