pooh jj的百寶箱藝術(shù)類之一the arts

1、百寶箱藝術(shù)類之一-The Arts這是我很寶貝的一篇資料，里面不僅有對藝術(shù)歷史和功能的概括，還有大量的例子，可以利用的地方我都標(biāo)了出來。NOTE:這篇文章里面提到了藝術(shù)upset 的功能和科學(xué)reare，我用粗體表出來了，相信看過之后大家對那個 ie 題目的理解應(yīng)該不成問題了。還有文章里面的例子，好好利用??！但是不可以照抄原文, 切記!The ArtsWe may generally agreet ars many incarnations: drama, music, pa ing ands as poetry and the novel, the dance, and, insculptu

2、re, film, such literary expressome ways, architecture. Today we see art forms entering fieldst wereundreamed of only a half-century ago -art, for exle; music in which theperformers rathern the comer decide what to play and when; dance in whichdancers delibera y fall down; and plays without words. Th

3、e primary question, what are the arts is best addressed if we ask about the function of art. Just what do thearts do? For whom?Across the history of Western civilization there have been moren a fewformulations of what the arts do, but I will focus on five. These are functionsvebeen important, bothhe

4、 longer Western tradition, andhe relatively short threecenturies in which our country has participated in art. Perhaps the oldest definition ofthe function of the arts ist they provide pleasure. They offer sheer entertaent.We like stories, as in short fiction and TV spels and popular movies.njoybein

5、g reminded of the familiar, asusical patterns we have heard since childhood,and we are pleased by arrangements of color, form, sound, and prous from our everyday cares.st removet the arts provide pleasure and escis one formulation. Another ist theypresent us with insighto what is eternal and univers

6、al. Traditionally, this has beencalled the theory of imiion. Behind every profound work of art, this poof viewproes, is a set of principles about humanityt always prevails. A Renaissancepa ing of a Madonna and child, for many viewers, is somehow a revelation oftranscendent spirituality; a Beethoven

7、symphony is the last word on humanendurance. Certain arrangements of color and movement satisfy us over a longperiod of time, like the ballet Swan Lake, for instance, or Impresst pa ings. Wejudge them as beautiful. Beauty, many would insist, is the very hallmark of what istruly art.To these may be a

8、dded a third function. The arts are didactic - they teach us.Shakespeares Macbeth, for instance, teaches ust inordinate ambition ispernicious. Ingemar Bergmans fiurge us not to miss the unspoken and thedelica y nuanced. All the narrative arts, in fact, instruct us to some extent. When wewatch a play

9、t is deeply moral, we see ourselveshe characters, we recognizeour own destinieshe plot, and we find the moral dilemma of the action to berepresen ive of problems in all human relationships.So far we have defined the arts as providing pleasure, beauty, and instruction. At the beginning of the 19th ce

10、ntury, these functions were considered to be the primaryresponsibilities of art. During most of Western history before this po , the nature ofard been determined primarily by leaders of societys mosterful institutions -the church, theernment, and the aristocracy. Artists were craftsmen at theservice

11、 of leaders, and much of the workt they were commised to createreted and upheld their sol vi.Beginning about 1800, these principles were radically calledo question, and wecontinue to live in an era of challenge. As the church andernment,in oneEuropean country and then another, pulled away from commi

12、sing art, artistsbecame competing members of entrepreneurial societies. Artists clamored to attractthe notice of potential patrons, setting themselves apart as distinctive individualcreators. Thanist Franz Liszt, for instance,he 1830s and 40s created a publicality as the great piano virtuoso of the

13、era. Solites who hired him to play attheir salons were proud tol friendst he played thano with suchensitytrepairmen had to be called in afterwards. This function of the arts can be denoted asexpresPoetism - the artists use of a medium to exprenique pasand insight.ch as Emilyinson and Thre Roethke, p

14、a erch as theAmerican sea pa er Winslow Homer, the black folk artist Horacpkin, andmusins like blues artist Clarence Leadbelly used the arts to express their deepestprivate feelings and their viof the universe. What they created were not workst expressed an offil or institutional poof view. They ele

15、vated theal toa level of all-consuming importance.A second kind of expresism also developedhe 19th century. Thisasmuore offensive. In societies undergoing tremendous change, artists began touse art to agie for sol change. The French pa er Honore Daumier, for instance,he 1830s used his brush and penc

16、il topolitical oppres. In early20th-century America, Thre Dreiser used the novel to poout the devasingloss of place experienced by workers who fled the rural for the opportunities of thecity. Photographer Sherry Levine has used grotesque images of women tothe oppresof the female gender by American a

17、dvertising, law, and sol custom.This form of expresism we can call cultural criticism.t is, artists take a standagainst certain practihe societyt they consider to be unjust. Theyea soconscience. Their viewers and readers are typicallered, and inresponse, artists often consider theensity of their off

18、ensiveness a badge of honor.Their responsibility,his view, is to shock. The artist sees what his fellow citizenscant, the French critic Charles Baudelaire wrotehe 1840s. Some artists paydearly for it. Henrik Ibsen was almost run out of town for a playt showed thewillingness of a resort community to

19、poison its visitors with contaminated water solong as the tourist dollars kept pouring in. Daumier was imprisoned for hiscaricatures of the King.he early 20th century, Gees Braque, the French cubistpa er, expressed his convictiont the most valuable art is deeply provocative.Science reares us, Braque

20、 wrote. The arts disturb us.One can welderstandt these most recent functions of art - the expresofprivate feelings and the criticism of society - are seen as grave threats by citizenswho want entertadistinguishes worksent, or beauty, or peace. Yet, an ever-lengthening honor rollreceived as unaccepta

