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Style, Society and Person: Archaeological and Ethnological Perspectives (Interdisciplinary Contributions to Archaeology)
Manufacturer: Springer
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ASIN: 0306448432 |
Book Description
Style, Society, and Person integrates the diverse current and past understandings of the causes of style in material culture. It comprehensively surveys the many factors that cause style; reviews theories that address these factors; builds and tests a unifying framework for integrating the theories; and illustrates the framework with detailed analyses of archaeological and ethnographic data ranging from simple to complex societies. Archaeologists, sociocultural anthropologists, and educators will appreciate the unique unifying approach this book takes to developing style theory.
Book Description
This new Reader offers an important new resource, combining classic accounts of the nature of aesthetics with the latests methods of approaching the subject. With its valuable multicultural approach, not confined to the consideration of fine art, it focuses on questions that examine why art and the aesthetic matter to us and how perceivers participate in and contribute to the experience of appreciating a work of art. Why have people thought it important to separate out a group of objects and call them `art'? Is it inappropriate to think of something as art when its creator would not have considered it in that way? Are the concepts of art and the aesthetic elitist? Can we ever understand an artwork or be objective about it? Including articles ranging from Aristotle and Xie-He to Jun'ichiro Tanizaki, Michael Baxandall and Susan Sontag, this Reader is unique in providing both Western and non-Western responses to aesthetics.
Customer Reviews:
Where are the artists?.......2001-05-22
This was the textbook for Philosophy of Art, and I must admit I got quite a bit out of it. Maynard and Feagin introduced me to the ideas of Hegel, Kant, Dewey, and other prominent philosophers. The essays inspired me to think more deeply about referentialism in art, organic unity, expression, and aesthetics. These are really all things which an artist ought to consider, and this book is a good introduction.
"But," I asked myself a number of times, "where are the artists?" Only a handful of the articles were written by artists, and they were either short, or written by fiction and poetry authors. It seems to me that those who actually create art would be in a better position than a philosopher to address certain aspects of aesthetic theory. There are quite a few artists (as far as I can find) who have discussed their artistic philosophies in books, interviews, articles, etc. A book professing to address theories of art and aesthetics would do well to call on a few artists. Of course, this is probably argumentum ad hominem.
Great book on Aesthetics.......2000-03-29
This is more than just the result of the growth in academic specialization. No one comes out of a Ph.D. program in philosophy without some grounding in metaphysics and epistemology, logic and philosophy of science, the history of philosophy and ethics. Metaphysics and epistemology, like logic, are defined as `core areas' of philosophy. History and ethics, while not core areas, belong nonetheless to the `essential perimeter' of the field. It is difficult - indeed, in most programs, impossible - to get a Ph.D. without doing work in these areas. They are areas in which everyone is expected to have opinions and be able to discuss at least the standard problems.
Because the same is not true of aesthetics, the vast majority of philosophers enter the profession with little or no knowledge of the methods or questions of the field. As a result, philosophers generally either ignore issues of art and aesthetics or think of them as having little or no bearing on the central concerns of the discipline. Most systematic philosophers pass entire careers without ever turning their attention to questions of art or beauty. Davidson and Goodman are rare exceptions. Nor is this lack of interest in aesthetics - or the related absence of aesthetics from the pages of the most widely read and prestigious philosophy journals - likely to raise any eyebrows. And so, when philosophy departments sit down to determine the fields in which they wish to hire, it should come as no surprise that it doesn't occur to anyone to think of aesthetics. Marginalization begets marginalization.
So much for the de facto standing of aesthetics. What are we to make of this situation? This leads to the third question mentioned above: what is the proper standing, the true value or significance, of aesthetics?
Perhaps the most common answer to this question is that aesthetics, properly understood, just is philosophically marginal. The view that the de facto standing of aesthetics is indeed its proper standing is held not only by philistines who don't care about art - "this is all aesthetics deserves" - but also by those, like Stanley Cavell and Ted Cohen, who care about art a great deal - as Cohen puts it, "it is here, despite the precariousness of its position, that aesthetics is at its best."
