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Dancing out of Linetransports readers back to the 1840s, when the craze for social and stage dancing forced Victorians into a complex relationship with the moving body in its most voluble, volatile form.By partnering cultural discourses with representations of the dance and the dancer in novels such asJane Eyre, Bleak House,andDaniel Deronda,Molly Engelhardt makes explicit many of the ironies underlying Victorian practices that up to this time have gone unnoticed in critical circles. She analyzes the role of the illustrious dance master, who created and disseminated the manners and moves expected of fashionable society, despite his position as a social outsider of nebulous origins. She describes how the daughters of the social elite were expected to \"come out\" to society in the ballroom, the most potent space in the cultural imagination for licentious behavior and temptation. These incongruities generated new, progressive ideas about the body, subjectivity, sexuality, and health.Engelhardt challenges our assumptions about Victorian sensibilities and attitudes toward the sexual/social roles of men and women by bringing together historical voices from various fields to demonstrate the versatility of the dance, not only as a social practice but also as a forum for Victorians to engage in debate about the body and its pleasures and pathologies.

Dances and balls appear throughout world literature as venues for young people to meet, flirt, and form relationships, as any reader of Pride and Prejudice , War and Peace , or Romeo and Juliet can attest. The popularity of social dance transcends class, gender, ethnic, and national boundaries. In the context of nineteenth- and twentieth-century Jewish culture, dance offers crucial insights into debates about emancipation and acculturation. While traditional Jewish law prohibits men and women from dancing together, Jewish mixed-sex dancing was understood as the very sign of modernity--and the ultimate boundary transgression. Writers of modern Jewish literature deployed dance scenes as a charged and complex arena for understanding the limits of acculturation, the dangers of ethnic mixing, and the implications of shifting gender norms and marriage patterns, while simultaneously entertaining their readers. In this pioneering study, Sonia Gollance examines the specific literary qualities of dance scenes, while also paying close attention to the broader social implications of Jewish engagement with dance. Combining cultural history with literary analysis and drawing connections to contemporary representations of Jewish social dance, Gollance illustrates how mixed-sex dancing functions as a flexible metaphor for the concerns of Jewish communities in the face of cultural transitions.

Rigorously trained from an early age by a perfectionist instructor, Polina is a promising classical ballet dancer. She is just about to join the prestigious Bolshoi Ballet when she discovers contemporary dance, a revelation that throws everything into question on a profound level.

In Edgar Allan Poe's 1842 gothic tale, \"The Mask of the Red Death: A Fantasy,\" a nobleman and his wealthy friends attempt to escape a horrific plague by hiding out in a castle-like abbey dancing the night away, until death in the form of a masked figure systematically stalks them all down. Officials used this report over and over again in the current pandemic to make the argument for all the school and commerce closings that led toward \"flattening the curve\" of rising infections.2 In the same year as the historical analysis appeared, a different report by bioethicists established a set of social justice principles that argued for identifying so-called disadvantaged groups who would be more harmed by a pandemic, engaging them in planning, and identifying their special needs.3 The Trump administration barely took the lessons from the historical analysis and certainly ignored the concern with social justice. Most of us in public health knew systemic racism and health disparities would make differential illness and death rates happen.

Margaret Atwood's Hag-Seed, as a retelling of Shakespeare's The Tempest, employs a hybrid style of dramaturgical and performative writing in its novelistic narrative. From the dramaturgical framework that affords theatrical happenings to the ekphrastic recreation of theatrical liveness, it creates for the reader an embodied, lively, and intermedial reading experience. Thus, this article explores the intermedial poetics of Hag-Seed, focusing on its textual exploration of the theatrical form from different perspectives, and its situatedness in the Canadian theatre and adaptation context in parallel with the dance company Kidd Pivot and their 2011 production The Tempest Replica. Drawing on the intermedial genre of theatre-fiction, it seeks to address how the intermedial poetics of textual theatricality enacts the readers' embodied perception of theatrical liveness and explores the porous mediality of both novel and theatre.

