By Christopher Pinney

The anthropology of paintings is presently at a crossroads. even if good versed within the that means of paintings in small-scale tribal societies, anthropologists are nonetheless wrestling with the query of the way to interpret artwork in a posh, post-colonial setting. Alfred Gell lately faced this challenge in his posthumous booklet paintings and corporation. The imperative thesis of his learn was once that paintings gadgets can be obvious, no longer as bearers of that means or aesthetic price, yet as kinds mediating social motion. At a stroke, Gell provocatively disregarded many longstanding yet drained questions of definition and problems with aesthetic worth. His booklet proposed a unique viewpoint at the roles of paintings in political perform and made clean hyperlinks among analyses of fashion, culture and society.

Offering a brand new assessment of the anthropology of paintings, this publication starts the place Gell left off. providing wide-ranging opinions of the bounds of aesthetic interpretation, the workings of items in perform, the kin among which means and efficacy and the politics of postcolonial artwork, its distinctive members either complicated on and dissent from the controversies of Gell’s very important textual content. topics lined contain track and the net in addition to ethnographic traditions and modern indigenous paintings. Geographically its case experiences diversity from India to Oceania to North the USA and Europe.

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1979. ‘The Umeda Language Poem’. Canberra Anthropology 2(1): 44– 62. —— 1996. ‘Vogel’s Net: Traps as Artworks and Artworks as Traps’. Journal of Material Culture 1(1): 15–38. —— 1998. Art and Agency: An Anthropological Theory. Oxford: The Clarendon Press. Georgiades, G. 1967. Schubert Musick und Lyrik. Göttingen. Immerwahr, R. 1970. ‘The Word Romantisch and its History’. In S. ) (v. infra). Knepler, G. 1995. Wolfgang Amadé Mozart. Translated by J. Bradford Robinson. Cambridge: Cambridge University Press.

The performers ask themselves how they would walk if they were dog-tired (1975: 114). The next Foi song converges on the imagery of ‘Auf dem Flusse’. This one also makes use of the polysemy of the Foi word hua, which means ‘struck’ (from the verb hu-, to strike, kill, hit); ‘planted’ (from the same verb, mohu-); and ‘mother’. Crashing, rushing water strikes the stones in creek and river beds. Also, men must plant the stakes with which they construct fish dams across the mouths of small creeks. e.

Symbols that Stand for Themselves. Chicago: University of Chicago Press. Weiner, J. 1991. The Empty Place. Bloomington: Indiana University Press. —— 1995. ‘Introduction and Allegro’, in Too Many Meanings: A Critique of the Anthropology of Aesthetics. Social Analysis 38: 6–17. —— 1996. ‘Aesthetics is a Cross-Cultural Category’, in T. ), Key Debates in Anthropology. London: Routledge, pp. 251–93. —— 1997. ‘Televisualist Anthropology: Representation, Aesthetics, Politics’. Current Anthropology 38(2): 197–235.

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