000			01742nab a2200193 c 4500
001			myd_90933
003			ES-MaCDM
005			20241001093001.0
008			181003s2017 stk||||fr 00| u|eng u
040			_aES-MaCDM
100	1		_aBing-Heidecker, Liora _d1949-
245	0		_aUnearthing the Spirit _cLiora Bing-Heidecker _bThe Archaeological Metaphor and the Uncanny Pathology of Romantic Ballet
260			_c2017 _aEdinburgh: _bEdinburgh University Press,
300			_a22 p.
520			_aRESUMEN: This article draws on Théophile Gautier's dance writing and Sigmund Freud's psychological tenets to explore major concepts of the romantic ballet and argue that the latter presents a hitherto ignored link between two apparently detached disciplines: archaeology and psychoanalysis. The thesis suggests that the romantic ballet assimilated, via Gautier, the highly popular archaeological metaphor of the mid nineteenth century. Its resulting aesthetic therefore bears the distinct marks of the uncanny, a psychoanalytical notion formulated later, yet stimulated by the same archaeological inspiration. Consequently I contend that the romantic ballet anticipated and materialized some current critical notions such as liminality, ambiguity and hauntology, deriving from Freud's theories. Historicizing the ballerina as a personification of ballet's uncanny pathology offers a contemporary perspective on the romantic theatrical dance and illuminates its relevance to post modernist culture. PALABRAS CLAVE: Uncanny, Archaeological Metaphor, Romantic Ballet, Hauntology, Gautier, Freud, Derrida, Lacan
773	0		_tDance Research _072889 _wmyd_16032 _gVol. 35, núm. 2, Winter 2017, p. 165 - 186
903			_a90933 _b90933
942			_cART _2z
999			_c126046 _d126046