Critical cosmopolitans commandeer the Parade

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dc.contributor.authorFehr, Nikolas
dc.date.accessioned2024-10-31T21:36:05Z
dc.date.available2024-10-31T21:36:05Z
dc.date.issued2009
dc.description.abstractThis essay considers the ways in which the 1917 Ballets Russes production of Parade functioned as a critical commentary on society and the social order. Rebecca L. Walkowitz's writing on "critical cosmopolitanism" (actions characterized by self reflection, aversion to heroic tones of appropriation and progress, and a suspicion of epistemological privilege) frames the discussion. Popular entertainment and avant-garde art, together with the techniques of vertigo, flânerie, and the representation of exoticism and of identity more generally, reveal that Parade's authors (Cocteau, Massine, Picasso, and Satie) constructed a critically cosmopolitan, modernist entity. This adds a further dimension to the understanding of Parade, a work that also figures prominently in the dawning of realist ballet and that led to the first appearance of the term surrealism
dc.description.reviewstatusReviewed
dc.description.scholarlevelGraduate
dc.identifier.citationFehr, N. (2009). Critical cosmopolitans commandeer the Parade. Musicological Explorations, 10, 7-31. https://journals.uvic.ca/index.php/me/article/view/147
dc.identifier.urihttps://hdl.handle.net/1828/20663
dc.language.isoen
dc.publisherMusicological Explorations
dc.titleCritical cosmopolitans commandeer the Parade
dc.typeArticle

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Musicological Explorations, Vol. 10 (2009)
 
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