Dance of Death in Toronto the GoodMargaret Atwood. Life Before Man. McClelland and Stewart, 1979. $12.95

1980 ◽  
Vol 15 (1) ◽  
pp. 122-123
Author(s):  
Michael Hurley
Keyword(s):  
Dance Of Death

Dance of Death

2018 ◽  
Author(s):  
Kevin Winkler
Keyword(s):  
Subject Matter ◽  
Heart Surgery ◽  
Open Heart Surgery ◽  
High Energy ◽  
Open Heart ◽  
Broadway Musical ◽  
Musical Comedy ◽  
Dance Of Death ◽  
Nonlinear Fashion

This chapter looks at Bob Fosse’s most ambitious film, the autobiographical All That Jazz. All That Jazz follows Joe Gideon, a director and choreographer very much like Fosse who is at a personal and professional crossroads as he prepares to direct a Broadway musical much like Chicago while simultaneously editing a film that looks a lot like Lenny. Following graphic footage of open-heart surgery and a series of metaphoric musical comedy turns by the women in his life, All That Jazz concludes with Gideon presiding over a combined funeral and wake for himself: a glamorous, high-energy floor show to end all floor shows. Here Fosse took the movie musical further than anyone had dared—not only in subject matter, but also in structure and pacing. Fosse tells this “putting on a show” musical in nonlinear fashion, with surprising juxtapositions, fragments, and time leaps.

Dance of Death

1955 ◽  
Vol 37 (4) ◽  
pp. 354-356
Author(s):  
Johns H. Harrington
Keyword(s):  
Dance Of Death

scholarly journals The Dance of Death: Fitzgerald and Decadence

2016 ◽  
Vol 62 (3) ◽  
pp. 387-411
Author(s):  
Alex Murray
Keyword(s):  
Dance Of Death

Singing of Death—and Life

2017 ◽  
Author(s):  
John Hayes
Keyword(s):  
New South ◽  
Folk Songs ◽  
Religious Culture ◽  
Special Focus ◽  
Dominant Culture ◽  
Late Medieval ◽  
Life After Death ◽  
Dance Of Death ◽  
Broad Community ◽  
Special Meaning

This chapter explores New South folk songs of personified Death, with special focus on the Lloyd Chandler composition “Conversation with Death”—its geographic scope, probable spread over time, and broad community of appropriators. The roots of “Conversation with Death” are traced to the late medieval Dance of Death, and the song is interpreted as articulating a medieval/modernist vision. Folk songs of Death are shown to be strikingly different from the songs of death in the dominant religious culture, where death is a release and the focus is on life after death as one’s true home. In contrast, folk songs of death evoke the terror of death to affirm the value of this life in this world—an affirmation that had special meaning for the poor, who faced denigration and devaluation from the dominant culture.

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