Anthea Kraut
- Published in print:
- 2015
- Published Online:
- November 2015
- ISBN:
- 9780199360369
- eISBN:
- 9780199360390
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199360369.003.0002
- Subject:
- Music, Dance
This chapter recounts Loïe Fuller’s pursuit of intellectual property rights in the late nineteenth century. Focusing on the 1892 case Fuller v. Bemis, it approaches Fuller’s lawsuit as a gendered ...
More
This chapter recounts Loïe Fuller’s pursuit of intellectual property rights in the late nineteenth century. Focusing on the 1892 case Fuller v. Bemis, it approaches Fuller’s lawsuit as a gendered struggle to attain proprietary rights in whiteness. First situating Fuller’s practice in the context of the patriarchal economy that governed the late nineteenth-century theater, the chapter then examines the lineage of her Serpentine Dance, including the Asian Indian dance sources to which it was indebted. It also shows how the “theft” of her Serpentine Dance occasioned a crisis of subjecthood for Fuller, and how her assertion of copyright was an attempt to (re)establish herself as a property-holding subject. The chapter ends by considering the copyright bids of two dancers who followed in Fuller’s wake, Ida Fuller and Ruth St. Denis, as well as the counter-claims of one of St. Denis’s South Asian dancers, Mohammed Ismail.Less
This chapter recounts Loïe Fuller’s pursuit of intellectual property rights in the late nineteenth century. Focusing on the 1892 case Fuller v. Bemis, it approaches Fuller’s lawsuit as a gendered struggle to attain proprietary rights in whiteness. First situating Fuller’s practice in the context of the patriarchal economy that governed the late nineteenth-century theater, the chapter then examines the lineage of her Serpentine Dance, including the Asian Indian dance sources to which it was indebted. It also shows how the “theft” of her Serpentine Dance occasioned a crisis of subjecthood for Fuller, and how her assertion of copyright was an attempt to (re)establish herself as a property-holding subject. The chapter ends by considering the copyright bids of two dancers who followed in Fuller’s wake, Ida Fuller and Ruth St. Denis, as well as the counter-claims of one of St. Denis’s South Asian dancers, Mohammed Ismail.
John Marsh
- Published in print:
- 2019
- Published Online:
- November 2019
- ISBN:
- 9780198847731
- eISBN:
- 9780191882425
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198847731.003.0008
- Subject:
- Literature, American, 20th Century Literature
Social Security provides a fitting conclusion to the book. Its passage was shaped not just by the emotions of those who drafted the bill, debated it, denounced it, revised it, made it law, and then ...
More
Social Security provides a fitting conclusion to the book. Its passage was shaped not just by the emotions of those who drafted the bill, debated it, denounced it, revised it, made it law, and then four years later amended it. Its passage was also shaped by the feelings of ordinary Americans. The chapter focuses on three sets of actors: Dr. Frances Townsend and his followers, who provided much of the urgency for Social Security; Franklin Roosevelt and the planners of Social Security, who tried to steer the sudden and clamorous demand for pensions into a more pragmatic piece of legislation; and critics of Social Security, whose misgivings would guide the 1939 amendment to the bill. The upshot is a history of Social Security that clusters around the emotions previously discussed in the book: righteousness, panic, and fear, but also awe, love, and hope.Less
Social Security provides a fitting conclusion to the book. Its passage was shaped not just by the emotions of those who drafted the bill, debated it, denounced it, revised it, made it law, and then four years later amended it. Its passage was also shaped by the feelings of ordinary Americans. The chapter focuses on three sets of actors: Dr. Frances Townsend and his followers, who provided much of the urgency for Social Security; Franklin Roosevelt and the planners of Social Security, who tried to steer the sudden and clamorous demand for pensions into a more pragmatic piece of legislation; and critics of Social Security, whose misgivings would guide the 1939 amendment to the bill. The upshot is a history of Social Security that clusters around the emotions previously discussed in the book: righteousness, panic, and fear, but also awe, love, and hope.
