The Creative Impulse: An Introduction to the Arts - Softcover

Sporre, Dennis J

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9780131896895: The Creative Impulse: An Introduction to the Arts

Softcover

ISBN 10: 013189689X ISBN 13: 9780131896895

Publisher: Prentice-Hall,c1987., 1987

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An oversized book (8 1/2" X 11" X 1"), fully illustrated in black and white, and color, throughout. Covers Prehistory, Mesopotamia, Ancient Egypt, The Greeks, The Romans, Byzantium, The Early Middle Ages, The Late Middle Ages, The Early and High Renaissance, The Late Renaissance and the Baroque Age, The Enlightenment, The Age of Industry, and The Twentieth Century.

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From the Publisher:

Sporre presents an overview of the visual arts, architecture, literature, music, theatre, dance, and film of the Western tradition in the context of the philosophy, religion, aesthetic theory, economics, science, and politics that surrounded them. The text serves as an historical introduction to the humanities from which the reader will gain a familiarity with major styles, an understanding of the ideological, chronological, and technical implications of those styles, and a feeling for the historical development of individual arts disciplines.

�� ࡱ � > �� 9 ; �� 8 �� #` � � B bjbj� � .* � � B �� b b b b b b b v � � � � , � v j � � � � � � � � � � � � � � � � $ V h � z b � � b b � � $ Y Y Y � b � b � � Y � Y Y b b Y � � �ziw�� + Y � : 0 j Y 8 5 8 e e 0 8 b � @ � � � � Y � , q � � � C � � � j v v v D � v v v � v v v b b b b b b �� SPORRE, THE CREATIVE IMPULSE, 8th editionPrefaceThis edition, the eighth, maintains The Creative Impulse�s overall focus and intent: to present an overview of the arts in the Western tradition within the contexts of philosophy, religion, aesthetic theory, economics, and politics. The text remains an historical introduction to the humanities from which the reader will gain a basic familiarity with major styles and their implications as well as a sense of the historical development of individual arts disciplines. The major focus of the text is still the arts and their interrelationships. Another emphasis fundamental to the book also remains: an emphasis, by example, on the formal analysis of works of art, which supplements discussion of them. By including several such analyses, I aim for students to infer how to see, hear, read, and put into words what makes a particular work of art tick, so to speak. Developing confidence in relating and responding to works of art, both verbally and viscerally, allows students to carry their interest in the arts beyond the confines of the classroom and the timeframe of the course into the rest of their lives. That lifelong relationship with the arts forms the purpose of introductory humanities courses. When encountering an artwork for the first time we often lack access to biographical or contextual materials. We have only the artwork and the ability to confront it, either with or without confidence. Thus, the analyses, which examine how art works in terms of line, form, color, melody, plot, and so on, provide a means by which people can approach, respond to, and share artworks in an on-the-spot manner; the way we encounter works of art in real life. Several important changes have been made in this edition. More than sixty new illustrations and maps and a number of new literature extracts have been added. With illustrations of works such as Christo and Jeanne-Claude�s The Gates, �new�-media artist Simon Penny�s interactive �Big Father,� the Burj Dubai, and movie stills from Shrek 2 and Ocean�s 11 (all in Chapter 17), students can experience and feel compatible with the arts of their own time. The Music for the Humanities CD has been fully integrated into the text, and each selection now has an accompanying discussion. Granting the reader easy access to the music described by the text, a CD icon now appears in the book whenever a selection is mentioned. The �Masterwork� features have been linked thematically to enhance connectivity among periods and chapters. For instance, the theme �Heroes� links discussion of Homer�s Iliad with Sophocles� Oedipus the King and Shakespeare�s Hamlet; �The Human Form� links the Tell Asmar statues with Myron�s Discobolus and Michelangelo�s David; �The Dome� links the Pantheon with Hagia Sophia, Florence�s Duomo, and London�s St Paul�s Cathedral. Each Masterwork relates to several Masterworks in other chapters. As a result, the reader�s consideration of these works of art expands to different examples and different eras. Based on popular request from reviewers, there are new sections on modern and contemporary topics including photography, jazz, and digital media. New material on photography appears in Chapters 15, 16, and 17. In addition, discussions of jazz have been greatly enhanced in Chapters 16 and 17. An entirely new section on digital media (�new�-media) appears in Chapter 17. In the Introduction, the discussion of criticism has been revised to consider meaning and to improve comprehension. Finally, the Further Reading section has been updated so that those who wish to delve more deeply into the material covered in the text will have up-to-date authorities to consult. Much of the planning and many of the specific changes for this revision were based on the observations and expressed needs of humanities instructors and users of the book from around the country. The following individuals, to whom I am very grateful, undertook a detailed, line-by-line review of the seventh edition of The Creative Impulse, and their suggestions provided a solid springboard for the preparation of the eighth edition. My thanks go to Linda Pastryk; Helen Barnes of Butler Community College, El Dorado; Karen Buttitta, Emerita of Ward Melville High School, East Setauket; Claire Ellis of Inver Hills Community College, Inver Grove Heights; Amy Hickman of Collins College, Phoenix; Aditi Samarth of Richland College, Dallas; and Joyce Kerr Tarpley of Mountain View College, Dallas. I have done my best to incorporate their helpful suggestions in this edition, hoping for the result of increased accuracy, clarity, and immediacy.Dennis J. Sporre * 1 2 3 V W k � � � � $ , S T � ! * , � � � � � � � � � � � ( � ��Ļİ��Ŀč��}�}�}�u�u�u�m� h�T= CJ aJ h�~� CJ aJ h� � CJ aJ h�ap CJ aJ h$F} CJ aJ h�C� CJ aJ h � CJ aJ hI'� h� � CJ aJ hI'� h�P� CJ aJ h�P� 6 �CJ aJ h�P� CJ aJ h _D CJ aJ h C� >* CJ aJ h _D >* CJ aJ h C� 6 �CJ aJ h�C� 6 �CJ aJ h C� CJ aJ ) * 2 3 T � � � D 1 B � � � � � � � � � � $ a$ gdF_ gdGk� gd C� B � � � % � � � � � - . 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