Reality Through the Arts / Edition 8

Paperback (Print)
Rent
Rent from BN.com
$32.36
(Save 80%)
Est. Return Date: 10/29/2014
Used and New from Other Sellers
Used and New from Other Sellers
from $85.25
Usually ships in 1-2 business days
(Save 46%)
Other sellers (Paperback)
  • All (17) from $85.25   
  • New (10) from $103.57   
  • Used (7) from $85.25   

Overview

Thematic and Chronological Approach to the Humanities

Reality Through the Arts is a popular choice for professors because it provides both a topical and chronological approach to the humanities. Part I, “The Media of the Arts,” offers independent chapters on two dimensional art (drawing, painting, printmaking, and photography), sculpture, architecture, music, literature, theatre, cinema, and dance. Part II, “The Styles of the Arts,” is a chronological history of the arts of Africa, the Americas, Asia, Europe, and the Middle East, organized by artistic discipline and focusing on styles rather than encyclopedic detail.

This edition continues its uniquely flexible organization, allowing readers to cover individual art forms and historical context. In addition, the eighth edition is now available with MySearchLab, an online program that includes an interactive etext, assessment, and help with research and writing.

A better teaching and learning experience

This program will provide a better teaching and learning experience– for you and your students. Here’s how:

  • Personalize Learning – The new MySearchLab delivers proven results in helping students succeed, provides engaging experiences that personalize learning, and comes from a trusted partner with educational expertise and a deep commitment to helping students and instructors achieve their goals.
  • Improve Critical Thinking – Questions about specific issues appear at the end of each chapter, helping students develop their analytical skills.
  • Engage Students – Human Reality features and vibrant illustrations throughout the book give students a further understanding of the artistic process.
  • Support Instructors – New MySearchLab, Music for Humanities CD, Instructor’s Manual and Test Bank are available for this text.

Note: MySearchLab with eText does not come automatically packaged with this text. To purchase MySearchLab with eText, please visit www.mysearchlab.com or you can purchase a ValuePack of the text + MySearchLab with eTExt (at no additional cost): ValuePack ISBN 10: 0205861148 / ValuePack ISBN-13: 9780205861149.
Read More Show Less

Product Details

  • ISBN-13: 9780205858224
  • Publisher: Pearson
  • Publication date: 3/29/2012
  • Edition description: New Edition
  • Edition number: 8
  • Pages: 432
  • Sales rank: 39,415
  • Product dimensions: 8.50 (w) x 11.00 (h) x 0.80 (d)

Meet the Author

Dennis J. Sporre is an internationally prominent and award-winning writer, scholar, and artist. He has a bachelor's degree in Speech and Drama with a minor in music from Central Michigan University and a graduate degree in theatre scenic design and technology from the University of Iowa. Until his retirement he was a tenured professor, department head, and dean at various universities across the United States, including Ball State University, University of North Carolina at Wilmington, The Pennsylvania State University, and the University of Arizona. His administrative and teaching experience has encompassed interdisciplinary courses in the humanities and fine arts. He has sung professionally and designed scenery and lighting for more than fifty productions.

His writings, including more than a dozen books, numerous journal articles, and poetry, have covered numerous topics including the humanities, theatre history, and design and technology. He has spent decades traveling the world researching and experiencing the arts and cultures about which he writes.

Read More Show Less

Read an Excerpt

PREFACE:

PREFACE

The purpose of this book is to teach basic principles and practices of the arts—painting, printmaking, sculpture, music, theatre, dance, literature, and architecture—of Western and other cultures. This text is an introduction to the humanities, and is designed for individuals who have limited experience in the arts. In addition, it attempts to provide the humanities instructor with a helpful textbook for courses that touch upon the arts in an inter- or multidisciplinary manner, and approach the arts from a world viewpoint. In order to meet those ends, I have been selective in the material included. My treatment of definitions and concepts in Part I is cursory: in order to stay within the bounds of practicality and the limited perspective of the intended audience, they are explained in general terms, making it simpler to apply them to the diverse cultural approaches examined in Part II.

