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At the New School for Social Research in 1931, the dance critic for the New York Times announced the arrival of modern dance, touting the & serious art& of such dancers as Mary Wigman, Martha Graham, and Doris Humphrey. Across town, Hemsley Winfield and Edna Guy were staging what they called & The First Negro Dance Recital in America,& which Dance Magazine proclaimed & the beginnings of great and important choreographic creations.& Yet never have the two parallel traditions converged in the annals of American dance in the twentieth century. Modern Dance, Negro Dance is the first book to bring together these two vibrant strains of American dance in the modern era. Susan Manning traces the paths of modern dance and Negro dance from their beginnings in the Depression to their ultimate transformations in the postwar years, from Helen Tamiris's and Ted Shawn's suites of Negro Spirituals to concerts sponsored by the Workers Dance League, from Graham's American Document to the debuts of Katherine Dunham and Pearl Primus, from Jose; Limón's 1954 work The Traitor to Merce Cunningham's 1958 dances Summerspace and Antic Meet, to Ailey's 1960 masterpiece Revelations. Through photographs and reviews, documentary film and oral history, Manning intricately and inextricably links the two historically divided traditions. The result is a unique view of American dance history across the divisions of black and white, radical and liberal, gay and straight, performer and spectator, and into the multiple, interdependent meanings of bodies in motion. Susan Manning is associate professor of English, theater, and performance studies at Northwestern University. She is the author of Ecstasy and the Demon: Feminism and Nationalism in the Dances of Mary Wigman, winner of the 1994 de la Torre Bueno Prize for the year's most important contribution to dance studies.

Recreation. Games. Sports. Corp. expression --- Sociology of minorities --- United States --- African American dance. --- Modern dance --- United States of America

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This study of character in a comparative context presents a new approach to transatlantic literary history. Rereading Romanticism across national, generic and chronological boundaries, and through close textual comparisons, it offers exciting possibilities for rediscovering how literature engages and persuades readers of the reality of character. Historically grounded in the eighteenth-century philosophical, political and cultural conditions that generated nation-based literary history, it reveals alternative narratives to those of origin and succession, influence and reception. It also reintroduces rhetoric and poetics as ways of addressing questions about uniqueness and representativeness in character creation, epistemological issues of identity and impersonation, and the generation of literary value. Drawing comparisons between works from Alexander Pope and Cotton Mather through Robert Burns, Jane Austen, John Keats, Nathaniel Hawthorne, Edgar Allan Poe, R. W. Emerson, Margaret Fuller and Herman Melville, to George Eliot and Henry James, Susan Manning reveals surprising metaphorical, metonymic and performative connections.

American literature --- American literature. --- Character in literature. --- Comparative literature --- English literature --- English literature. --- Romanticism. --- Colonial period. --- History and criticism --- American and English. --- English and American. --- 1600-1899. --- Character in literature --- Romanticism --- Pseudo-romanticism --- Romanticism in literature --- Aesthetics --- Fiction --- Literary movements --- American and English --- English and American --- History and criticism. --- Arts and Humanities --- Literature

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Mary Wigman, Germany's premier dancer between the two world wars, envisioned the performer in the thrall of ecstatic and demonic forces. Widely hailed as an innovator of dance modernism, she never acknowledged her complex relationship with National Socialism. In Ecstasy and the Demon, Susan Manning advances a sociological explanation for the collaboration between German modern dancers and National Socialism. She models methods for dance studies that contextualize choreography in relation to changing sociopolitical conditions, bringing dance scholarship into conversation with intellectual trends across the humanities. The introduction to this second edition brings Manning's groundbreaking work to bear on dance studies today and reconsiders Wigman's career from the perspective of queer theory and globalization, further illuminating the interplay of dance and politics in the twentieth century. Susan Manning is professor of English, theater, and performance studies at Northwestern University.

Choreographers --- Dancers --- Modern dance --- Modern dance --- Nationalism and feminism. --- Political aspects --- History --- Social aspects --- History --- Wigman, Mary,

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American literature --- American literature --- Comparative literature --- Comparative literature --- English literature --- Scottish literature --- History and criticism --- Scottish influences --- American and Scottish --- Scottish and American --- Scottish authors --- History and criticism --- Appreciation --- Scotland --- United States --- Relations --- Relations

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Thematology --- Comparative literature --- American literature --- English literature --- anno 1800-1899