Black feminists, both in Africa and the Diaspora, have always used fiction as a tool for imagining agential subjectivity. Tsitsi Dangarembga is one such author utilizing both fiction and activism to reimagine agency and solidarity for Zimbabwean women. This Mournable Body (2018) centralizes protagonist's Tambudzai Sigauke's embodied reality through the skewed lens of poor mental health whilst also foregrounding the women of her community's struggle for agency. Through Tambu's body, misogynoir and neoliberal individualism are laid bare; yet her complicity with neoliberal regimes reveals an ethical struggle that contemporary feminism grapples with. This article reads This Mournable Body in Black feminist terms, attuned to neoliberal privations (Emejulu and Sobande 2019; Olufemi 2020), transnational solidarities (Mohanty 2003), and contingent agency in African contexts (Diabate 2020). I read for agential moments and tentative solidarities, in particular Nyasha's feminist workshop and the dancing women in the climactic scene (read as a moment of \"naked agency\" à la Diabate 2020), to show how Dangarembga's novel locates agential subjectivity within embodied acts. This article argues that the novel's embodied moments of Black feminist resistance mobilize a communal, radical Black feminism attuned to uneven global power structures and localized forms of resistance in African contexts.

When a dirty Chacho runs away at the park, Alma, Junior, and Abuelo must track him down and give him a bath. But no one has seen the runaway pup. Can they find him? Then, Alma realizes that Frankie’s old breakdancing sneakers are more valuable than they appear.

This article examines J.M Coetzee's novel The Schooldays of Jesus in which the question of finding the 'right education' for a young child is a central and recurring theme. Coetzee's novel presents us with two models of maths education. One of these is a fairly recognisable practice, and involves intellectualised forms of teaching and learning abstract concepts. The other is a rather bizarre educational programme that involves a Dance Academy in which numbers are 'called down from the stars.' Coetzee has been subject to some criticism for what has been described as a 'maddening' book about 'silly dancing.' Yet my article seeks to show how Coetzee's novel opens up questions of stasis and dynamis that, in turn, have important implications for education. To develop my case, I consider Coetzee's novel in relation to certain themes from Plato's philosophy, particularly the images of education provided in Republic. At the end of my article, I show how my discussion of Coetzee and Plato points towards new ways of understanding the nature of moral education - as something broader and more pervasive than is often recognised by more familiar arguments in moral philosophy and education.

Created in 1998, the Dimenti Group from Salvador (BA) produces artistic works that blur the lines between scenic languages and modes of production, until finally becoming Dimenti Produções Culturais, a creative environment that today encompasses audiovisual, editorial and phonographic productions, events and festivals, among others. In this article the focus is on Tombé (2001) and Biblioteca de dança (2017) dance performances, as examples of this diversified production. The aim is to point out, from the perspective of its members, the authorial traits that persist in Dimenti’s creative trajectory, such as comicality, non-linearity and the incorporation of an ideological discourse of otherness.

Since the earlier twentieth century, literary genres have traveled across magnetic, wireless, and electronic planes. Literature may now be anything from acoustic poetry and oral performance to verbal--visual constellations in print and on screen, cinematic narratives, or electronic textualities that range from hypertext to Flash. New technologies have left their imprint on literature as a paper-based medium, and vice versa. This volume explores the interactions between literature and screenbased media over the past three decades. How has literature turned to screen, how have screens undone the tyranny of the page as a medium of literature, and how have screens affected the page in literary writing? This volume answers these questions by uniquely integrating perspectives from digital literary studies, on the one hand, and film and literature studies, on the other. \"Page\" and \"screen\" are familiar catchwords in both digital literary studies and film and literature studies. The contributors reassess literary practice at the edges of paper, electronic media, and film. They show how the emergence of a new medium in fact reinvigorates the book and the page as literary media, rather than signaling their impending death. While previous studies in this field have been restricted to the digitization of literature alone, this volume shows the continuing relevance of film as a cultural medium for contemporary literature. Its integrative approach allows readers to situate current shifts within the literary field in a wider, long-term perspective.