Dancing Queen takes up court ballet as a window into Marie de Médicis’s use of the performing arts as a vehicle for politically engaged queenship prior to Henri IV’s assassination in 1610.
Dancing Queen takes up court ballet as a window into Marie de Médicis’s use of the performing arts as a vehicle for politically engaged queenship prior to Henri IV’s assassination in 1610.
Melinda J. Gough is an associate professor in the Department of English and Cultural Studies at McMaster University.
Inhaltsangabe
List of Illustrations Acknowledgments Abbreviations Principles of Transcription and Translation Introduction 1 Magnificence, Mistresses, and Marie’s Dance of Maternity 2 Royal Women’s Ballet and/as Royal Ceremonial 3 Alliances and Others 4 Eros and "Absolutism" 5 Dances of Diplomacy: London, Valladolid, Paris Conclusion Appendices Appendix 1: Verse Texts for the Ballet of the Sixteen Virtues (1602) Appendix 2: Verse Texts for the Ballet of Diana and her Nymphs (1609) Appendix 3: Verse Texts for the Ballet de Madame (1609) Notes Bibliography Index
List of Illustrations Acknowledgments Abbreviations Principles of Transcription and Translation Introduction 1 Magnificence, Mistresses, and Marie’s Dance of Maternity 2 Royal Women’s Ballet and/as Royal Ceremonial 3 Alliances and Others 4 Eros and "Absolutism" 5 Dances of Diplomacy: London, Valladolid, Paris Conclusion Appendices Appendix 1: Verse Texts for the Ballet of the Sixteen Virtues (1602) Appendix 2: Verse Texts for the Ballet of Diana and her Nymphs (1609) Appendix 3: Verse Texts for the Ballet de Madame (1609) Notes Bibliography Index
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