A Long Dance
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Dance and Sociability in the Long Eighteenth Century
Author: Hillary Burlock
language: en
Publisher: Bloomsbury Publishing
Release Date: 2026-01-08
This collection challenges the dominant understandings of 18th-century sociability by placing dance, and the training and movement of the body, at its core. Rather than thinking of dance and music as peripheral ornaments to the complex business of Enlightenment society, it highlights them as important vehicles for the development and dissemination of the ideas and practices that shaped people's social, emotional and intellectual worlds. Exploring the relationship between dance and sociability, and the development of both through the long 18th century, chapters in this collection span different practices in England, Scotland, colonial America, the West Indies, Germany, the Low Countries and Norway. Taking an interdisciplinary approach, they argue that dance, which was entangled with concerns about touch, dress and bodies, was integral to the ways in which 'enlightened sociability' was understood, performed and accepted.
Dancing At the Crossroads
Dancing at the crossroads used to be young people's opportunity to meet and enjoy themselves on mild summer evenings in the countryside in Ireland until this practice was banned by law, the Public Dance Halls Act in 1935. Now a key metaphor in Irish cultural and political life, "dancing at the crossroads" also crystallizes the argument of this book: Irish dance, from Riverdance (the commercial show) and competitive dancing to dance theatre, conveys that Ireland is to be found in a crossroads situation with a firm base in a distinctly Irish tradition which is also becoming a prominent part of European modernity.
Dance Lexicon in Shakespeare and His Contemporaries
This book provides a thorough analysis of terpsichorean lexis in Renaissance drama. Besides considering not only the Shakespearean canon but also the Bard’s contemporaries (e.g., dramatists as John Marston and Ben Jonson among the most refined Renaissance dance aficionados), the originality of this volume is highlighted in both its methodology and structure. As far as methods of analysis are concerned, corpora such as the VEP Early Modern Drama collection and EEBO, and corpus analysis tools such as #LancsBox are used in order to offer the widest range of examples possible from early modern plays and provide co-textual references for each dance. Examples from Renaissance playwrights are fundamental for the analysis of connotative meanings of the dances listed and their performative, poetic and metaphoric role in sixteenth- and seventeenth-century drama. This study will be of great interest to Renaissance researchers, lexicographers and dance historians.