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| 001 | myd_91072 | ||
| 003 | ES-MaCDM | ||
| 005 | 20241001093009.0 | ||
| 008 | 181003s2011 stk||||fr 00| u|eng u | ||
| 040 | _aES-MaCDM | ||
| 100 | 1 |
_aCooke, Peter _d1951- |
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| 245 | 0 |
_a"It isn't a Dance" _b Gustave Moreau's Salome and The Apparition _cPeter Cooke |
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_c2011 _aEdinburgh: _bEdinburgh University Press, |
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| 300 | _a19 p. | ||
| 500 | _aDentro de la sección: La Danza de Salome y su Herencia ("The Dance of Salome and its Heritage") | ||
| 520 | _aRESUMEN: At the Salon of 1876, at a time when the subject of Salome was becoming fashionable, Gustave Moreau exhibited an oil painting, Salome, and a large watercolour, The Apparition, whose stylistic and iconographical originality astonished and fascinated the critics. Whereas Puvis de Chavannes had represented John the Baptist's execution, observed by Salome, Henri Léopold Lévy had shown Salome presenting the saint's head to Herod, and Henri Regnault had depicted Salome sitting with the sword and the platter to be used for the beheading, Moreau chose to represent the much rarer subject of Salome dancing before Herod. It is Moreau's interpretation of the dance that will be discussed here. | ||
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_tDance Research _072889 _wmyd_16032 _gVol. 29, núm. 2, Winter 2011, p. 214 - 232 |
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_a91072 _b91072 |
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_cART _2z |
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_c126184 _d126184 |
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