000			01487nab a2200193 c 4500
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008			181003s2017 stk||||fr 00| u|eng u
040			_aES-MaCDM
100	1		_aGutsche-Miller, Sarah _d1977- _9138163
245	0		_aLiberated Women and Travesty Fetishes _cSarah Gutsche-Miller _bConflicting Representations of Gender in Parisian Fin-de-Siècle Music-Hall Ballet
260			_c2017 _aEdinburgh: _bEdinburgh University Press,
300			_a22 p.
520			_aRESUMEN: This article explores the multiple and often contradictory representation of women in Parisian music-hall ballets staged at the turn of the twentieth century as reflections of shifting conceptions of women's social roles in fin-de-siècle France. Music-hall ballets mirrored both the broadening of gender norms and the social fears which accompanied these changing social mores; they helped reinforce shifting perceptions of women while simultaneously undermining them. Created at a rate of six or seven per year for fun-loving socialites, music-hall productions were as up-to-date as they were ephemeral, serving as an unusually direct theatrical barometer of middle-and upper-class Parisians' tastes and values. PALABRAS CLAVE: Ballet, music-hall ballet, gender roles, La Parisienne, New Woman, Belle Époque
773	0		_tDance Research _072889 _wmyd_16032 _gVol. 35, núm. 2, Winter 2017, p. 187 - 208
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999			_c126047 _d126047