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Although 'new fatherhood' promises a reconstruction of the domesticity paradigm that positions fathers as breadwinners and mothers as caretakers, it maintains the notion that families are self-supporting entities and thereby neglects the extensive interdependence involved in raising children. As a result, it cannot successfully overturn this paradigm and hampers our ability to reimagine relationships along lines that would better serve parents' and children's wellbeing. This article raises these issues through an exploration of 'daddy-daughter dances', which manifest new fatherhood discourse as expressed in public schooling. Although the dances are in some ways peculiarly American, they exemplify tensions and inconsistencies around father's involvement in child-raising that nag most contemporary Western societies. These tensions, the article contends, concern the distribution of public resources among families as well as within them. Drawing on Kittay's theorization of dependence and interdependence, the article argues that contemporary social reconfigurations demand a new reimagination of relationships that starts with the recognition of interdependencies [ABSTRACT FROM AUTHOR]

On October 11th, 1889, the Chilean cruiser Admiral Cochrane arrived at the Rio de Janeiro harbor with 300 crew on board, on a scale of good neighborliness. The frayed monarchical government received pompously the Chilean delegation, by offering protocol visits and grand feasts, including the legendary Isle Fiscal Ball, held six days before the proclamation of the republic. While nearly fi ve thousand guests amused themselves at the ball, Republicans gathered at the Military Club, chaired by Lt. Col. Benjamin Constant, to plot the fall of the Empire. In this article, in the light of documentary research and theoretical reflection, we discuss some consolidate interpretations on this crucial episode within the transition from monarchy to republic in Brazil. [ABSTRACT FROM AUTHOR]

This paper deals with features and articles on music and art published in the journal Danica, in the period 1860-1872. Selected articles contain significant testimonies on the place of musical practice in the everyday life of Serbs and other Slavic people living in the Austro-Hungarian Empire in the nineteenth century. The feature articles abound with details on the artistic activities of respected individuals and singing societies, popular cultural-artistic events (besedas, balls, dances), new publications on music and other news. Several articles were dedicated to aesthetic and philosophical views on art. In a separate section of this paper, I analyse the narrative style of these articles. [ABSTRACT FROM AUTHOR]

In expert circles, attention has been drawn to the "1002nd Night Ball" created by the protagonists of Yugoslav and Serbian avant-garde, in particular on its dance and musical segments, moreover, the ballet "Le balai du valet:" by Marko Ristić and Miloje Milojević, as well as the ensuing series of balls related to the Association of Friends of Art "Cvijeta Zuzorić". On the other hand, it is an (almost) completely unknown fact that Rade Drainac's original idea to throw a ball for the benefi t of artists and writers that needed fi nancial assistance because of difficult financial situation (later replaced with an initiative to raise funds to build an art pavilion "Cvijeta Zuzorić") matched the idea of the Union of Russian artists in Paris to organize a ball with the aim of contributing to mutual aid. The ball in Paris, with the participation of the most prominent avant-garde artists, took place exactly one week after the Belgrade ball, which also suggests the possible connection / synchronization of these two artistic events. Having this in mind, I offer a brief analysis of the concept and scope of the aforementioned artistic events from the perspective of the intermedia and multimedia strategies. I demonstrate that the Belgrade spectacle was envisioned and performed far more ambitiously than the Parisian one, and the thoroughness of the interweaving of various arts ranks it among those works (including Parade by Cocteau, Picasso and Satie, Skating-Rink by Canudo, Leger, and Honegger, La creation du monde by Cendrars, Léger and Milhaud, with Russian and Swedish Ballet) that aimed to achieve a Gesamtkunstwerk, i.e. a total work of avant-garde art. [ABSTRACT FROM AUTHOR]

Several images are presented relating to the Society of Civil War Surgeons (SCWS) including photographs from the Ohio Statehouse Winter Ball, speakers at the 20th conference of the SCWS, and images from the book "Our Soldier in Our Civil War" by Frank Leslie.

In the same way that the Futurists aggressively reworked the purpose of literary language, severing it from its representational responsibilities and freeing it from symbolic signification, avant-garde artists overturned assumptions about clothing and cosmetics. This article examines the unconventional, at times outlandish and subversive, strategies of representing, clothing and adorning the human body, such as those on display among members of the avant-garde in daily life, on the theater stage, and at costume balls of the period. It focuses on the trope of paper/cardboard costumes and proxies in Blok's The Fairground Booth, the Paper Ball organized to celebrate the play's premier, Mayakovsky's Vladimir Mayakovsky: A Tragedy, and the real-life costume balls taking place in Moscow and St. Petersburg. It argues that the avant-garde reconceptualization of physical appearance and treatment of the body as an artistic canvas relied on the principle of applying or using materials unexpectedly, thereby disrupting traditional, culturally determined assumptions about aesthetics and form-function relationships. [ABSTRACT FROM AUTHOR]

