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Beyond Aesthetics: Art and the Technologies of Enchantment by Christopher Pinney

By Christopher Pinney

The anthropology of paintings is presently at a crossroads. even supposing good versed within the that means of artwork in small-scale tribal societies, anthropologists are nonetheless wrestling with the query of the way to interpret artwork in a fancy, post-colonial surroundings. Alfred Gell lately faced this challenge in his posthumous ebook paintings and service provider. The vital thesis of his examine was once that artwork gadgets may be obvious, no longer as bearers of which means or aesthetic price, yet as varieties mediating social motion. At a stroke, Gell provocatively pushed aside many longstanding yet drained questions of definition and problems with aesthetic worth. His e-book proposed a singular standpoint at the roles of artwork in political perform and made clean hyperlinks among analyses of fashion, culture and society.

Offering a brand new review of the anthropology of artwork, this ebook starts the place Gell left off. providing wide-ranging evaluations of the boundaries of aesthetic interpretation, the workings of gadgets in perform, the family among which means and efficacy and the politics of postcolonial paintings, its amazing members either complicated on and dissent from the controversies of Gell’s very important textual content. topics coated contain tune and the net in addition to ethnographic traditions and modern indigenous paintings. Geographically its case stories variety from India to Oceania to North the United States and Europe.

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Immerwahr, R. 1970. ‘The Word Romantisch and its History’. In S. ) (v. infra). Knepler, G. 1995. Wolfgang Amadé Mozart. Translated by J. Bradford Robinson. Cambridge: Cambridge University Press. Kramer, L. 1984. Music and Poetry: The Nineteenth Century and After. Berkeley: University of California Press. Lévi-Strauss, C. 1963. Totemism. Boston: Beacon Press. —— 1978. Myth and Meaning. New York: Schocken Books. Moore, G. 1975. The Schubert Song Cycles. London: Hamish Hamilton. Munn, N. 1973. Walbiri Iconography.

But now leave me alone with it. ’ (Landowska 1981: 407, cited in Taruskin 1995: 98) However, Landowska claimed to be able to enter the composer’s thoughts and ‘penetrate his spirit’ through familiarity with the works: ‘The goal is to attain such an identification with the composer that no more effort has to be made to understand the slightest of his intentions or to follow the subtlest fluctuations of his mind’ (1981: 406, cited in Taruskin 1995: 99). 15 Taruskin suggests that a creative authenticist performer such as Roger Norrington, has to hide the fact of his or her creativity through the pretence of authenticity, in order to appear to be a better curator rather than ‘a revamper’ (Taruskin 1995: 169).

14 – 43 – Ian Keen Wanda Landowska, the pioneer of modern harpsichord playing, anticipated Barthes’ doctrine of the death of the author: If Rameau himself would rise from his grave to demand of me some changes in my interpretation of his Dauphine, I would answer, ‘You gave birth to it; it is beautiful. But now leave me alone with it. ’ (Landowska 1981: 407, cited in Taruskin 1995: 98) However, Landowska claimed to be able to enter the composer’s thoughts and ‘penetrate his spirit’ through familiarity with the works: ‘The goal is to attain such an identification with the composer that no more effort has to be made to understand the slightest of his intentions or to follow the subtlest fluctuations of his mind’ (1981: 406, cited in Taruskin 1995: 99).

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