Humanities through the Arts PDF
Preview Humanities through the Arts
©Universal History Archive/Getty Images THE HUMANITIES THROUGH THE ARTS Tenth Edition Lee A. Jacobus Professor of English Emeritus University of Connecticut F. David Martin Professor of Philosophy Emeritus Bucknell University jac16871_fm_i-xx.indd 1 12/11/17 11:17 AM THE HUMANITIES THROUGH THE ARTS, TENTH EDITION Published by McGraw-Hill Education, 2 Penn Plaza, New York, NY 10121. Copyright © 2019 by McGraw-Hill Education. All rights reserved. Printed in the United States of America. Previous editions © 2015, 2011, and 2008. No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written consent of McGraw-Hill Education, including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. Some ancillaries, including electronic and print components, may not be available to customers outside the United States. This book is printed on acid-free paper. 1 2 3 4 5 6 7 8 9 LCR 21 20 19 18 Bound: ISBN 978-1-259-91687-8 MHID 1-259-91687-1 Looseleaf: ISBN 978-1-260-15418-4 MHID 1-260-15418-1 Portfolio Manager: Sarah Remington Product Developers: Beth Tripmacher, Bruce Cantley Content Project Managers: Mary E. Powers (Core), Emily Windelborn (Assessment) Buyer: Susan K. Culbertson Design: Tara McDermott Content Licensing Specialist: Carrie Burger Compositor: MPS Limited Cover Image: (background): LACMA - Los Angeles County Museum of Art; (back cover (left) to front cover (right)); (door): ©Lee A. Jacobus; (wall carving): ©Lee A. Jacobus; (cave painting): ©siloto/Shutterstock RF; (amphitheater): ©Inu/Shutterstock RF; (Taj Mahal): ©Seb c'est bien/Shutterstock RF; (dancer): ©Fuse/Getty Images RF; (Shakespeare): ©duncan1890/Getty Images RF; (sculpture): National Gallery of Art, Washington; (graffiti): ©Lee A. Jacobus; (church): National Archives Catalog; (violin): ©Comstock Images/SuperStock RF. All credits appearing on page or at the end of the book are considered to be an extension of the copyright page. Library of Congress Cataloging-in-Publication Data Martin, F. David, 1920- author. | Jacobus, Lee A., author. The humanities through the arts/F. David Martin, Professor of Philosophy Emeritus, Bucknell University; Lee A. Jacobus, Professor of English Emeritus, University of Connecticut. Tenth edition. | New York : McGraw-Hill Education, 2018. | Includes index. LCCN 2017051530 | ISBN 9781259916878 (alk. paper) LCSH: Arts–Psychological aspects. | Art appreciation. LCC NX165 .M37 2018 | DDC 701/.18–dc23 LC record available at https://lccn.loc.gov/2017051530 The Internet addresses listed in the text were accurate at the time of publication. The inclusion of a website does not indicate an endorsement by the authors or McGraw-Hill Education, and McGraw-Hill Education does not guarantee the accuracy of the information presented at these sites. mheducation.com/highered jac16871_fm_i-xx.indd 2 12/11/17 11:17 AM ABOUT THE AUTHORS Lee A. Jacobus (PhD, Claremont Graduate University) taught at Western Con- necticut State University and then at the University of Connecticut (Storrs) until he retired in 2001. He held a Danforth Teachers Grant while earning his doctor- ate. His publications include Shakespeare and the Dialectic of Certainty (St. Martin’s Press, 1992); Sudden Apprehension: Aspects of Knowledge in Paradise Lost (Mouton, 1976); John Cleveland: A Critical Study (G. K. Hall, 1975); Aesthetics and the Arts (McGraw-Hill, 1968); The Bedford Introduction to Drama (Bedford/St. Martin’s, 2018); and A World of Ideas (Bedford/St. Martin’s, 2017). F. David Martin (PhD, University of Chicago) taught at the University of Chicago and then at Bucknell University until his retirement in 1983. He was a Fulbright Research Scholar in Florence and Rome from 1957 through 1959 and received seven other major research grants during his career, as well as the Christian Lind- back Award for Distinguished Teaching. Dr. Martin’s publications include Art and the Religious Experience (Associated University