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dc.contributor.authorMazurok, Katherineen
dc.description.abstractThis thesis examines how an embodied aesthetic of classical ballet comes into being through modernities’ discourses and material realities of nation, state, colonialism, heterosexuality and their constitutive logics. Accordingly, ballet bodies are produced within a Marxist mode of production and circulate through a movement linguistic system that is phallologocentric. To consider how to move beyond such a system, an evaluation and expansion upon Susan Leigh Foster’s oft-cited work “The Ballerina’s Phallic Pointe” examines the holds modernities’ take over ballet bodies through their production and highlights potentialities for alternative futures. The thesis turns to autobiographical and biographical works of professional ballerinas to express the affected material realities of ballet’s mode of productions’ acts on material bodies.en
dc.relation.ispartofseriesCanadian thesesen
dc.rightsCC0 1.0 Universalen
dc.rightsQueen's University's Thesis/Dissertation Non-Exclusive License for Deposit to QSpace and Library and Archives Canadaen
dc.rightsProQuest PhD and Master's Theses International Dissemination Agreementen
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dc.rightsCopying and Preserving Your Thesisen
dc.rightsThis publication is made available by the authority of the copyright owner solely for the purpose of private study and research and may not be copied or reproduced except as permitted by the copyright laws without written authority from the copyright owner.en
dc.subjectDance Studiesen
dc.subjectCritical Theoryen
dc.titleBallet's Legacies: Beyond the Phallic Pointeen
dc.contributor.supervisorMcKittrick, Katherineen
dc.contributor.departmentGender Studiesen
dc.embargo.termsPublication to come from it and the requirements of of the publication.en
dc.embargo.liftdate2024-04-26T18:31:50Z's University at Kingstonen

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CC0 1.0 Universal
Except where otherwise noted, this item's license is described as CC0 1.0 Universal