Amazon.com
Curtis White's The Middle Mind: Why Americans Don't Think for Themselves--which grew from a 2002 Harper's article—examines as its titular object the dominant American liberal, pseudo-intellectual consciousness. "The Middle Mind" disdains hard thinking and true examination of corporate and political forces that act upon it. In the book, White dilates on his notion of an American Middle Mind to imagine a world beyond it, but he frequently gets lost on his journey. He finds three sources for this American malaise: the entertainment industry, academic orthodoxy, and political ideology. But, as in the original magazine piece, the figures he picks to condemn within this triumvirate are a bit surprising, even while his attacks are unremitting. NPR's Terry Gross, for example, is characterized as one whose work is "useless for the purposes of intelligence," and her show is dismissed as a "pornographic farce." In his critiques, White claims to be resisting the classic high-brow/low-brow cultural distinctions; or, rather, he sees the Middle Mind as having absorbed them. But his frequent allusions to Wallace Stevens, Ezra Pound, and high Modernism long for a world that never was, a world of art and political resistance that was somehow accessible in its full complexity to all of America. While White wants a creative, intelligent, politically engaged American mass culture, his exemplars look remarkably like high culture icons and few modern intellectuals are left standing (notably Howard Zinn, Noam Chomsky, and Bill Moyers). By the end, his call for a "pragmatic sublime" diffuses into vague, postmodern-theory-laden discussion of artistic formalism and a celebration of David Lynch's film Blue Velvet as a model for resistance. In this context of exclusivity, Terry Gross's inclusive "Middle Mind" seems the more open space for true discourse. --Patrick O'Kelley
Book Description
Acclaimed social critic Curtis White describes an all-encompassing and little-noticed force taking over our culture and our lives that he calls the Middle Mind: the current failure of the American imagination in the media, politics, education, art, technology, and religion. Irreverent, provocative, and far-reaching, White presents a clear vision of this dangerous mindset that threatens America's intellectual and cultural freedoms, concluding with an imperative to reawaken and unleash the once powerful American imagination.
The Middle Mind is pragmatic, plainspoken, populist, contemptuous of the Right's narrowness, and incredulous before the Left's convolutions. It wants to protect the Arctic National Wildlife Refuge, and has bought an SUV with the intent of visiting it. It even understands in some indistinct way how that very SUV spells the Arctic's doom.
Customer Reviews:
Proof that at least a few Americans think for themselves.......2007-10-03
Despite the fact that White's indictment of Terry Gross is somewhat one-sided and superficial (he ought to have devoted an entire chapter to her and her radio show), there is much truth in his complaints about her. Academic Cultural Studies deserves an even stronger negative critique here than White provides, although it must be said than any honest assessment of it would have to include an acknowledgment of the various useful insights and interpretations that have come out of that thick and tangled intellectual forest. My favorite discussion, and perhaps the most urgently needed, is his skewering of the awful movie Saving Private Ryan.
DNF.......2007-08-08
a rambling rant about modern culture. Any positive points are lost in the angry rant
a brilliant mind.......2007-04-09
White is clearly a very intelligent writer, but he is also a cultural snob. His attacks on Terry Gross are just ridiculous and to chose her as your enemy at time when the Bushes, Cheneys, and Roves rule the country is patently stupid and banal.
He started it!.......2006-12-02
Before I read this book, I thought Wesley Clark was going to save the world.
I thought Dave Grohl was a great musician.
Owen Wilson was my favorite actor.
I worshiped Douglas Adams.
For me, these opinions were very well-defined, and what's more, I believed they made me a unique person. I do not wish to explain how the change came about, because part of this book's appeal is the lack of any single, main effect it produces on the reader. What's it about? If you don't know, find out for yourself. You still might not know, but that's okay; I cannot guarantee it will work its spell on you. This is not an issue of your "worthiness" to understand it, but does have something to do with your curiosity. If you're a curious individual like myself, I strongly recommend you check it out. I cannot speak for the rest. Much as I would like to say, "You know who you are," I don't think that's necessarily true.
Sorry if it is difficult.......2006-09-29
This is an excellent subject and a good book, but not an easy read. It demands above-average levels of attention and focus. I had to think while reading it, and that is just not pleasant.
Still, I highly recommend it.
The essay in Harper's was great...you could always go to your library and read that for starters.
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The European Avant-garde: 1900-1940 (Cultural History of Literature)
Andrew J. Webber
Manufacturer: Polity Press
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Binding: Paperback
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ASIN: 0745627056 |
Book Description
This book offers an informative and accessible cultural history of the European avant-garde in its early twentieth-century heyday. It provides comparative coverage of cultural experimentation across the major European languages, including English, French, German, Russian, Spanish and Italian. Andrew Webber presents striking examples to illustrate a time of unprecedented experiment and energetic performance in all aspects of culture. Readings of some of the most important and characteristic avant-garde texts, pictures and films are set against some of the key developments of the period: advances in technology and psychology; the rise of radical politics; the cultural ferment of the modern metropolis; and the upheaval in issues of gender and sexuality. The authorrsquo;s mediation between a variety of cultural forms, combining political and psychoanalytical modes of understanding, evokes the richness of the age in a manner that students will find both illuminating and provocative. This volume will be an excellent textbook for courses on the avant-garde in departments of comparative cultural studies, literature and film studies.
