Carrie J. Preston has been an Assistant Professor of Womens Studies and English at Boston University.

Clearly written and carefully researched, this study systematically analyzes the semiotics of gesture. Recommended.

• Series Editors' Foreword ; Acknowledgments ; Introduction. ; I. Modern, Antimodern, and Mythic Posing ; II. Gendered Identity and Embodiment ; III. Biblical Typology and Classical Ritual ; IV. Solo Genres ; V. Modernist Kinaesthetics ; Chapter 1. The Solo's Origins: Monodramas, Attitudes, Dramatic Monologues ; I. Galatea's Reach: Gestures of the Monodrama ; II. Veiled Motions: Emma Lyon Hamilton's Attitude ; III. Goethe's Proserpina and Later Posers ; IV. Barrett Browning: Naming "Aeschylus" and "The Virgin Mary" ; V. Types and Housewives in Christina Rossetti and Augusta Webster ; Chapter 2. Posing Modernism: Delsartism in Modern Dance and Silent Film ; I. Delsarte's Aesthetics of the Attitude ; II. Disseminating Delsarte ; III. Performing Delsartism: Genevieve Stebbins and the Early Motions of Modern Dance ; IV. Performing Delsartism (Take Two): Denishawn and Hollywood ; V. The Russian Delsarte: Kuleshov and Film Montage ; Chapter 3. Positioning Genre: The Dramatic Monologue in Cultures of Recitation ; I.

Carrie J. Preston has been an Assistant Professor of Womens Studies and English at Boston University.

Clearly written and carefully researched, this study systematically analyzes the semiotics of gesture. Recommended.

• Series Editors' Foreword ; Acknowledgments ; Introduction. ; I. Modern, Antimodern, and Mythic Posing ; II. Gendered Identity and Embodiment ; III. Biblical Typology and Classical Ritual ; IV. Solo Genres ; V. Modernist Kinaesthetics ; Chapter 1. The Solo's Origins: Monodramas, Attitudes, Dramatic Monologues ; I. Galatea's Reach: Gestures of the Monodrama ; II. Veiled Motions: Emma Lyon Hamilton's Attitude ; III. Goethe's Proserpina and Later Posers ; IV. Barrett Browning: Naming "Aeschylus" and "The Virgin Mary" ; V. Types and Housewives in Christina Rossetti and Augusta Webster ; Chapter 2. Posing Modernism: Delsartism in Modern Dance and Silent Film ; I. Delsarte's Aesthetics of the Attitude ; II. Disseminating Delsarte ; III. Performing Delsartism: Genevieve Stebbins and the Early Motions of Modern Dance ; IV. Performing Delsartism (Take Two): Denishawn and Hollywood ; V. The Russian Delsarte: Kuleshov and Film Montage ; Chapter 3. Positioning Genre: The Dramatic Monologue in Cultures of Recitation ; I.