Despite the notorious conservatism of the Russian Imperial Academy of Arts, its annual philanthropic costume balls inspired exuberant experimentation in costume design among its students in the years 1885-1909. This article explicates two emergent genres of costume that I term "conceptual" and "synecdochic," which reveal the fresh polemical and creative potential invested in self-presentation. "Conceptual costumes" embodied ideas or polemical positions. "Synecdochic costumes" represented the instantiation of non-anthropomorphic objects and abstractions, chiefly represented by iconic symbols or parts standing for the whole. Both genres of costume represented a departure from the traditional character costume's heavy reliance on textile signification in the form of national dress or professional uniform. The spirit of sartorial innovation at the Artists' Balls inspired such designers as Lev Bakst to embrace dress as an expressive medium, thereby aiding the acceptance of fashion as an artistic endeavor. The Artists* Balls were also comprehensive aesthetic events, a Russian prototype of the Wagnerian Gesamtkunstwerk or "total artwork," the legacy of which was manifested on the stage of Sergei Diaghilev's internationally renowned Ballets Russes by the artists who had attended the Russian Academy of Arts. [ABSTRACT FROM AUTHOR]

An essay is presented which discusses what is referred to as the quadroon-plaçage myth, which is in reference to Anglo-Americans' putative misinterpretation of interracial balls in which wealthy white men engendered sexual and economic relationships with racially mixed women in antebellum New Orleans, Louisiana. The role that Anglo-American travelers to New Orleans played in creating the quadroon-plaçage myth is discussed.

Masquerade balls were a popular form of social entertainment for the British colonial establishment in India. This article uncovers the distinguishing features of these masquerade dances from the middle eighteenth century to the late nineteenth century through an investigation of contemporary reviews and personal diaries. It explores the anti-parochial nature of masquerade dances, suggests that masquerades in the context of India were inherently transnational in scope and design, and reveals symbolic meanings inherent in masks, costumes, and ballroom decor. Ultimately, this exploration broadens our understanding of the socio-musical activities of Britain's Raj, and identifies the complex matrix of historical and cultural reference points that imbued balls with witty sophistication and displays of discriminating knowledge. [ABSTRACT FROM AUTHOR]

An essay is presented on the feste di ballo, annual public balls held in Naples, Italy at the royal theater, the Teatro di San Carlo, in the late eighteenth century. It comments on French and Parisian influences and explores the role of the sovereign Ferdinando IV, his consort Maria Carolina, and members of the aristocracy. The author considers the writings of dancer and choreographer Gennaro Magri. Various dance styles, including the minuet, are also discussed

The article discusses the operations of the the Penguin club, a group of modernist U.S. artists, and the role of painter Walt Kuhn in its formation. Kuhn's efforts in organizing the Armory Show, an early showcase for European modern art in the U.S., are explained by the author, as is Kuhn's divergence from the artistically conservative standpoint of the National Academy of Design (NAD). The author then goes on to describe various events sponsored by the Penguin, such as art exhibitions, auctions, and an annual costume ball.

This article examines the 1893 Bal des Quat'z-Arts as a flashpoint at which the exhibition of unclothed women became the source of aesthetic and moral debate between conservative and liberal forces, the focus of vice societies, and a target of judicial pursuit. As a collaborative effort between the saucy illustrated paper, Le courrier français, and students of the Ecole des Beaux Arts, the ball satirized the moral hypocrisy and the materialism of bourgeois culture by employing the body of the artist's model as a site of social contestation. The presentation of models as female nudes, outside the studio in a semipublic festival, exposed the conditions under which academic art transformed working-class bodies into ideal forms and let artists actively engage in a wider social campaign testing the limits of individual freedom. The article offers a new perspective on contemporary debates about art and pornography, the New Woman, and morality at the fin de siècle. [ABSTRACT FROM AUTHOR]

In this article, the author features his experience organizing a student prom. The author begins by asserting his lack of background in organizing such an event. He looks back at his time working with student volunteers in planning the prom. He recalls the problems he encountered during the planning stage. In addition, the author shares the lessons he learned from the experience.

Whether an upper- or lower-class celebration, the ball is a common chronotope in the nineteenth-century novel. This paper analyses Zola's best-known ball scenes: the costume ball given by the wealthy Saccard in La Curée, the lower-class ball in Germinal, and a less conventional one: the children's ball in Une page d'amour. The argument is based on Bakhtin's definition of the chronotope and responds to Alain Montandon's call for a new cultural and literary anthropology by analysing the dynamic role of the ball scenes within these novels. I explore how these scenes actually fulfil a dual strategy involving both author and characters, for the ball serves as an ideal spatial and temporal representation that exposes two sometimes concomitant forms of power: social power (material ostentation, political and economic tactics and confrontations) and corporeal power (sensuality, instinct, physical release, bestiality, sexuality). Ultimately, these instances reveal Zola's authorial power, for each ball is a highly concentrated dynamic spatio-temporal construction around which the plot turns; each exposes the constitution of the characters, and each offers an exemplary scene where time, space, and objects fuse in a compelling literary representation. [ABSTRACT FROM AUTHOR]

The article discusses the association of the Gustave ball to the July monarchy in France. Gustave becomes a symbol of King Louis-Phillipe's reign in the country as it becomes a part of the July Revolution celebration, aiming to preserve the king's image to his people. The ball emphasizes boundaries among classes in France while dissolving boundaries between performers and audiences.

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