Book Description
This innovative volume explores the idea that while photographs are images, they are also objects, and this materiality is integral to their meaning and use. The case studies presented focus on photographs active in different institutional, political, religious, and domestic spheres, where physical properties, the nature of their use, and the cultural formations in which they function make their "objectness" central to how we should understand them.
Customer Reviews:
Depth of Focus.......2007-02-26
I encountered this book while I was conducting research on the social exchange of photographs. Richard Chalfen one of the authors of the book suggested this gem to me. Overall, this volume and its authors collectively offer a deeper understanding of how people use photography in daily life. Contrary to most books on photography, this volume illuminates the ways photographs are cultural objects that have a social life. They are formed/created and they are used, not just for the imagery, but to cement social relations between people. Unlike other books that strictly treat photographs in an aesthetic/art paradigm, this volume considers the vernacular life of photographs. As some of the chapters illustrate, photographs aren't only about the visual, but they serve as conduits and allow interaction outside of simply looking at an image as an observer. I highly recommend this book to anyone who is interested in alternative explanations and observations about visual cultural practices.
Book Description
In Cameroon, a monumental âstatue of libertyâ is made from scrap metal. In Congo, a thriving popular music incorporates piercing screams and carnal dances. When these and other instantiations of the aesthetics of Africa and its diasporas are taken into account, how are ideas of beauty reconfigured? Scholars and artists take up that question in this invigorating, lavishly illustrated collection, which includes more than one hundred color images. Exploring sculpture, music, fiction, food, photography, fashion, and urban design, the contributors engage with and depart from canonical aesthetic theories as they demonstrate that beauty cannot be understood apart from ugliness.
Highlighting how ideas of beauty are manifest and how they mutate, travel, and combine across time and distance, continental and diasporic writers examine the work of a Senegalese sculptor inspired by Leni Riefenstahl’s photographs of Nuba warriors; a rich Afro-Brazilian aesthetic incorporating aspects of African, Jamaican, and American cultures; and African Americans’ Africanization of the SanterÃa movement in the United States. They consider the fraught, intricate spaces of the urban landscape in postcolonial South Africa; the intense pleasures of eating on Réunion; and the shockingly graphic images on painted plywood boards advertising âmoralityâ plays along the streets of Ghana. And they analyze the increasingly ritualized wedding feasts in Cameroon as well as the limits of an explicitly âAfricanâ aesthetics. Two short stories by the Mozambican writer Mia Couto gesture toward what beauty might be in the context of political failure and postcolonial disillusionment. Together the essays suggest that beauty is in some sense future-oriented and that taking beauty in Africa and its diasporas seriously is a way of rekindling hope.
Contributors. Rita Barnard, Kamari Maxine Clarke, Mia Couto, Mark Gevisser, Simon Gikandi, Michelle Gilbert, Isabel Hofmeyr, William Kentridge, Dominique Malaquais, Achille Mbembe, Cheryl-Ann Michael, Celestin Monga, Sarah Nuttall, Patricia Pinho, Rodney Place, Els van der Plas, Pippa Stein, Françoise Vergès
Book Description
This engaging introduction to Japan's burgeoning beauty culture investigates a wide range of phenomenon--aesthetic salons, dieting products, male beauty activities, and beauty language--to find out why Japanese women and men are paying so much attention to their bodies. Laura Miller uses social science and popular culture sources to connect breast enhancements, eyelid surgery, body hair removal, nipple bleaching, and other beauty work to larger issues of gender ideology, the culturally-constructed nature of beauty ideals, and the globalization of beauty technologies and standards. Her sophisticated treatment of this timely topic suggests that new body aesthetics are not forms of "deracializiation" but rather innovative experimentation with identity management. While recognizing that these beauty activities are potentially a form of resistance, Miller also considers the commodification of beauty, exploring how new ideals and technologies are tying consumers even more firmly to an ever-expanding beauty industry. By considering beauty in a Japanese context, Miller challenges widespread assumptions about the universality and naturalness of beauty standards.
