Nov 01, 2015 · Essays and Other Professional Work ..
and compound words captured both my attention and the essence of …
To say that dance can involve representation or berepresentative overall is not the same as saying that the essentialnature of dance is or should be to represent. In thecourse of dance history, however, some dance theorists have made thisstronger claim, particularly in the 17th and 18thcenturies. (See Carroll and Banes 1999, Cohen 1992, 42 and Franko 1989;see also Wolterstorff 1995 on the Romantic view of representation inart). By the early 20th century, the idea that dance shouldimitate nature also included the idea that it should imitate humannature, including the emotions (see Cohen 1992). Dancer and choreographer Ruth St. Denis alsoheld the idea that dance should represent “the most noblethoughts of man” (Cohen 1992, 120). Today there is a generalconsensus among dance theorists that dance can but that itneed not represent in any imitative way, although there aresome dance theorists who still hold that dance must be communicativeand that, therefore, there is no purely nonrepresentational dance.
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The Western novel is a product of modern civilization, although in the Far East novels began a separate development as early as the tenth century. Extended prose works of complex interpersonal relations and motivations begin in seventeenth-century France with (1678) by Madame de Lafayette. Eighteenth-century France produced an immense number of novels dealing with love analysis but none to compare with Madame de Lafayettes until Pierre Choderlos de Laclos wrote (1782). This was, in form, an exchange of letters between two corrupters of youth; but, in intent, it was a savage satire of the ancient regime and a heart-rending psychological study. The English novel of the eighteenth century was less subtle, more robust vulgar in the best sense and is exemplified by Henry Fieldings (1749) and Laurence Sternes . The nineteenth century was the golden age of the novel. It became ever more profound, complex, and subtle (or, on the other hand, more popular, eventful, and sentimental). By the beginning of the twentieth century it had become the most common form of thoughtful reading matter and had replaced, for most educated people, religious, philosophical, and scientific works as a medium for the interpretation of life. By the late 1920s the novel had begun to show signs of decay as a form, and no works have since been produced to compare with the recent past. This may prove to be a temporarily barren period, or else the novel may be losing its energy as a narrative art form and in this sense giving way to the medium of film.