Performing the Victorian : John Ruskin and Identity in Theater, Science, and Education / Sharon Aronofsky Weltman.

By: Contributor(s): Material type: TextTextSeries: Victorian critical interventions | Book collections on Project MUSEPublisher: Columbus : The Ohio State University Press, [2007]Manufacturer: Baltimore, Md. : Project MUSE, 2021Copyright date: ©[2007]Description: 1 online resource (177 pages): illustrationsContent type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 9780814272312
Subject(s): Genre/Form: Online resources:
Contents:
Introduction : Unstable as water -- "Mechanical sheep" and "monstrous powers" : John Ruskin's pantomime reality -- "Pretty Frou-Frou" goes demon dancing : performing species and gender in Ruskin's science -- Playground and playhouse : identity performance in Ruskin's education for girls -- Ruskin and the Wilde life : self and other on the millennial stage -- Conclusion : queering Ruskin.
Review: "This is the first book to examine John Ruskin's writing on theater. In works as celebrated as Modern Painters and obscure as Love's Meinie, Ruskin uses his voracious attendance at the theater to illustrate points about social justice, aesthetic practice, and epistemology. Opera, Shakespeare, pantomime, French comedies, juggling acts, and dance prompt his fascination with performed identities that cross boundaries of gender, race, nation, and species. These theatrical examples also reveal the primacy of performance to his understanding of science and education."--Jacket
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Introduction : Unstable as water -- "Mechanical sheep" and "monstrous powers" : John Ruskin's pantomime reality -- "Pretty Frou-Frou" goes demon dancing : performing species and gender in Ruskin's science -- Playground and playhouse : identity performance in Ruskin's education for girls -- Ruskin and the Wilde life : self and other on the millennial stage -- Conclusion : queering Ruskin.

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"This is the first book to examine John Ruskin's writing on theater. In works as celebrated as Modern Painters and obscure as Love's Meinie, Ruskin uses his voracious attendance at the theater to illustrate points about social justice, aesthetic practice, and epistemology. Opera, Shakespeare, pantomime, French comedies, juggling acts, and dance prompt his fascination with performed identities that cross boundaries of gender, race, nation, and species. These theatrical examples also reveal the primacy of performance to his understanding of science and education."--Jacket

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