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Importance of art & effects on society
Introduction on art in society
Importance of art & effects on society
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Liberation, Rebellion and Relevance
In “The Rebel an essay on man in revolt,” Albert Camus (1956) muses on the absurd origins of rebellion and art and their significance to the individual and society. While reading Camus I began to think about how important art really is and how appalling some of the trends in education and arts funding apparently are. This is what inspired me to write this paper but my intention is not to directly address any of the many and various issues concerning arts education and public funding for the arts. What I’ve set out to do is show that art is essential to the human existence and freedom. If, by examining the origins and functions of art, I am able to illustrate its necessity and inevitability in a free society, my hope is that that will move the reader to take up and champion the arts in the challenging issues facing them. How is art related to the struggle for and persistence of freedom? The perspective of this paper is that artistic creativity is an adaptive psychological and sociological function which facilitates rebellion and liberation, in individuals and society.
First this paper will explore the idea that art is an essential evolutionary and inevitable function of human physiology and psychology. Next the irreducibility of art will be explored, addressing, briefly, both realist and idealist philosophies while establishing an absurdist view. The relationships between art the absurd and rebellion will be examined. The paper will continue to explore the products of both rebellion and the artistic process, from an absurdist point of view. From here the discussion will turn to a sociological relevance of the above stated. Contemporary and historical evidence will be given. The paper will ...
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... University Press.
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Millett-Gallent, A. (2010). The Disabled In Contemporary Art. GO FIGURE , p. 31.
Milner, J. (2010, Febuary ). Arts impact: Arts in corrections. Performing Arts & Entertainment in Canada , p. 32.
Morriss-Kay, G. M. (2010). The Evolution of Human Artistic Creativity. The Journal of Anatomy , 160.
Sartre, J.-P. (1966). What is literature (Vol. Washington Square Press Edition). (B. Frechtman, Trans.) New York: Washington Square Press.
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Roberts, Edgar V., Jacobs, Henry E. “Literature.” The Lesson. 470-475. Toni Cade Bambara. New Jersey: Prentice-Hall. 2001
Guerin, Wilfred L., et al., eds. A Handbook of Critical Approaches to Literature. Toronto: Oxford UP, 1992.
Jung, Carl. “Approaching the Unconscious.” Man and his Symbols. Ed. Carl Jung. New York: Doubleday & Company Inc., 1964. 1-104.
All of Camus' writings may be viewed as a quest for meaningful values in a world of spiritual aridity and emptiness. He begins with man's despair, estrangement, fear, suffering and hopelessness in a world where is neither God nor the promise that He will come- the fundamental absurdity of existence- but ultimately affirms the power of man to achieve spiritual regeneration and the measure of salvation possible in an absurd universe. This radical repudiation of despair and nihilism is closely bound up with his concept of an artist. Camus conceives of art as a way of embracing a consciousness of the absurdity of man's existential plight. But art becomes a means of negating that absurdity because the artist reconstructs the reality, endowing it with unity, endurance and perfection. By taking elements from reality that confirms the absurd existence, an artist attempts to correct the world by words and redistribution. Thus the artist never provides a radical transformation of reality but a fundamental reinterpretation of what already exists. He provides a new angle of vision of perceiving reality. That is why, for Camus, an artist is a recreator of myth. He teaches humanity that contemporary man must abandon the old myths that have become otiose, though once defined his existence. The artist liberates man to live in his world by redefining both man and the condition in which he exists. In this regard, it is important to point out that, for Camus, the traditional opposition between art and philosophy is arbitrary. It is because they together become most effective to create the redefinition: the philosophy awakens the consciousness and the art, propelled by such a radical discovery, ...
Hoeller, Stephan A. "The Gnostic Jung." The Gnostic Jung. Wheaton: Theosophical publising House, 1982. 11. Paperback.
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
Roberts E V, Jacobs H.E (2000) Literature: An Introduction to Reading and Writing (6th Edition) Prentice Hall College Div
Cal Jung, Man and his Symbols (NY: Doubleday, 1964) Part 4 by Aniele Jaffe, esp. p. 264
For over two thousand years, various philosophers have questioned the influence of art in our society. They have used abstract reasoning, human emotions, and logic to go beyond this world in the search for answers about arts' existence. For philosophers, art was not viewed for its own beauty, but rather for the question of how art and artists can help make our society more stable for the next generation. Plato, a Greek philosopher who lived during 420-348 B.C. in Athens, and Aristotle, Plato’s student who argued against his beliefs, have no exceptions to the steps they had to take in order to understand the purpose of art and artists. Though these two philosophers made marvelous discoveries about the existence of art, artists, and aesthetic experience, Plato has made his works more controversial than Aristotle.
New York. Prestwick,. 13-15. The syllables of the Print. The. Boeree, George Dr. "Personality Theories: Carl Jung."
Witherbee, A. (2013). Counterpoint: Education, the Masses, and Art. Points Of View: Arts Funding, 6. Retrieved April 19,2014 , from http://search.ebscohost.com/login.aspx?direct=true&db=pwh&AN=12421040&site=pov-live
Goldblatt, and Brown. Aesthetics: A Reader in Philosophy of the Arts, Upper Saddle Ridge, NJ: Prentice Hall, 1997.