A world art history and its objects
著者
書誌事項
A world art history and its objects
Pennsylvania State University Press, c2008
- : pbk
大学図書館所蔵 全4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. [155]-165) and index
収録内容
- Overture: Islamic carpets in European paintings
- Works of art and art-historical narratives
- Monocultural art-history narratives
- Why monoculturalism is not the whole story
- What happens when art-making traditions intersect
- Charts and works of art
- Importance of an aesthetic
- Exotic aesthetics
- How exotic can exotic art be?
- Our world art history is imperialism seen aesthetically
- Mutual respect as an ethical ideal
- Conclusion: the coming transformation of Western art history
内容説明・目次
内容説明
Is writing a world art history possible? Does the history of art as such even exist outside the Western tradition? Is it possible to consider the history of art in a way that is not fundamentally Eurocentric? In this highly readable and provocative book, David Carrier, a philosopher and art historian, does not attempt to write a world art history himself. Rather, he asks the question of how an art history of all cultures could be written-or whether it is even possible to do so. He also engages the political and moral issues raised by the idea of a multicultural art history. Focusing on a consideration of intersecting artistic traditions, Carrier negotiates the way meaning and understanding shift or are altered when a visual object from one culture, for example, is inserted into the visual tradition of another culture. A World Art History and Its Objects proposes the use of temporal narrative as a way to begin to understand a multicultural art history.
目次
Contents
List of Figures and Diagrams
Preface
Acknowledgments
Introduction
Overture: Islamic Carpets in European Paintings
1. Works of Art and Art-Historical Narratives
2. Monocultural Art-History Narratives
3. Why Monoculturalism Is Not the Whole Story
4. What Happens when Art-Making Traditions Intersect
5. Charts and Works of Art
6. The Importance of an Aesthetic
7. Exotic Aesthetics
8. How Exotic Can Exotic Art Be?
9. Our World Art History Is Imperialism Seen Aesthetically
10. Mutual Respect as an Ethical Ideal
Conclusion: The Coming Transformation of Western Art History
Selective Annotated Bibliography
Index
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