When 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, … Mehr…
When 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.Female Spectacle reveals the theater to have been a powerful new source of cultural authority and visibility for women. Ironically, theater also provided an arena in which producers and audiences projected the uncertainties and hostilities that accompanied changing gender relations. From Bernhardt's modern methods of self-promotion to Emma Goldman's political theatrics, from the female mimics and Salome dancers to the upwardly striving chorus girl, Glenn shows us how and why theater mattered to women and argues for its pivotal role in the emergence of modern feminism. New Textbooks>Trade Paperback>Social Sciences>Womens Studies>Womens Studies, Harvard University Press Core >1 >T<
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When 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… Mehr…
When 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." "Female Spectacle" reveals the theater to have been a powerful new source of cultural authority and visibility for women. Ironically, theater also provided an arena in which producers and audiences projected the uncertainties and hostilities that accompanied changing gender relations. From Bernhardt's modern methods of self-promotion to Emma Goldman's political theatrics, from the female mimics and Salome dancers to the upwardly striving chorus girl, Glenn shows us how and why theater mattered to women and argues for its pivotal role in the emergence of modern feminism. Media > Book, [PU: Harvard University Press]<
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[EAN: 9780674009905], Neubuch, [PU: HARVARD UNIV PR], PERFORMING ARTS SOCIAL SCIENCE FEMINISM & FEMINIST THEORY THEATER HISTORY CRITICISM WOMEN\\'S STUDIE, When Sarah Bernhardt made her f… Mehr…
[EAN: 9780674009905], Neubuch, [PU: HARVARD UNIV PR], PERFORMING ARTS SOCIAL SCIENCE FEMINISM & FEMINIST THEORY THEATER HISTORY CRITICISM WOMEN\\'S STUDIE, When Sarah Bernhardt made her first American tour in 1880, the term feminism had yet to enter our national vocabulary. But over the next half-century, a rising generation of actresses and comics brought a new kind of woman to center stage. Glenn reveals t., Books<
[EAN: 9780674009905], Usado, [SC: 32.29], [PU: Harvard University Press], Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc., Books
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(*) Derzeit vergriffen bedeutet, dass dieser Titel momentan auf keiner der angeschlossenen Plattform verfügbar ist.
When 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, … Mehr…
When 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.Female Spectacle reveals the theater to have been a powerful new source of cultural authority and visibility for women. Ironically, theater also provided an arena in which producers and audiences projected the uncertainties and hostilities that accompanied changing gender relations. From Bernhardt's modern methods of self-promotion to Emma Goldman's political theatrics, from the female mimics and Salome dancers to the upwardly striving chorus girl, Glenn shows us how and why theater mattered to women and argues for its pivotal role in the emergence of modern feminism. New Textbooks>Trade Paperback>Social Sciences>Womens Studies>Womens Studies, Harvard University Press Core >1 >T<
When 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… Mehr…
When 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." "Female Spectacle" reveals the theater to have been a powerful new source of cultural authority and visibility for women. Ironically, theater also provided an arena in which producers and audiences projected the uncertainties and hostilities that accompanied changing gender relations. From Bernhardt's modern methods of self-promotion to Emma Goldman's political theatrics, from the female mimics and Salome dancers to the upwardly striving chorus girl, Glenn shows us how and why theater mattered to women and argues for its pivotal role in the emergence of modern feminism. Media > Book, [PU: Harvard University Press]<
[EAN: 9780674009905], Neubuch, [PU: HARVARD UNIV PR], PERFORMING ARTS SOCIAL SCIENCE FEMINISM & FEMINIST THEORY THEATER HISTORY CRITICISM WOMEN\\'S STUDIE, When Sarah Bernhardt made her f… Mehr…
[EAN: 9780674009905], Neubuch, [PU: HARVARD UNIV PR], PERFORMING ARTS SOCIAL SCIENCE FEMINISM & FEMINIST THEORY THEATER HISTORY CRITICISM WOMEN\\'S STUDIE, When Sarah Bernhardt made her first American tour in 1880, the term feminism had yet to enter our national vocabulary. But over the next half-century, a rising generation of actresses and comics brought a new kind of woman to center stage. Glenn reveals t., Books<
[EAN: 9780674009905], Usado, [SC: 32.29], [PU: Harvard University Press], Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc., Books
NOT NEW BOOK. Versandkosten: EUR 32.29 SecondSale, Montgomery, IL, U.S.A. [52274160] [Calificación: 5 (de 5)]
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When 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>
Detailangaben zum Buch - Female Spectacle: The Theatrical Roots of Modern Feminism Susan A. Glenn Author
EAN (ISBN-13): 9780674009905 ISBN (ISBN-10): 0674009908 Taschenbuch Erscheinungsjahr: 2002 Herausgeber: Harvard University Press Core >1 >T 336 Seiten Gewicht: 0,481 kg Sprache: eng/Englisch
Buch in der Datenbank seit 2007-05-27T22:10:16+02:00 (Berlin) Detailseite zuletzt geändert am 2024-01-27T09:28:21+01:00 (Berlin) ISBN/EAN: 0674009908
ISBN - alternative Schreibweisen: 0-674-00990-8, 978-0-674-00990-5 Alternative Schreibweisen und verwandte Suchbegriffe: Autor des Buches: goldman emma, sarah bernhardt, glenn Titel des Buches: spectacle, roots
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