Customer Reviews:
Gender studies with a sense of humor.......2007-07-14
It seems to be de rigueur for the introduction or first chapter of any cultural studies book to be a catalogue of theoretical approaches, with the author strictly delineating which ones she or he will adopt in the remainder of the book, and gravely acknowledging some other academic for "bring[ing] to our attention the existence of multiple centers and peripheries," etc. The first chapter of this book follows the same formula, but the mood and interest level brighten up as soon as these preliminaries are out of the way. Even though the author makes a number of serious points about, among other things, the "construction" of gender in Japan, she does so with a light touch and a sense of fun.
The book's focus is on how Japanese, especially in the 20-30-y.o. generation, conceive of and modify their bodies, especially through "beauty work" and "esute" (aesthtic) salons. The author convincingly shows that certain beauty practices long interpreted (in the West) as attempts to look more Western or specifically American (e.g. adding a fold to the eyelids using tape or surgery, lightening the skin, and dying hair blond(ish)) actually have a more Japanese meaning.(She also makes a good point by asking why is it that when a Japanese dyes her hair blonde we assume she wants to look American, but when an American kid pierces his nose or wears dreadlocks we say he's showing creativity or multicultural tolerance?) The book also helped me to accept (though not necessarily to understand) that the rock-stars and other overly smooth, tousle-haired guys I'd perceived to be androgynous "girly-man" types are perceived as manly by many young Japanese women.
Throughout, the author provides entertaining descriptions of various esute experiences that she herself, a middle-aged "hairy foreigner", underwent, and of the chicanery of salon owners (which knows no international boundaries). She also has a lot of affection for the extravagant product names (e.g. Shiseido Proudia Face Escort Super Fix UV) and fads (the Karaoke Diet, the Manicure Diet, etc.) that differ from their Western counterparts only by degree, rather than kind. My only regret is that she didn't include more pictures; the book has over 30 illustrations, but she describes many more images and names various celebrities of bygone eras, all of which (or whom) it would have been helpful to see. Nonetheless, you don't need to have a lot of prior knowledge about Japan to get both insight and enjoyment from this book.
Product Description
On the TV screen as elsewhere, there is often more than meets the eye. For decades, television has offered not just entertainment, but observationssubtle and otherwiseon society. This book examines the cultural commentary contained in Buffy, the Vampire Slayer, a show that ran for seven seasons (19972003) and 144 episodes. On the surface, Buffy is the marriage of a high school drama to gothic horror. This somewhat unusual vehicle is used to present, via the character of Buffy, fairly typical views of late 20th century culture-teenage problems; issues regarding a broken home; and the search for meaning and validation. In addition, subtler themes, such as cultural views of knowledge, ethnicity and history, are woven into the shows critique of popular culture. Organized into two sections, this volume offers an in-depth examination of the show: first, through the lens of Buffys confrontation with culture, and second, from the complex perspectives of the individual characters. Issues such as values, ethical choices and the implications of ones actions are discussedwithout ever losing sight of the limitations of a medium that will always be dominated by financial concerns. The final chapter summarizes what Buffy has to say about todays society. An appendix lists Buffy episodes in chronological order.
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Batteries of Life: On the History of Things and Their Perception in Modernity (Weimar and Now : German Cultural Criticism, No 4)
Christoph Asendorf
Manufacturer: University of California Press
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Binding: Hardcover
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ASIN: 0520065735 |
Book Description
Reflecting on the technological age, poet Rainer Maria Rilke wrote of the intense emotions with which people can endow manufactured objects. We seem to "charge" the world of things as we would a battery. Now German art historian Christoph Asendorf explores this transformation of human sense perception in the industrial age and contributes to a new understanding of European culture and modernity.
Drawing from literature, painting, architecture, film, philosophy, anthropology, and popular culture, Asendorf offers rich analyses of works by Manet, Baudelaire, Monet, Zola, Benjamin, Heidegger, and Duchamp. These close readings are combined with a montage of key cultural images and events ranging from Paxton's Crystal Palace to the introduction of electricity. The result is a striking account of the emergence of consumer culture within the developing commodity economy of modern Europe.
Certain to challenge the mono-disciplinary perspectives of many specialists, this book will interest historians of art, culture, literature, science, and technology.