Presses, 1972); Sculpture and the En- livened Space (The University Press of Kentucky, 1981); and Facing Death: Theme and Variations (Associated University Presses, 2006). Professor Martin died in 2014. iii jac16871_fm_i-xx.indd 3 12/11/17 11:17 AM We dedicate this study to teachers and students of the humanities. jac16871_fm_i-xx.indd 4 12/11/17 11:17 AM Source: The Michael C. Rockefeller Memorial Collection, Bequest of Nelson A. Rockefeller, 1979/The Metropolitan Museum of Art BRIEF CONTENTS PREFACE xi Part 1 FUNDAMENTALS 1 The Humanities: An Introduction 1 2 What Is a Work of Art? 17 3 Being a Critic of the Arts 42 Part 2 THE ARTS 4 Painting 58 5 Sculpture 91 6 Architecture 121 7 Literature 163 8 Theater 196 9 Music 224 10 Dance 254 11 Photography 276 12 Cinema 299 13 Television and Video Art 330 Part 3 INTERRELATIONSHIPS 14 Is It Art or Something Like It? 352 15 The Interrelationships of the Arts 378 16 The Interrelationships of the Humanities 397 GLOSSARY G-1 INDEX I-1 v jac16871_fm_i-xx.indd 5 12/11/17 11:17 AM Photo: Kira Perov. Courtesy Bill Viola Studio CONTENTS PREFACE xi Subject Matter and Content 34 EXPERIENCING: Interpretations of the Female Nude 40 Part 1 FUNDAMENTALS Further Thoughts on Artistic Form 41 Summary 41 1 The Humanities: An 3 Being a Critic of the Arts 42 Introduction 1 You Are Already an Art Critic 42 The Humanities: A Study of Values 1 Participation and Criticism 43 Art, Commerce, and Taste 4 Three Kinds of Criticism 43 Responses to Art 5 Descriptive Criticism 44 EXPERIENCING: The Mona Lisa 9 Interpretive Criticism 48 Structure and Artistic Form 10 Evaluative Criticism 52 Perception 11 EXPERIENCING: The Polish Rider 55 Abstract Ideas and Concrete Images 12 Summary 56 Summary 16 2 What Is a Work of Art? 17 Part 2 THE ARTS Identifying Art Conceptually 18 4 Painting 58 Identifying Art Perceptually 18 Artistic Form 19 Our Visual Powers 58 Participation 23 The Media of Painting 59 Participation and Artistic Form 25 Tempera 59 Content 26 Fresco 61 Oil 62 Subject Matter 28 Watercolor 64 Subject Matter and Artistic Form 28 Acrylic 64 Participation, Artistic Form, and Content 29 Other Media and Mixed Media 65 Artistic Form: Examples 30 Elements of Painting 68 vi jac16871_fm_i-xx.indd 6 12/11/17 11:17 AM Line 68 6 Architecture 121 Color 72 Texture 73 Centered Space 121 Composition 73 Space and Architecture 122 The Clarity of Painting 75 Chartres 123 The “All-at-Onceness” of Painting 77 Living Space 125 Abstract Painting 78 Four Necessities of Architecture 126 Intensity and Restfulness in Abstract Painting 80 Technical Requirements of Architecture 126 Representational Painting 81 Functional Requirements of Architecture 127 Comparison of Five Impressionist Paintings 81 Spatial Requirements of Architecture 131 Revelatory Requirements of Architecture 131 FOCUS ON: The Pre-Raphaelite Brotherhood 86 Earth-Rooted Architecture 132 Frames 88 Site 132 EXPERIENCING: Frames 89 Gravity 133 Summary 90 Raw Materials 134 Centrality 136 5 Sculpture 91 Sky-Oriented Architecture 138 Sensory Interconnections 92 Axis Mundi 141 Defiance of Gravity 142 Sculpture and Painting Compared 92 Integration of Light 143 Sculpture and Space 94 Earth-Resting Architecture 144 Sunken-Relief Sculpture 94 Earth-Dominating Architecture 145 Low-Relief Sculpture 95 Combinations of Types 146 High-Relief Sculpture 96 Guggenheim Museum Bilbao and The Taj Mahal 147 Sculpture in the Round 97 EXPERIENCING: The Taj Mahal 149 Sculpture and Architecture Compared 98 High-Rises and Skyscrapers 150 Sensory Space 99 FOCUS ON: The Alhambra 155 Sculpture and the Human Body 99 Urban Planning 157 Sculpture in the Round and the Summary 161 Human Body 101 EXPERIENCING: Sculpture and Physical Size 103 Contemporary Sculpture 104 7 Literature 163 Truth to Materials 104 Spoken Language and Literature 163 Protest against Technology 108 Literary Structures 167 Accommodation with Technology 110 The Narrative and the Narrator 167 Machine Sculpture 112 The Episodic Narrative 169 