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The " Dolly Dialogues " serve much the same purpose that the ballet does in an opera—they are a divertissement pure and simple. The winsome, irresponsible "Dolly" picks her steps amid the conversational pitfalls which the adroit " Mr. Carter" spreads for her, with as much dainty sureness as a premiere danseuse, and we cannot but admire and applaud her grace and vivacity. There is no hidden meaning to the "Dialogues " any more than there is to "Dolly." They but reveal the polished inanity of the modern ball-room, the fashionable frivolity of the five o'clock tea-table, and the harmless flirtations of the lawn-tennis court. As "trifles light as air," Mr. Hope offered them to us; as trifles we accept them, and who but the most nobly serious could refuse to smile over their gracefulness, their immaculate innuendo! As a hand-book on "Polite Conversations; or, The Art of Saying Nothing Gracefully," these " Dolly Dialogues " might almost take rank as a serious classic.
As femme fatale, cabaret siren, and icon of Camp, the Christopher Isherwood character Sally Bowles has become this century's darling of "divine decadence"--a measure of how much we are attracted by the fiction of the "shocking" British/American vamp in Weimar Berlin. Originally a character in a short story by Isherwood, published in 1939, "Sally" has appeared over the years in John Van Druten's stage play I Am a Camera, Henry Cornelius's film of the same name, and Joe Masteroff's stage musical and Bob Fosse's Academy Award-winning musical film, both entitled Cabaret. Linda Mizejewski shows how each successive repetition of the tale of the showgirl and the male writer/scholar has linked the young man's fascination with Sally more closely to the fascination of fascism. In every version, political difference is read as sexual difference, fascism is disavowed as secretly female or homosexual, and the hero eventually renounces both Sally and the corruption of the coming regime. Mizejewski argues, however, that the historical and political aspects of this story are too specific--and too frightening--to explain in purely psychoanalytic terms. Instead, Divine Decadence examines how each text engages particular cultural issues and anxieties of its era, from postwar "Momism" to the Vietnam War. Sally Bowles as the symbol of "wild Weimar" or Nazi eroticism represents "history" from within the grid of many other controversial discourses, including changing theories of fascism, the story of Camp, vicissitudes of male homosexual representations and discourses, and the relationships of these issues to images of female sexuality. To Mizejewski, the Sally Bowles adaptations end up duplicating the fascist politics they strain to condemn, reproducing the homophobia, misogyny, fascination for spectacle, and emphasis of sexual difference that characterized German fascism. Originally published in 1992. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
As part of ClassicReader.com, Stephane Theroux presents the full text of the book entitled "Dolly Dialogues." The book was written by English novelist and playwright Anthony Hope Hawkins (1863-1933), who used the pseudonym Anthony Hope. The book was published in 1894.
DigiCat Publishing presents to you this special edition of "Dolly Dialogues" by Anthony Hope. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
Plays in American Periodicals, 1890-1918 by Susan Harris Smith Pdf
This book examines over 125 American, English, Irish and Anglo-Indian plays by 70 dramatists which were published in 14 American general interest periodicals aimed at the middle-class reader and consumer.
?I made that man ? said Dolly ?and now he cuts me dead before the whole of the Row! It's atrocious. Why but for me do you suppose he?d be at this moment engaged to three thousand a year and?and the plainest girl in London??
