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Figurations of women dancers in Weim...

Funkenstein, Susan Laikin.

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Figurations of women dancers in Weimar Germany (1918--1933): Hannah Hoech, Otto Dix, and Paul Klee.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Figurations of women dancers in Weimar Germany (1918--1933): Hannah Hoech, Otto Dix, and Paul Klee./
作者:	Funkenstein, Susan Laikin.
面頁冊數:	384 p.
附註:	Source: Dissertation Abstracts International, Volume: 62-07, Section: A, page: 2266.
Contained By:	Dissertation Abstracts International62-07A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3020750
ISBN:	0493323856

Figurations of women dancers in Weimar Germany (1918--1933): Hannah Hoech, Otto Dix, and Paul Klee.
Funkenstein, Susan Laikin.

Figurations of women dancers in Weimar Germany (1918--1933): Hannah Hoech, Otto Dix, and Paul Klee. - 384 p.

Source: Dissertation Abstracts International, Volume: 62-07, Section: A, page: 2266.

Thesis (Ph.D.)--The University of Wisconsin - Madison, 2001.

During the economic and political upheavals of the Weimar Republic (1918–1933), a media icon of an independent, urbanized, and androgynous woman emerged known as the New Woman. Many living women incorporated aspects of the New Woman stereotype into their everyday lives, particularly through dance. This dissertation examines figurations of women dancers in the visual arts of the Weimar era. Using case studies of Hannah Höch, Otto Dix, and Paul Klee, I explore how artists grappled with the New Woman as a dance phenomenon, and how their works ultimately countered the 1950s modernist myth that high art developed separately from the female-dominated realms of popular culture and the performing arts.

ISBN: 0493323856Subjects--Topical Terms:

635474
Art History.

Figurations of women dancers in Weimar Germany (1918--1933): Hannah Hoech, Otto Dix, and Paul Klee.
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245 1 0 $a Figurations of women dancers in Weimar Germany (1918--1933): Hannah Hoech, Otto Dix, and Paul Klee.
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500 $a Source: Dissertation Abstracts International, Volume: 62-07, Section: A, page: 2266.
500 $a Supervisor: Barbara Copeland Buenger.
502 $a Thesis (Ph.D.)--The University of Wisconsin - Madison, 2001.
520 $a During the economic and political upheavals of the Weimar Republic (1918–1933), a media icon of an independent, urbanized, and androgynous woman emerged known as the New Woman. Many living women incorporated aspects of the New Woman stereotype into their everyday lives, particularly through dance. This dissertation examines figurations of women dancers in the visual arts of the Weimar era. Using case studies of Hannah Höch, Otto Dix, and Paul Klee, I explore how artists grappled with the New Woman as a dance phenomenon, and how their works ultimately countered the 1950s modernist myth that high art developed separately from the female-dominated realms of popular culture and the performing arts.
520 $a Representations of women dancers in the visual arts both reinforced and contradicted stereotypes presented in the culture at large. Höch, Dix, and Klee often rendered dancing women as far more traditional than the contemporary women around them. At the same time, by promoting alternate roles for women, acknowledging the fallacy of the stereotype, and exploring dance's relationship to the visual arts, these artists actively responded to complex and fluctuating characteristics of the New Woman.
520 $a Following my introduction of the history of Weimar women and dance in chapter one, I detail each artist's participation in circles that included women dancers, and explore the degree to which they knew of contemporary performance practices in order to understand the deeper meanings of the artists' figurations. Contesting cultural hierarchies by depicting a range of women dancers across high and popular culture, Höch's photomontages render women as multifaceted cultural forces. Dix characterized women's dance as conflated stereotypes of jazz dance, metropolitan life, and contemporary fashion through realism, revealing living women's struggles to become the ideal New Woman. Finally, Klee's imagery of women dancers, ranging from sensuous goddesses to springing acrobats, balances his interests in modernist art and geometric simplicity with explorations of gender and sexuality. This new approach to Weimar art history thus examines the fluid relationships between the visual and performing arts and places women at its very center.
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