Universität Wien

135042 PS Dance Texts and dancers around 1900 (2024S)

5.00 ECTS (2.00 SWS), SPL 13 - Europäische und Vergleichende Sprach- und Literaturwissenschaft
Continuous assessment of course work
Moodle

Registration/Deregistration

Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).

Details

max. 30 participants
Language: German

Lecturers

Classes (iCal) - next class is marked with N

Update (15.2.): 6 Courses will be held online.

  • Wednesday 06.03. 12:30 - 14:00 Seminarraum 3 Sensengasse 3a 1.OG
  • Wednesday 13.03. 12:30 - 14:00 Seminarraum 3 Sensengasse 3a 1.OG
  • Wednesday 20.03. 12:30 - 14:00 Digital
  • Wednesday 10.04. 12:30 - 14:00 Seminarraum 3 Sensengasse 3a 1.OG
  • Wednesday 17.04. 12:30 - 14:00 Digital
  • Wednesday 24.04. 12:30 - 14:00 Seminarraum 3 Sensengasse 3a 1.OG
  • Wednesday 08.05. 12:30 - 14:00 Digital
  • Wednesday 15.05. 12:30 - 14:00 Digital
  • Wednesday 22.05. 12:30 - 14:00 Seminarraum 3 Sensengasse 3a 1.OG
  • Wednesday 29.05. 12:30 - 14:00 Digital
  • Wednesday 05.06. 12:30 - 14:00 Seminarraum 3 Sensengasse 3a 1.OG
  • Wednesday 12.06. 12:30 - 14:00 Digital
  • Wednesday 19.06. 12:30 - 14:00 Seminarraum 3 Sensengasse 3a 1.OG
  • Wednesday 26.06. 12:30 - 14:00 Seminarraum 3 Sensengasse 3a 1.OG

Information

Aims, contents and method of the course

In artistic and literary discourse around 1900, dance became one of the privileged metaphors for describing the creative processes of modernity (Brandstetter), not least as a result of famous dancer-writer encounters such as those between Loïe Fuller and Stéphane Mallarmé, Ruth St.-Denis and Hugo von Hofmannsthal or Antonia Mercé and Paul Valéry. At the same time, female dancers and choreographers appeared for the first time as dance theorists, whose texts are still preserved and received today (Russell). Texts by dancers and choreographers have always exhibited an intermedial awareness of problems, leading to ever new attempts to dynamize texts in order to convey movement. In this proseminar we will focus on these so-called 'dance texts' (Thurner). The aim is to examine the' intermediality of dance texts on the basis of selected works, particularly with regard to the dynamization of the reading experience. Students acquire specialist knowledge as well as knowledge of cultural-scientific and inter-media text analysis models and are able to contextualize text phenomena independently within the broader framework of social and aesthetic discourses (PS work). After a historical and genre-theoretical introduction to 'dance texts' and methods of literary movement analysis by the seminar leader, we will use specific text examples by Stéphane Mallarmé, Paul Valéry, Isadora Duncan, and Loïe Fuller to examine the thematic and poetological design of dance and movement in the text. To this end, the seminar texts are prepared by the students, presented in papers and discussed together in the session. Students are gradually guided towards writing a PS paper on a topic of their choice from the topic pool and submit two smaller written papers (exposé with bibliography, outline of the PS paper) during the semester. The proseminar paper must be 10 pages long (excluding cover sheet and table of contents). The binding submission deadline is the last session.

Assessment and permitted materials

To successfully complete the seminar, regular attendance (course immanent to the examination), the partial performances mentioned below (active participation in discussions, smaller written papers, presentation) as well as the independent writing of a proseminar paper of 10 text pages and its submission by the last session are required. AI tools are not permitted.

Minimum requirements and assessment criteria

The course requires regular attendance (max. three absences). Students are expected to participate actively in the form of discussions, presentations and written assignments. The course is completed with an independent written paper, which is prepared in stages (exposé incl. bibliography, outline of the PS paper). The feedback on the partial performance should be incorporated into the writing of the PS paper. The partial performances are weighted as follows: active participation (25 %), written assignments and presentation (25 %), PS paper (50 %). A total of 100 points are awarded for all performances. A positive completion of the PS with a "Sufficient" (4) requires 60 points to be achieved. At least 70 points are required for a "Satisfactory" (3), 80 points for a "Good" (2) and 90 points for a "Very Good" (1). The submission of the PS paper in the last unit is a prerequisite for a positive degree.

