By Mike Gonzalez, Marianella Yanes
Born at the unlit streets of Buenos Aires, tango was once encouraged by means of the track of eu immigrants who crossed the sea to Argentina, lured through the promise of a higher lifestyles. It came across its domestic within the city's marginal districts, the place it was once embraced and formed by way of younger males who advised tales of prostitutes, petty thieves, and disillusioned fanatics via its tune and events. Chronicling the tales advised via tango's lyrics, Mike Gonzalez and Marianella Yanes show in Tango how the dance went from slumming it within the brothels and cabarets of lower-class Buenos Aires to the ballrooms of Paris, London, Berlin, and beyond.
Tracing the evolution of tango, Gonzalez and Yanes set its song, key figures, and the dance itself of their position and time. They describe the way it was once now not till Paris went loopy for tango earlier than global struggle I that it turned appropriate for middle-class Argentineans to accomplish the seductive dance, they usually discover the renewed enthusiasm with which each and every new new release has come to it. Telling the horny, captivating tale of this fashionable and dramatic dance, Tango is a publication for informal enthusiasts and ballroom aficionados alike.
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Additional resources for Tango: Sex and Rhythm of the City
Sample text
In other words, Mauss initially framed his disciplinary turn toward the moving body with an autobiographical anecdote, suggesting in this way that a twopronged approach, at once first person and third person, would be the only one appropriate to the odd self-reflexivity involved in capturing the objective creation of an intimate self. According to his own account, Mauss was inspired to consider the subject of bodily techniques as early as 1898, when he become friendly with a scholar charged with writing an encyclopedia entry on La Nage (swimming).
Mauss did not fall upon Yogic philosophy serendipitously; far from it. ”27 But the study of religion as pursued by Sanskrit T H E “ S T R U C T U R I N G ” B O DY 37 scholars very likely did. 28 Lévi, Mauss’s teacher, was himself formed by two of the most prominent Indologists of the nineteenth century: Emile Burnouf, a specialist in Buddhism, and Abel Bergaigne, who analyzed Vedic chants and rituals from a philological and anthropological perspective. ”29 Bergaigne was the first scholar Mauss came in contact with who married philology, the study of the textual forms of cultural transmission, with ethnology, a study of the corporeal practices through which that culture is embodied on individual animate forms.
In other words, Mauss initially framed his disciplinary turn toward the moving body with an autobiographical anecdote, suggesting in this way that a twopronged approach, at once first person and third person, would be the only one appropriate to the odd self-reflexivity involved in capturing the objective creation of an intimate self. According to his own account, Mauss was inspired to consider the subject of bodily techniques as early as 1898, when he become friendly with a scholar charged with writing an encyclopedia entry on La Nage (swimming).