Pleasure and the Arts: Enjoying Literature, Painting, and Music de Christopher ButlerPleasure and the Arts: Enjoying Literature, Painting, and Music de Christopher Butler

Pleasure and the Arts: Enjoying Literature, Painting, and Music

deChristopher Butler

Couverture souple | 27 octobre 2005 | anglais

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How do the arts give us pleasure? Covering a very wide range of artistic works, from Auden to David Lynch, Rembrandt to Edward Weston, and Richard Strauss to Keith Jarrett, Pleasure and the Arts offers us an explanation of our enjoyable emotional engagements with literature, music, and painting. The arts direct us to intimate and particularized relationships - with the people represented in the works, or with those we imagine produced them. When we listen to music or look at a purely abstract painting, or when we drink a glass of wine, can we enjoy the experience without verbalizing our response? Do our interpretative assumptions, our awareness of technique, and our attitudes to fantasy, get in the way of our appreciation of art, or enhance it? As the book examines these questions and more, we discover how curiosity drives us to enjoy narratives, ordinary jokes, metaphors, and modernist epiphanies, and how narrative in all the arts can order and provoke intense enjoyment. Pleasurable in its own right, Pleasure and the Arts presents a sparkling explanation of the enduring interest of artistic expression.
Christopher Butler is Professor of English Language and Literature at the University of Oxford and Student of Christ Church.
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Titre :Pleasure and the Arts: Enjoying Literature, Painting, and MusicFormat :Couverture soupleDimensions de l'article :256 pages, 9.21 X 6.14 X 0.57 poDimensions à l'expédition :256 pages, 9.21 X 6.14 X 0.57 poPublié le :27 octobre 2005Publié par :Oxford University PressLangue :anglais

Les ISBN ci-dessous sont associés à ce titre :

ISBN - 10 :0199288720

ISBN - 13 :9780199288724

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Table des matières

Introduction 1. Jokes, Poems, Understanding 2. Emotions and Narrative 3. Beyond Words: Sensation, Abstraction, and Form 4. Specificity, Fantasy, and Critique