Amazon.com
Beginning with the Japanese lunchbox, Kenji Ekuan, Japan's foremost industrial designer, launches into a book-length meditation on "the source of the Japanese style of making things." For anyone interested in design as a culmination of all things cultural, or design as a moral force in the service of beauty and efficiency, this lovely book is indispensable. It will set every aesthetic synapse snapping and provide enough food for thought to nourish the reader for weeks, if not years.
The lunchbox, or makunouchi, is a closed, compartmented, lacquered or wooden box containing small, beautifully arranged foods. As the mouthwatering pictures in the book amply demonstrate, everything about the box and its contents is considered from the standpoint of visual pleasure. Ekuan gives the long history of the makunouchi as an everyday object, first introduced in the Edo period for a light meal eaten at the opera during intermission. He traces the evolution of the boxes' construction and analyzes the contents--tidbits "from mountain and sea." Variety is key, for ideally there is something--in the lunchbox and in this book--to satisfy every palate, aesthetic or otherwise.
Book Description
The Makunouchi Bento, or traditional Japanese lunchbox, is a highly lacquered wooden box divided into quadrants, each of which contains different delicacies. It is also one of the most familiar images of Japan's domestic environment. When presented to the diner, the Japanese lunchbox seems straightforward enough; each of four food portions resides in its own compartment, apparently obeying a strict lunchbox geometry. So far, just food. But Kenji Ekuan reveals that a much deeper reading is possible, one that sees the lunchbox as nothing less than a key to an understanding of Japanese civilization, the spirit of form, and the aesthetic ideal in which the many are reduced to one.
Ekuan reads the Japanese lunchbox as both object and metaphor. It is one of this book's many charms that he is able to see it as both simultaneously. He compares the visual pleasures of the Zen lunchbox to an aerial view of the Japanese archipelago; he invites us to savor its quadripartite structure as we savor the four seasons. In so doing, he unlocks the secrets of ancient Japanese rituals, celebrates the aesthetics of Japanese design, explores the contours of Japanese landscapes and technology, and delineates the forty-eight rules of the etiquette of Japanese form.
With an agility more characteristic of poetry than of design criticism, he connects everything from food, television, motorcycles, package tours, and department stores to landscape, ecology, computers, and radios, all the while keeping his eye on his subject. In this book of magical transformations, nothing is what it first appears, but everything is deepened by "lunchbox theory." Consider the influence of the lunchbox on TV viewing, for example: chopsticks are used to stroll through a meal, just as remote control devices are used to browse TV channels. This book reveals a world of secret connections between its covers, in the spirit of the lunchbox itself.
Customer Reviews:
Essays on the root of Japanese Aesthetic Thought.......2001-08-06
Kenji Ekuan's book suffers from a title which inadequately expresses its content. He uses a brief examination of the lunchbox--its contents, history, and organizing principles--to ask what the larger aesthetic principles are of a society which holds this item as an ideal. Among the topics he examines are art, urban planning, and (foremost) industrial design. Though many of his design examples are taken from the late 70s and early 80s, they reveal how little the guiding aesthetic principles have changed (indeed, when it comes to stereo design, today it's hard to imagine [or buy] a form not influenced by lunchbox stacking aesthetics.)
It is a difficult read, and I agree with a previous reviewer that a more light-hearted treatment of the lunchbox and food culture alone would be an excellent study. But that's not the intention of this book (though I have seen it shelved in the cooking section of some bookstores). What that reviewer considers a flaw--the 4x4 photographs in a 10x10 page--I view as an aesthetic judgement in line with the lunchbox principle of understatement. Witness the photos of single flower arrangment in the book (e.g., p. 174). A word of caution: I returned my paperback copy because the binding was flimsy and pages seemed ready to fall out within hours of buying it. I exchanged it for the hardcover and have had no problems, nor have I generally had a problem with MIT press books.
Contrived text, poor lay-out & printing, 2nd-rate photos.......1998-12-27
I bought this book expecting an insightful and perhaps somewhat light-hearted introduction into Japanese esthetics, imagnative photography and outstanding book design. What a disappointment! Here the venerable Japanese lunchbox becomes the universal principle, the general compass, the ultimate paradigm for EVERYTHING-not just food and its presentation and esthetics but also commerce and technology, society, life style, you name it. Needless to say much of this is pretty contrived; the book reads as if it had been authored for distribution by the Japanese Chamber of Commerce. Most of the photography is either amateurish or archival. The lay-out looks stingy (single photographs as small as 4 x 4 " on 10 x 10" pages). The white on black printing is about as crisp and clear as if the pages had been faxed a couple of times.
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