The messages of tourist art : an African semiotic system in comparative perspective
著者
書誌事項
The messages of tourist art : an African semiotic system in comparative perspective
(Topics in contemporary semiotics)
Plenum Press, c1984
大学図書館所蔵 全2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
Bibliography: p. 239-246
Includes index
内容説明・目次
内容説明
Tourist art may be a billion dollar business. Nevertheless, such art is despised. What is worse, the "bad" culture is seen as driving out the "good. " Commer- cialization is assumed to destroy traditional arts and crafts, replacing them with junk. The process is seen as demeaning to artists in the traditional societies, who are seduced into a type of whoredom: unfeeling production of false beauty for money. The arts remain problematic for the social sciences. Sociology textbooks treat the arts as subordinate reflections of social forces, norms, or groups. An- thropology textbooks conventionally isolate the arts in a separate chapter, failing to integrate them with analyses of kinship, economics, politics, language, or biology. Textbooks reflect the guiding theories, which emphasize such factors as modes of production, patterns of thought, or biological and normative con- straints, but their authors have not adequately formulated the aesthetic dimen- sion. One may compare the theoretical status of the arts to that of religion.
After the contributions by Emile Durkheim and Max Weber, the sociology of religion is well established, but where is a Durkheim or Weber for the sociology of art? What is true of the social sciences in general holds for understanding of modernization in the Third World. These processes and those places are analyzed economically, politically, and socially, but the aesthetic dimension is treated in isolation, if at all, and is poorly grasped in relation to the other forces.
目次
1. Image Creators and Image Consumers.- 2. Art Markets, Images, and Commercialization.- 3. Cottage Industries in Tourist Art.- 4. Working with Clay.- 5. Handmade in Kenya.- 6. The New Figuratism.- 7. Processual Variation in Tourist Art.- 8. The Consumer Connection.- 9. The Messages of Tourist Art.- References.
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