Abstract:This final chapter asks what became of the veiled woman-in-movement as Salome’s popularity waned and the period of canonical modernism drew to a close. Briefly discussing Salome’s mid-twentieth-century afterlives in Martha Graham’s Herodiade (1944) and Billy Wilder’s Sunset Boulevard (1950), this epilogue primarily traces references to Salome across the work of Samuel Beckett. Scattered and disparate though they may be, these traces point to Beckett’s deeper absorption of this paradigmatic modernist dance as a… Show more
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