21、by resistant audien.Beethovens early listeners, accustomed to the predictable harmonies and melodic lengths of Haydn, dismissed his symphonies as literally causing their ears to hurt.The Parisian audience for Stravinskys Rites of Spring in 1913 rioted when theorchestraperformed it. The pa ings of Th

22、omas Eakins, now recognized asamong the greatesthe American tradition, were rejected asoleraby hissitters. Van Gogh, two of whose still life pa ings have recently broken all records inselling for $50 million, sold only one of his pa ings in his entire career. ThoreausWalden was an economic failure,

23、and Melvilles Mobywas so poorly receivedt he wento seclufor years. When the French gave the S ue of Liberty toour nation in 1886, the Augusta Chronicle - in Gea - condemned it as a paganimage unsuitable to our country.The corollary to the function of the arts is the inquiry, who consumes the arts?ea

24、r st years of the American Colonies, most artistic practice was app d to thehemaking of architectural ornament, of pewter and silver ves for home use -elements we would consider craftt were part of the everyday lives of many ofthe colonists. Pa ings, drama, and imaginative literature were rarely par

25、t ofeveryday life, even of occaal life - even for the educated and well-to-do. Thiswas because the vast systems of assistance - of what Howard Becker calls artworlds - were not yet in place. To produce plays, a director needors, costumes,a place to produce them, and an audience - all of which comeo

26、being through theslow building up of expec ionst plays are important enough to support withmoney and time. No less is this true of the creation of large pa ings, or publishingnovels. These are very practical reasons, and in early New Englandeast, therewere factors of ideology as well. The Puritans,

27、and those they influenced, weresuspicious of complex artistic productions. They were persuadeddistracted attention from religious contemplation and work.t such artHowever small the early audience for art washe Colonies, it was to expand byleaps and boundshe 19th century United S es. By the time of t

28、he Revolution,American political leaders and thinkers had been acu y aware of the ambitiousnessof ourernment ideals and insistedt we must distinguish ourselves fromEuropean nations. As they observed the role of the most complex of the arts inEuropean societies - none of which were democracies - they

29、 sawt arts wereenjoyed only by the privileged. They hadind lavish gardens of sculpturedmythological figures, rooms of huge pa ings dcting mythological fantasies, andexpensive stage productions in which the aristocracy actually took part.hosecontexts, the arts were expensive, and what was even more w

30、orrisome, they werepatently not devoted to instruction or spiritual uplift.Some Americans arguedt complex forms of art did nove to ame the formsthey had taken in Europe. They feltt after Americans had developed theireconomy, theirellectual life, and the sol glue of their communities, the artswould f

31、ind a natural place in national life. John Adams, for instance, wrote his wife Abigail at the time of the Revolution:I must study politics and war,t my sons may have liberty to study mathematicsand philosophy, geography, natural history and naval architecture, navigation,commerce, and agriculture, i

32、n order to give their children a right to study pa ing,poetry, music, architecture, suary, tstry, and porcelain.By the 1830s, this vibegan to come truehe United S es. It took placeinthe realm of pr , with the impor ion of journals, novels, poetry, and philosophy.European musins came to this country

33、to teach and tour. People in urban centers,like New York, Philadelphia,ton, Baltimore, Cincinnati, Charleston, SaLouis,and New Orleans, began to take national pride in workst were about Americanplaand experien. Washington Irving wroight satirical sketches about oldDh characters and timorous New Engl

34、anders, delighting his New York readers.Dramatists and actors began to develop plays and character sketches about suchoriginal American characters as the Yee and the frontiersman. Landscpa ers began toerest buyers in pictures of American scenery. By about 1840, itwas not unusual to arguet all of thi

35、ivity meantt the nation wasellectually and morally healthy. In addition, many arguedt thiivity wasnesary in order for the community of citizens to live the fullestsible lives.Amidst the great concernt Americans were entirely too concerned with makingmoney, many expressed the convictiont pictures wou

36、ld turn their thoughts tobeauty, music would calm their ambition, and the best literature would send themo the contemplation of matters othern dollars. Through the expanofnetworks of publishing, of art academies, traveling dramatic troupe, and small orchestras, towns and cities across the growing na

37、tion became part of thedemocratization of the arts. After the Civil War, many citizens amassed gigfortunes and became major collectors, andhe 1870s some of these very citizensbegan to establish public museums sot their less affluent fellow citizens couldenjoy pa ings and other beautiful objects as p

38、art of their everyday lives.If we look briefly at recent times, we find an even greater enlargement of audienfor the arts throughout the nation. The mass media havee part oft spread.evihas made itsible to explore the work of artists wiclose-up focust is imsibleuseum visits.evihas made itsible to see

39、heperformance of music - the very bowing technique of violinists and the embouchereof flutists - and to sit with Bill Moyershe study of noted philosophers andsociologists of our time to hear them discuss their ideas. In communities large andsmall, in chain bookstores, as well ashe few spelty stores

40、left, and onevi, plays, ballet, pa ings, sculptures, novels, and fiin a wide range ofensity have been presented to mass - as well aect - audien. Yet even asthe employment ofeviin artistic production spread, many onlookers werepersuadedt all was not well. Much of the mass audieneemed to wish merelyto be pleased. What was being produced for the audienwho wished to be, or to be challenged,instructed, or to come face to face with theprovoked, and even angered?al expresThe National Endowments for the Arts and for the Human