Examination topics

Regular active participation (maximum of three unexcused absences), submission of two written assignments (exposé incl. bibliography/outline of the PS paper); individual or group presentation; final paper from a given pool of topics.

Reading list

Auerbach, Erich (2021): „Figura“. In: ders.: Gesammelte Aufsätze zur romanischen Philologie. Hg. v. Matthias Bormuth und Martin Vialon, 2., erg. Aufl. Tübingen: Narr Francke Attempto, 55–90.
Birnie Danzker, Jo-Anne (Hg.) (1995): Loïe Fuller. Getanzter Jugendstil. München u.a.: Prestel.
Brandstetter, Gabriele (1995): Tanz-Lektüren. Körperbilder und Raumfiguren der Avantgarde. Frankfurt am Main: Fischer.
Brandstetter, Gabriele/Peters, Sibylle (Hg.) (2002): De figura. Rhetorik Bewegung Gestalt. München: W. Fink.
Duncan, Isadora (2008): The Dance of the Future. In: Magdalena Tzaneva (Hg.): Isadora Duncans Tanz der Zukunft. Berlin: LiDi, S. 23-31.
Fischer, Miriam (2010): Denken in Körpern. Grundlegung einer Philosophie des Tanzes. Freiburg, Br. u.a.: Alber.
Fuller, Loïe (1908): Quinze ans de ma vie. Péface d’Anatole France. Paris: Librairie Félix Juven. Online unter: https://gallica.bnf.fr/ark:/12148/bpt6k1116945.r=loie%20fuller%20quinze%20ans%20de%20ma%20vie?rk=21459;2. Chap. III: Comment je créai la danse serpentine (S. 21-37); Chap. VI: Lumière et danse (S. 59-70).
Fuller, Loïe (1913):Fifteen Years of a Dancer’s Life. With an Introduction by Anatole France. London: Herbert Jenkins Limited. Chap. III: How I created the Serpentine Dance (S. 25-42); Chap. VI: Light and The Dance (S. 62-72).
Meinzenbach, Sandra (2010): Neue alte Weiblichkeit: Frauenbilder und Kunstkonzepte im Freien Tanz: Loïe Fuller, Isadora Duncan und Ruth St. Denis zwischen 1891 und 1934. Marburg: Tectum-Verlag.
Montandon, Alain (Hg.) (1999): Écrire la danse. Clermont-Ferrand: Université Blaise-Pascal Centre de Recherches sur les Littératures Modernes et Contemporaines (Collection littératures).
Rakoczy, Karolina (2008): „Bewegung im Text. Tanz in Gedichten von Rilke, Lasker-Schüler und Wigman“, in: Sandra Poppe/Sascha Seiler (Hg.): Literarische Medienreflexionen. Künste und Medien im Fokus moderner und postmoderner Literatur. Berlin: Erich Schmidt, 67–83.
Russell, Tilden (2020): Dance theory. Source readings from two millennia of Western dance. New York, NY: Oxford University Press.
Torra-Mattenklott, Caroline (2016): Poetik der Figur. Zwischen Geometrie und Rhetorik: Modelle der Textkomposition von Lessing bis Valéry. Paderborn: Fink, 3-20.
Thurner, Christina (2009): Beredte Körper bewegte Seelen. Zum Diskurs der doppelten Bewegung in Tanztexten. Bielefeld: transcript Verlag.
Valéry, Paul (1953): Eupalinos oder der Architekt. Eingeleitet durch ‘Die Seele und der Tanz’. Übertragen von Rainer Maria Rilke. 2. Aufl. Stuttgart: Insel-Verlag.
Valéry, Paul (1960): L’Âme et la Danse. In: ders.: Œuvres II. Hg. v. Jean Hytier. Paris: Gallimard, S. 148-176.

Association in the course directory

BA M4

Last modified: We 03.07.2024 15:05