The institutions of art
著者
書誌事項
The institutions of art
(Modern German culture and literature)
University of Nebraska Press, c1992
大学図書館所蔵 全5件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. 163-164) and index
内容説明・目次
内容説明
'An extremely important contribution to contemporary literary theory, in particular to historical and sociological accounts of art and literature' - Russell A. Berman, Stanford University. Art has been an umbrella term for poetry; music, dance, sculpture painting, and architecture since the end of the eighteenth century, when the bourgeoisie were establishing their hegemony over culture and politics in Germany, labor was becoming more clearly divided, and religion was losing its unifying force. Art became a broad and separate entity as the expectations and experience of it changed. "The Institutions of Art" concentrates on German and French literature in illustrating the formation of aesthetic autonomy and the divergence between high and popular culture. Peter Burger builds on his earlier "Theory of the Avant-Garde" (1984), pushing further into key theoretical questions about art and society.Christa Burger extends the critique to the history of the novel, focusing on Goethe and Kleist. Looking backward to feudalism and forward to our century, the authors show how the function of art has changed along with the criteria for its production and evaluation.
Peter Burger is a professor of French at the University of Bremen; Christa Burger a professor of German at the University of Frankfurt. Loren Kruger, an assistant professor of English at the University of Chicago, translated these essays, originally published in Germany. In his introduction, Russell A. Berman, a professor of German at Stanford University, notes the book's special interest to students of literary theory and to sociologists and historians of art.
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