{"product_id":"the-queer-afterlife-of-vaslav-nijinsky-hardcover","title":"The Queer Afterlife of Vaslav Nijinsky - Hardcover","description":"\u003cdiv\u003e\u003cp style=\"text-align: right;\"\u003e\u003ca href=\"https:\/\/reportcopyrightinfringement.com\/\" target=\"_blank\" rel=\"nofollow\"\u003e\u003cb\u003eReport copyright infringement\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\u003cp\u003eby \u003cb\u003eKevin Kopelson\u003c\/b\u003e (Author)\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eThe Queer Afterlife of Vaslav Nijinsky\u003c\/i\u003e is three books in one: an impressionistic account of the dancer's homoerotic career, an analysis of his gay male reception, and an exploration of the limitations of that analysis. The impressionistic account, based on the aestheticism of Walter Pater, focuses on significant gestures made by Nijinsky in key roles, including the Golden Slave, the Specter of the Rose, Narcissus, Petrouchka, and the Faun. The analysis of his reception, based on the semiotics of Roland Barthes, is deconstructive. And the exploration of the the analytical limitations sets the stage for cultural studies that move beyond Barthesian semiotics-beyond, that is, the author's last two books.\u003c\/p\u003e \u003cp\u003e Why, given that most of his followers were not gay, describe Nijinsky's queer afterlife? The author's answer is that Nijinsky was the Lord Alfred Douglas of the Ballet Russes. The dancer, however, had even more \"lilac-hued notoriety\" than Douglas-notoriety based upon common knowledge of his sexual relationship with Serge Diaghilev, upon his having been one of the first sensuous young men to dominate a Western stage recently riven by the homosexual\/heterosexual division we are still contending with today, and upon his mastery of leading roles and body languages that had very little to do with conventional masculinity.\u003c\/p\u003e\u003ch3\u003eFront Jacket\u003c\/h3\u003e\u003cp\u003eThe Queer Afterlife of Vaslav Nijinsky is three books in one: an impressionistic account of the dancer's homoerotic career, an analysis of his gay male reception, and an exploration of the limitations of that analysis. The impressionistic account, based on the aestheticism of Walter Pater, focuses on significant gestures made by Nijinsky in key roles, including the Golden Slave, the Specter of the Rose, Narcissus, Petrouchka, and the Faun. The analysis of his reception, based on the semiotics of Roland Barthes, is deconstructive. And the exploration of the the analytical limitations sets the stage for cultural studies that move beyond Barthesian semiotics--beyond, that is, the author's last two books.\u003cbr\u003e Why, given that most of his followers were not gay, describe Nijinsky's queer afterlife? The author's answer is that Nijinsky was the Lord Alfred Douglas of the Ballet Russes. The dancer, however, had even more \"lilac-hued notoriety\" than Douglas--notoriety based upon common knowledge of his sexual relationship with Serge Diaghilev, upon his having been one of the first sensuous young men to dominate a Western stage recently riven by the homosexual\/heterosexual division we are still contending with today, and upon his mastery of leading roles and body languages that had very little to do with conventional masculinity. \u003cbr\u003e\u003c\/p\u003e\u003ch3\u003eBack Jacket\u003c\/h3\u003e\u003cp\u003eThe Queer Afterlife of Vaslav Nijinsky is three books in one: an impressionistic account of the dancer's homoerotic career, an analysis of his gay male reception, and an exploration of the limitations of that analysis. The impressionistic account, based on the aestheticism of Walter Pater, focuses on significant gestures made by Nijinsky in key roles, including the Golden Slave, the Specter of the Rose, Narcissus, Petrouchka, and the Faun. The analysis of his reception, based on the semiotics of Roland Barthes, is deconstructive. And the exploration of the the analytical limitations sets the stage for cultural studies that move beyond Barthesian semiotics--beyond, that is, the author's last two books.\u003cbr\u003e Why, given that most of his followers were not gay, describe Nijinsky's queer afterlife? The author's answer is that Nijinsky was the Lord Alfred Douglas of the Ballet Russes. The dancer, however, had even more \"lilac-hued notoriety\" than Douglas--notoriety based upon common knowledge of his sexual relationship with Serge Diaghilev, upon his having been one of the first sensuous young men to dominate a Western stage recently riven by the homosexual\/heterosexual division we are still contending with today, and upon his mastery of leading roles and body languages that had very little to do with conventional masculinity. \u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003ch3\u003eAuthor Biography\u003c\/h3\u003e\u003cp\u003e\u003cb\u003eKevin Kopelson\u003c\/b\u003e is Associate Professor of English at the University of Iowa. He is the author of \u003ci\u003eBeethoven's Kiss: Pianism, Perversion, and the Mastery of Desire\u003c\/i\u003e (Stanford, 1996) and \u003ci\u003eLove's Litany: The Writing of Modern Homoerotics\u003c\/i\u003e (Stanford, 1994).\u003c\/p\u003e\n            \u003cdiv\u003e\n\u003cstrong\u003eNumber of Pages:\u003c\/strong\u003e 240\u003c\/div\u003e\n            \u003cdiv\u003e\n\u003cstrong\u003eDimensions:\u003c\/strong\u003e 0.56 x 8 x 5 IN\u003c\/div\u003e\n            \u003cdiv\u003e\n\u003cstrong\u003eIllustrated:\u003c\/strong\u003e Yes\u003c\/div\u003e\n            \u003cdiv\u003e\n\u003cstrong\u003ePublication Date:\u003c\/strong\u003e December 01, 1997\u003c\/div\u003e\n            ","brand":"BooksCloud","offers":[{"title":"Default Title","offer_id":53425599971635,"sku":"9780804729499","price":118.15,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0300\/5595\/6612\/files\/TTUVgM73Fs9780804729499.webp?v=1780519998","url":"https:\/\/www.vysn.com\/products\/the-queer-afterlife-of-vaslav-nijinsky-hardcover","provider":"VYSN","version":"1.0","type":"link"}