000			04109nam a22004214i 4500
001			991061303437906706
003			ES-BaIT
005			20250612135557.0
008			250317s1998 xxua||||r|||||0|| 0 eng|c
020			_a9780801858215
020			_a0801858216
040			_aES-BaIT _bcat _erda _cES-BaIT
080			_a793.5
100	1		_aSegel, Harold B., _d1930- _eautor _9106834
245	1	0	_aBody ascendant : _bModernisme and the physical imperative / _cHarold B. Segel
264		1	_aBaltimore, Maryland : _bThe Johns Hopkins University Press, _c1998
300			_a282 pàgines: _bil·lustracions; _c24 cm
336			_atext _btxt _2rdacontent
337			_asense mediació _bn _2rdamedia
338			_avolum _bnc _2rdacarrier
490	1		_aPaj Books
500			_aInclou referències bibliogràfiques i índex
504			_aBibliografia, pàgines 269-273
520			_aThe revival of the Olympic Games in 1896 was just one result of the unparalleled interest in physical culture that consumed Europe and America in the late nineteenth and early twentieth centuries. Various national physical education movements enjoyed extraordinary success, including the German Turnverein, the Czech Sokol, and Scouting in England and America. Dance, outdoor spectacle, and massive political rallies reflected the turn away from language toward more gestural, mythic, and body-oriented ways of communicating. This preoccupation with physicality could be seen in the era's growing exultation in war, blood sport, and high adventure -- and, in its most extreme form, in the racist cult of the body emerging in Hitler's Germany. In Body Ascendant, Harold Segel shows that this obsession with physical culture resonated widely through the modernist movement and traces its profound influence on the arts in the early twentieth century. Segel examines the emergence of modern dance and its impact on virtually all the other arts. He describes the shift from speech to gesture in modern drama and the revival of serious artistic interest in pantomime, a trend that culminated in Max Reinhardt's spectacular productions of The Miracle in London and New York. And he shows how bold attempts to revitalize literary language paralleled a new emphasis on the direct experience of the writer -- the more adventurous the life, the greater the literary appeal. Characterizing the modernist man of letters as a self-styled man of action, Segel reviews the careers of such writers as Gabriele D'Annunzio, F. T. Marinetti, Nikolai Gumilyov, Ernst Junger, Ernest Hemingway, Henry de Montherlant, and Antoine de Saint-Exupery. He offers a broad overview of the various manifestations of the modernist preoccupation with physicality, including the disparagement of Christianity and Judaism for their focus on spiritual life. He clearly establishes the disturbing compatibility between the era's artistic and athletic celebration of body and the eventual rise of totalitarian nationalism and racism. The dark side of Nazi emphasis on physical perfection as essential to ideal Germanness, Segel notes, was the consistent portrayal of the Jew as physically and racially inferior.
520	2		_aIntroduction. Modernist pantomime and the retreat from speech in the drama -- The dance phenomenon -- The man of letters as man of action: from Teddy Roosevelt to Saint-Exupery -- Philosophy, language, and the physical culture movement -- Religion, race, gender, politics and the new physicality -- Denouement: Nazi ideology, Jews, and the cult of the body.
650		7	_aTeatre de gest _xHistòria _yS. XX _2 _9108313
650		7	_aDansa _yS. XIX _xHistòria i crítica _2lemac _9166121
650		7	_aDansa _yS. XX _xHistòria i crítica _2lemac _956586
650		7	_aNacionalsocialisme _2lemac _9166122
650		7	_aModernitat _2lemac _997894
650		7	_aEducació física _yS. XIX _xHistòria i crítica _2 lemac _9166123
650		7	_aEducació física _yS. XX _xHistòria i crítica _2lemac _9166124
650		7	_aCos humà (Filosofia) _2lemac _973850
830		0	_aPAJ books _967462
908			_aCDMAE
940			_aCDMAE
942			_2udc _c1
999			_c136241 _d136241