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Dancing Women: Female Bodies on Stage, by Sally Banes. New York: Routledge, 1998. xii + 279 pp., photographs, notes, index. $24.99 paperbound. - They Are Women and They Do Dance - Bodies, Agency, and Beauvoir - Talking Women: Dance Herstories
Published online by Cambridge University Press: 22 July 2014
Abstract
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- Copyright © Congress on Research in Dance 1999
References
NOTES
page 114 note 1. Foster, Susan Leigh, “Dancing Bodies,” in Meaning in Motion, edited by Desmond, Jane (Durham: Duke University Press, 1997), 235.Google Scholar
page 114 note 2. Ibid., 241.
page 114 note 3. Ibid., 256.
page 114 note 4. Ibid., 235.
page 114 note 5. Burt, Ramsay, The Male Dancer: Bodies, Spectacle, Sexualities (New York: Routledge, 1995), 50.CrossRefGoogle Scholar
page 121 note 1. Petersen, Karen and Wilson, J.J., Women Artists: Recognition and Reappraisal from the Middle Ages to the Twentieth Century (New York: New York University Press, 1976).Google Scholar
page 122 note 2. Lynn Garafola, “Where Are Ballet's Women Choreographers?” University Lecture, University of Wisconsin-Madison, 10 November 1995.
page 122 note 3. Farge, Arlette, “Method and Effects of Women's History,” in Writing Women's History, edited by Perrot, Michelle (Oxford: Basil Blackwell, 1992), p. 15.Google Scholar
page 122 note 4. Daly, Ann, “The Balanchine Woman: Of Hummingbirds and Channel Swimmers,” The Drama Review 31/1 (Spring 1987; T113): 8–21.CrossRefGoogle Scholar
page 122 note 5. Daly, Ann, “Isadora Duncan and the Male Gaze,” in Gender in Performance: The Presentation of Difference in the Performing Arts, edited by Senelick, Laurence (Hanover, NH: Tufts University Press/University Press of New England, 1992), 243.Google Scholar But oddly, Daly's 1987–88 essay “Classical Ballet: A Discourse of Difference,” in which she elaborates her original position on the male gaze, was reprinted in 1997 without any qualification or disclaimer ( Daly, Ann, “Classical Ballet: A Discourse of Difference,” first published in Women and Performance 3/2 [1987–1988]: 57–66 CrossRefGoogle Scholar and reprinted in Meaning in Motion: New Cultural Studies of Dance, edited by Desmond, Jane C. [Durham, NC: Duke University Press, 1997], 111–119).Google Scholar Daly writes, about the ballerina's rise to prominence on the early Romantic ballet stage, “Even though women's new found pointe work monopolized the balletomanes' attention, the men on stage retained dominance in the representation by presenting and displaying (and ‘creating’) these object-forms as their own possessions. And by identifying with these figures, the male gaze of the spectator was active in creating and possessing—and ‘Ogling’—these female creatures” (p. 114).
page 122 note 6. Daly, “Isadora Duncan and the Male Gaze,” 243.
page 122 note 7. Mulvey, Laura, “Visual Pleasure and Narrative Cinema,” Screen 16/3 (Autumn 1975): 6–18 CrossRefGoogle Scholar, reprinted in Mulvey, Laura, Visual and Other Pleasures (Bloomington: Indiana University Press, 1989), 14–26.CrossRefGoogle Scholar Further citations to this essay will refer to the pagination in Visual and Other Pleasures.
page 122 note 8. Mulvey, 21.
page 122 note 9. See Kaplan, E. Ann, “Is the Gaze Male?” in Women and Film: Both Sides of the Camera (New York: Methuen, 1983), 23–35.CrossRefGoogle Scholar
page 122 note 10. 10. Daly, “The Balanchine Woman,” 14, 16, 17.Google Scholar