Rising Star: Dandyism, Gender, and Performance in the Fin de SieclePrinceton University Press, 1998 - 231 من الصفحات Celebrity personalities, who reign over much of our cultural landscape, owe their fame not to specific deeds but to the ability to project a distinct personal image, to create an icon of the self. Rising Star is a fascinating look at the roots of this particular form of celebrity. Here Rhonda Garelick locates a prototype of the star personality in the dandies and aesthete literary figures of the nineteenth century, including Beau Brummell, Baudelaire, Mallarmé, and Oscar Wilde, and explores their peculiarly charged relationship with women and performance. |
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... Electric Salome : The Mechanical Dances of Loie Fuller CHAPTER FIVE Camp Salome : Oscar Wilde's Circles of Desire 128 AFTERWORD NOTES 169 154 BIBLIOGRAPHY 213 INDEX 227 ILLUSTRATIONS 1. George " Beau " Brummell , by Aubrey.
... Dancers at the Théâtre égyptien at the 1900 World's Fair 113 14. Drawing of Fuller's theater at the 1900 World's Fair 118 15. La nature se dévoilant devant la science , by Louis Ernest Barrias 124 16. The artist formerly known as Prince ...
... dancer , shatters the dandy's hermetic shell of narcissism and questions his singularity . As a responsive audience member in a mass - cultural space , the decadent dandy exchanges his isolated corner for a place in the crowd . Once con ...
... dancer , who captivated Europe — espe- cially decadent writers — for over thirty years , performing her veil dances under rotating colored spotlights . Fuller , who had a genius for mechani- cal invention , created costumes and stage ...
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المحتوى
The Treaties of Dandyism | 14 |
Barbeys Du Dandysme et de George Brunmmell | 19 |
Baudelaires Le Peintre de la vie moderne | 27 |
Jean Lorrains Une Femme par jour | 40 |
Mallarme Crowds Performance and the Fashionable Woman | 47 |
Robotic Pleasures Dance and the Media Personality | 78 |
Electric Salome The Mechanical Dances of Loie Fuller | 99 |
Camp Salome Oscar Wildes Circles of Desire | 128 |
AFTERWORD | 154 |
NOTES | 169 |
BIBLIOGRAPHY | 213 |
227 | |