Twyla Tharp’s Classical Impulse

2021 ◽  
pp. 44-61
Author(s):  
Kyle Bukhari
Keyword(s):  
Critical Reception ◽  
Gender Biases ◽  
Male Dominated ◽  
Classical Ballet ◽  
Upper Room

This chapter focuses on Twyla Tharp’s career-long engagement with classical ballet. In particular, it looks at Deuce Coupe (1973) and In the Upper Room (1986) and suggests these works, that featured classical and modern-trained dancers together on the same stage, constitute early experiments in contemporary ballet. Tharp did not hybridize the dance forms; rather, she allowed them to coexist in a discrete, stylistic duality. This chapter asks how this radical juxtaposition of genres might have contemporized the classical ballet form. Early negative critical reception to Tharp’s use of traditional ballet choreography and pointe shoes raises the question of possible gender biases against Tharp as a female choreographer in a male-dominated field. While Tharp considers herself a modern and ballet choreographer, this chapter proposes it is through the pastiche of dance postmodernism that Tharp was able to incorporate classical ballet as a ready-made and that her work of the period can be read as early prototypes of the contemporary ballet genre.

Sylvia Townsend Warner’s Liberating Devil

2017 ◽  
Author(s):  
Per Faxneld
Keyword(s):  
Critical Reception ◽  
The Novel ◽  
Male Dominated ◽  
Central Pillar

Chapter11 scrutinizes Sylvia Townsend Warner’s (1893–1978) debut novel Lolly Willowes (1926), which tells the tale of spinster Laura ‘Lolly’ Willowes, who ends up becoming a witch liberated and empowered by Satan. The book caused a major stir, and is, it is argued, the most explicit and conspicuous literary example ever of programmatic Satanic feminism. It is demonstrated how Warner drew on contemporary understandings of witch cults and worked very much within a pre-existing tradition of Satanic feminism. Hence, the focus is in particular on aspects of the text that relate to the motifs seen repeatedly in preceding chapters, such as demonic lesbianism, a view of Christianity as a central pillar of patriarchy, and nature being coded as Satan’s feminine realm where he can offer immunity from the pressures of a male-dominated society. The chapter closes with a consideration of the critical reception of the novel.

Instrumentality and Expressiveness at Work

2014 ◽  
Vol 58 (3) ◽  
pp. 111-124 ◽  
Author(s):  
Sonja Sobiraj ◽  
Sabine Korek ◽  
Thomas Rigotti
Keyword(s):  
Job Satisfaction ◽  
Work Roles ◽  
Professional Work ◽  
Gender Typicality ◽  
Positive Effects ◽  
Male Dominated ◽  
Role Demands

Men’s professional work roles require different attributes according to the gender-typicality of their occupation (female- versus male-dominated). We predicted that levels of men’s strain and job satisfaction would be predicted by levels of self-ascribed instrumental and expressive attributes. Therefore, we tested for positive effects of instrumentality for men in general, and instrumentality in interaction with expressiveness for men in female-dominated occupations in particular. Data were based on a survey of 213 men working in female-dominated occupations and 99 men working in male-dominated occupations. We found instrumentality to be negatively related to men’s strain and positively related to their job satisfaction. We also found expressiveness of men in female-dominated occupations to be related to reduced strain when instrumentality was low. This suggests it is important for men to be able to identify highly with either instrumentality or expressiveness when regulating role demands in female-dominated occupations.

The Self-Description Questionnaire-1: A Lithuanian Application

1995 ◽  
Vol 11 (1) ◽  
pp. 41-51 ◽  
Author(s):  
David Watkins ◽  
Anne McCreary Juhasz ◽  
Aldona Walker ◽  
Nijole Janvlaitiene
Keyword(s):  
Eastern Europe ◽  
Factor Structure ◽  
Response Bias ◽  
Internal Consistency ◽  
Self Esteem ◽  
Cultural Dimensions ◽  
The Self ◽  
Nigerian Children ◽  
Gender Biases ◽  
And Gender

Analysis of the responses of 139 male and 83 female Lithuanian 12-14 year-olds to a translation of the Self-Description Questionnaire-1 (SDQ-1; Marsh, 1988 ) supported the internal consistency and factor structure of this instrument. Some evidence of a “positivity” response bias was found, however. Comparison of the Lithuanian responses to those of like-aged Australian, Chinese, Filipino, Nepalese, and Nigerian children indicated the Lithuanians tended to report rather lower self-esteem. The Lithuanian males also tended to report lower self-esteem than their female peers. Interpretation of the results are considered in terms of reactions to the recent upheavals in Eastern Europe, stable cultural dimensions, and possible cultural and gender biases in the items of the SDQ-1.

Mental health promotion in male-dominated workplaces: Perspectives of male employees and workplace representatives.

2019 ◽  
Vol 20 (4) ◽  
pp. 541-552 ◽  
Author(s):  
Cherisse L. Seaton ◽  
Joan L. Bottorff ◽  
John L. Oliffe ◽  
Kerensa Medhurst ◽  
Damen DeLeenheer
Keyword(s):  
Mental Health ◽  
Health Promotion ◽  
Mental Health Promotion ◽  
Male Dominated

‘What we are up against’: Lindsay Anderson and The Old Crowd

2014 ◽  
Vol 11 (2-3) ◽  
pp. 332-350
Author(s):  
Tom Sutcliffe
Keyword(s):  
Critical Reception ◽  
Production History

Drawing on the invaluable experience of watching Lindsay Anderson at work and on lengthy interviews with the director, this article traces the production history and critical reception of The Old Crowd, an Alan Bennett play which Anderson directed for London Weekend Television in 1979. In so doing it paints a picture of an ITV environment very different from that of today, one in which there was far more scope for formal experimentation and innovation, but it also demonstrates all too clearly the critical hostility and incomprehension which greeted directors like Anderson who were determined to take advantage of this relatively liberal climate in order to stretch the medium to its limits.

Walter Pater: Personality and Persons

2015 ◽  
Vol 5 (3) ◽  
pp. 234-250
Author(s):  
Stephen Cheeke
Keyword(s):  
Critical Reception ◽  
The Self ◽  
Walter Pater ◽  
History Of ◽  
Knowledge Of Persons

This article argues for the centrality of notions of personality and persons in the work of Walter Pater and asks how this fits in with his critical reception. Pater's writing is grounded in ideas of personality and persons, of personification, of personal gods and personalised history, of contending voices, and of the possibility of an interior conversation with the logos. Artworks move us as personalities do in life; the principle epistemological analogy is with the knowledge of persons – indeed, ideas are only grasped through the form they take in the individuals in whom they are manifested. The conscience is outwardly embodied in other persons, but also experienced as a conversation with a person inhabiting the most intimate and sovereign dimension of the self. Even when personality is conceived as the walls of a prison-house, it remains a powerful force, able to modify others. This article explores the ways in which these questions are ultimately connected to the paradoxes of Pater's own person and personality, and to the matter of his ‘style’.

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