Art as Culture: An Introduction to the Anthropology of Art

By Evelyn Payne Hatcher | Go to book overview

Theoretical Note

That a multiplicity of factors affect cultural forms and cultural norms is hardly a new perception, and that this multiplicity means that cultural forms are related in a number of ways to various aspects of their contexts is evident. Current work in a variety of fields is producing many new perspectives that reflect this multiplicity. Many models are to be found in the literature to convey various patterns of relationships that are seen as significant, and viewpoints, theories arid methods are proliferating. In anthropology this has led to an overlapping with many other fields, and created for it a "crisis in disciplinary identity" ( Honigman 1976), not a new problem to a discipline that has always sought to consider all aspects of human existence, and to relate numerous specialties to larger issues. As the concept of culture has become less powerful (being perceived more as a sensitizing idea than an explanatory principle) a flood of' new perspectives is inevitable. However, the nature arid implications of this mulitplicity have not yet been well recognized as a necessary step if new syntheses are to emerge, and the perceived need for wholistic anthropology is to be met.

It is disturbing to note how often one still finds insistence on "the real reason" or "the real issue" in scholarly works. It was not until the 1970 seminar on the Maya collapse that Mayanists started talking in terms of interrelated factors rather than disputing "real" causes. (See the concise statement in Culbert, 1974). This more sophisticated approach has not taken place in many other fields of study.

Multiplicity of interpretations reflect the staggering complexity of human affairs. The model and methods of physical science, while useful up to a point, proved to eventually be a block to the understanding of the biological level ( Lewin 1982). Similarily, the models and methods of the physical plus the biological levels are useful up to a point for the understanding of socio-cultural phenomena, but the sheer complexity makes these insufficient. There has been an assumption that because these levels are basic, more complex levels are reducible to them, but they are better conceived as providing the boundaries and factors within which, and in relation to which, socio-cultural phenomena exist.

-xi-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Art as Culture: An Introduction to the Anthropology of Art
Table of contents

Table of contents

  • Title Page iii
  • Contents vii
  • Preface ix
  • Theoretical Note xi
  • About the Illustrations xiii
  • Acknowledgements xv
  • Introduction to the Second Edition xvii
  • Chapter 1 - Contexts and Comparisons: The Anthropological Approach 1
  • Further Reading 20
  • Chapter 2 - Where? The Geographical Dimension 21
  • Further Reading 54
  • Chapter 3 - How? The Technological Means 55
  • Further Reading 84
  • Chapter 4 - Who? The Psychological Perspective 85
  • Further Reading 112
  • Chapter 5 - Why? Social Contexts and Social Functions 113
  • Further Reading 134
  • Chapter 6 - "What. . . ?" Art as Communication 135
  • Further Reading 166
  • Chapter 7 - When and Whence? The Time Dimension 167
  • Further Reading 196
  • Chapter 8 - The Esthetic Mystery 197
  • Further Reading 207
  • Chapter 9 - The Global Context: The 15th Century 209
  • Chapter 10 - Globalization: The 20th Century 229
  • Ethnographic Notes and Index 255
  • Glossary with notes on various usages 287
  • Bibliography 303
  • Bibliography for Second Edition 327
  • Subject and Author Index 331
  • A NOTE ON THE TYPE IN THIS BOOK 337
  • About the Author *
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
/ 337

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Author Advanced search

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.