Earth Sculpture 113 The Organic Narrative 171 FOCUS ON: African Sculpture 114 The Quest Narrative 176 The Lyric 177 Sculpture in Public Places 117 Summary 120 EXPERIENCING: “La Belle Dame Sans Merci” 182 CONTENTS vii jac16871_fm_i-xx.indd 7 12/11/17 11:17 AM Literary Details 183 EXPERIENCING: Chopin’s Prelude 7 in A Major 231 Image 184 Two Theories: Formalism and Expressionism 233 Metaphor 185 Sound 233 Symbol 187 Tonal Center 234 Irony 189 Musical Structures 236 Diction 190 Theme and Variations 236 FOCUS ON: Po Chü’i, Poet of the T’ang Dynasty 191 Rondo 236 Summary 194 Fugue 237 Sonata Form 237 8 Theater 196 Symphony 238 FOCUS ON: Beethoven’s Symphony in E♭ Major, No. 3, Eroica 243 Aristotle and the Elements of Drama 197 Blues and Jazz: Popular American Music 248 Dialogue and Soliloquy 198 Rock and Roll and Rap 251 Archetypal Patterns 200 Summary 253 Genres of Drama: Tragedy 201 The Tragic Stage 202 10 Dance 254 Stage Scenery and Costumes 202 Shakespeare’s Romeo and Juliet 206 Subject Matter of Dance 254 Comedy: Old and New 209 EXPERIENCING: Feeling and Dance 256 Tragicomedy: The Mixed Genre 211 Form 257 A Play for Study: Riders to the Sea 211 Dance and Ritual 258 EXPERIENCING: Riders to the Sea 218 Ritual Dance 258 FOCUS ON: Musical Theater: Hamilton 218 Social Dance 259 The Court Dance 259 Experimental Drama 221 Summary 222 Ballet 260 Swan Lake 262 9 Music 224 Modern Dance 265 Alvin Ailey’s Revelations 267 Hearing and Listening 224 Martha Graham 269 The Elements of Music 225 Batsheva Dance Company 270 Pilobolus and Momix Dance Companies 271 Tone 225 Mark Morris Dance Group 272 Consonance 226 Dissonance 226 FOCUS ON: Theater Dance 272 Rhythm 227 Popular Dance 274 Tempo 227 Summary 275 Melodic Material: Melody, Theme, and Motive 227 Counterpoint 228 11 Photography 276 Harmony 228 Dynamics 229 Photography and Painting 276 Contrast 229 EXPERIENCING: Photography and Art 280 The Subject Matter of Music 229 Photography and Painting: The Pictorialists 281 Feelings 230 viii CONTENTS jac16871_fm_i-xx.indd 8 12/11/17 11:17 AM Straight Photography 283 The Television Serial 335 Three Emmy Winners 339 The f/64 Group 284 The Documentarists 286 FOCUS ON: The Americans 342 Video Art 344 The Modern Eye 292 EXPERIENCING: Jacopo Pontormo and Bill Viola: The FOCUS ON: Digital Photography 296 Visitation 348 Summary 298 Summary 351 12 Cinema 299 Part 3 INTERRELATIONSHIPS The Subject Matter of Film 299 14 Is It Art or Something Directing and Editing 300 Like It? 352 The Participative Experience and Film 303 The Film Image 305 Art and Artlike 352 EXPERIENCING: Still Frames and Photography 305 Illustration 354 Camera Point of View 308 Realism 354 Violence and Film 310 Folk Art 355 Popular Art 357 Sound 312 Propaganda 362 Image and Action 313 EXPERIENCING: Propaganda Art 362 Cinematic Structure 315 FOCUS ON: Kitsch 363 Cinematic Details 317 Decoration 365 The Context of Film History 318 Idea Art 370 Two Great Films: The Godfather and Dada 370 Casablanca 319 Duchamp and His Legacy 371 The Narrative Structure of The Godfather Films 320 Conceptual Art 372 Coppola’s Images 321 Performance Art 374 Coppola’s Use of Sound 321 The Power of The Godfather 322 Virtual Art 376 Summary 377 FOCUS ON: Michael Curtiz’s Casablanca 323 Experimentation 326 15 The Interrelationships Animated Film 327 of the Arts 378 Summary 329 Appropriation 378 13 Television and Video Art 330 Interpretation 379 Film Interprets Literature: Howards End 380 The Evolution of Television 330 Music Interprets Drama: The Marriage of Figaro 382 The Subject Matter of Television and Painting Interprets Poetry: The Starry Night 385 Video Art 331 Sculpture Interprets Poetry: Apollo and Daphne 387 Commercial Television 332 EXPERIENCING: Bernini’s Apollo and Daphne and Ovid’s The Television Series 333 The Metamorphoses 389 The Structure of the Self-Contained Episode 334 Drama Interprets Painting 390 CONTENTS ix jac16871_fm_i-xx.indd 9 12/11/17 11:17 AM
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