Female Spectacle: The Theatrical Roots of Modern Feminism
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BeschreibungWhen the French actress Sarah Bernhardt made her first American tour in 1880, the term "feminism" had not yet entered our national vocabulary. But over the course of the next half-century, a rising generation of daring actresses and comics brought a new kind of woman to center stage. Exploring and exploiting modern fantasies and fears about female roles and gender identity, these performers eschewed theatrical convention and traditional notions of womanly modesty. They created powerful images of themselves as ambitious, independent, and sexually expressive "New Women."< /p>
InhaltsverzeichnisIntroduction 1. The Bernhardt Effect: Self-Advertising and the Age of Spectacle 2. Mirth and Girth: The Politics of Comedy 3. The Strong Personality: Female Mimics and the Play of the Self 4. The Americanization of Salome: Sexuality, Race, and the Careers of the Vulgar Princess 5."The Eyes of the Enemy": Female Activism and the Paradox of Theater 6."Nationally Advertised Legs": How Broadway Invented "The Girls" 7."Like All the Rest of Womankind Only More So": The Chorus Girl Problem and American Culture Conclusion: The Legacy of Female Spectacle Abbreviations Notes Acknowledgments Index
PortraitSusan A. Glenn is Professor of History at the University of Washington, and author of Daughters of the Shtetl, which won the American Historical Association's Joan Kelly Prize.
PressestimmenGlenn prods readers into thinking about women's demands for roles in public life...As with the best history, Glenn's research sheds light on both past events and present dilemmas. Her argument and research thus provide an important historical context for the recent flood of memoirs about feminist activism in the 1960s-1990s. -- L.D. Brush Choice 20010501
Untertitel: Revised. Sprache: Englisch.
Verlag: HARVARD UNIV PR
Erscheinungsdatum: September 2002
Seitenanzahl: 336 Seiten