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But, again, that's Copeland's repetitive argumentative strategy: Anyone who is more informed about dance studies or logic will see through this and, since it's so repetitive, will likely get irritated with it. If you're interested in a more informed and balanced approach to many of the issues that Copeland kind of discusses, I would take a look at Susan Leigh Foster's masterful book: Bodies and Subjects in Contemporary American Dance. What an extraordinary book! Copeland does not just tell the story of one figure, even though Cunningham is a great figure central to just about every artistic movement of the last 70 years.

Copeland also relates in lucid prose how each of those movements arose, what made it tick, and how its legacy affects us today.

Merce Cunningham: The Modernizing of Modern Dance

After the "culture wars" of the s, there were very few individuals left standing who could both appreciate and criticize the twists and turns of modernism and post-modernism. Copeland is among this saving remnant. If you are looking for a strong-minded, witty, engaging, eloquent Virgil to guide you through the Inferno and Purgatory of art since the s, look no further.

CUNNINGHAM TECHNIQUE® COMPANY CLASS 7.30.2009 (wide view)

As a highly unschooled Cunningham fan -- this is the first dance book I've ever read -- I found Copeland's book engaging in its scope, contextualizing Cunningham's choreography in relation to the leading cultural and aesthetic movements of the last half century. Copeland has essentially one thesis, stated fairly cleanly in the introduction.

I would highly recommend the introduction. Unfortunately the rest of the book can be tedious and dogmatic as Copeland attempts to bolster his arguments through a strategy of repetition and exhaustion.

English books : Merce Cunningham: The Modernizing of Modern Dance : English books

Every movement and idea of the late 20th century seems to be a nail for Copeland's rhetorical hammer, and while I found the tie-ins and tidbits of history interesting enough to finish the book, I found the tone and structure of the book to be artificially argumentative and quite lacking in the openness and nuance that Copland praises Cunningham for. See all 3 reviews. Amazon Giveaway allows you to run promotional giveaways in order to create buzz, reward your audience, and attract new followers and customers.

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See and discover other items: There's a problem loading this menu right now. Get fast, free shipping with Amazon Prime. Conrad's use of allegorical feminine imagery, fleet or deferred introductions of female characters, and hybrid generic structures that combine features of "masculine" tales of adventure and intrigue and "feminine" dramas of love or domesticity are among the subjects of this literary study. Many of Conrad's critics have argued that Conrad's fictions are aesthetically flawed by the inclusion of women and love plots; thus Thomas Moser has questioned why Conrad did not "cut them out altogether.

Even in tales that contain no significant female characters or obvious love plots, Conrad introduces elusive feminine presences, in relationships between men, as well as in men's relationships to their ship, the sea, a shore breeze, or even in the gendered embrace of death.


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This book investigates an identifiably feminine "point of view" which is present in fugitive ways throughout Conrad's canon. Conrad's narrative strategies are articulated through a language of sexual difference that provides the vocabulary and grammar for tales examining European class, racial, and gender paradigms to provide acute and, at times, equivocal investigations of femininity and difference. The chapters 4, 5, and 8 where Copeland examines in some detail the synergies between Cunningham's approach to dance and that of the other three aforementioned groundbreaking artists are the highlights of the book.

Here, he weaves a convincing story of "collaboration at a distance" among this group of likeminded artistic producers As Copeland notes, this is in contrast to dance criticism where If you would like to authenticate using a different subscribed institution that supports Shibboleth authentication or have your own login and password to Project MUSE, click 'Authenticate'.

Merce Cunningham: The Modernizing of Modern Dance

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