This book is, of course, not a self-contained humanities course. It cannot substitute for the classroom teacher, whose responsibility it is to shape and mold a course according to the needs of local curricula, and to assist the student to focus on what is important for the thrust of that particular course. No textbook can be relied upon to answer all the students' questions and include all key points. A good book can only suggest the breadth of what is available. This text should encourage the use of other source materials. The instructor should develop emphases or foci of his or her own choosing by adding lectures, videos, or field trips, and expansion of particular areas raised in the general overview presented here. I have aimed to providea convenient one-volume outline, with enough flexibility to serve a variety of purposes.

In Part I we examine the media of the arts—painting and architecture, for example, —define and explain important terminology, discuss how works are composed, and suggest ways in which some art effects responses in viewers and listeners. The compendium approach used in Part I seems useful because it allows us to apply its terms and concepts as tools for perceiving, describing, and understanding the arts of the diverse cultures discussed in Part II.

In discussing works of art, I have for the most part kept to description and compositional analysis. By so doing I hope to assist the readers in polishing their skills of technical observation. By avoiding forays into meanings and relationships, I have left room for the instructor to move discussions in whatever direction is deemed appropriate.

As suggested earlier, the choice of what to include and exclude has been more or less arbitrary. This is not a comprehensive history of the arts; nor is it an introduction to aesthetic theory. Even the media discussed in the various chapters vary—for the simple reason that different cultures have left us different kinds of artifacts, some of which are better examples of the culture than others. In organizing each chapter—particularly in Part II—I have let the nature of the material suggest its own internal structure. In all cases I have tried to keep the focus of the discussion on works of art.

Part II is arranged chronologically. Thus, with what I hope is a reasonably simple format, we are able to glimpse the arts from a variety of cultures that were occurring at roughly the same time in history. We must keep in mind, however, that the focus of Part II is style, not history In addition, not every culture has been represented—for example, I have not included Oceania, primarily because consultation with humanities instructors suggested priorities for inclusion. Given practical considerations, such as space and accessibility of illustrations, those priorities became imperative.

This book is based on the belief that art from whatever culture is a view of the universe, of human reality, that is expressed in a particular medium and shared with others. Throughout time humans have struggled to understand the universe, and, though separated by centuries or cultures, our concerns and questions, as reflected in our works of art, are alike. By examining art we can enrich our own understanding of our existence. Therefore, as we proceed through the text, try to go beyond the facts and descriptions presented and seek meanings, if only from an individual perspective. Ask questions about what the artist may have been trying to accomplish, and seek to understand how you relate to these creative expressions in terms of your own perception of human reality

Finally, a work such as this does not spring entirely from the general knowledge or primary source research of its author. Some of it does, because of my long-term and close affiliation with the various arts disciplines. Much is the result of notes accumulated here and there, of travel around the world, and of research specifically directed to this project. In the interest of readability, and in recognition of the generalized purpose of this text, copious footnoting has been avoided. I hope that the method I have chosen for presentation and documentation of others' works meets the needs of both responsibility and practicality. The bibliography gives a comprehensive list of works used.

This fourth edition contains several major additions. First is a series of feature boxes titled "Profile." These appear throughout the text and introduce the reader to artists of note in fuller biographical detail than would normally occur. Second is a series of feature boxes titled "Masterwork." These appear throughout the second half of the text and draw special attention to several significant works of art, architecture, and literature. The third addition is correlation of the music sections with a compact disc available from Prentice Hall. For the first time, we now have specific illustrations of music that apply both to the descriptive materials in the first half of the text and to the historical materials of the second half. Another addition to this edition is a greatly expanded treatment of music and musicians in the history sections. Also, I have increased the number of literature selections and the number of illustrations.

One final note: in 1977, when I wrote Perceiving the Arts (Prentice Hall, 6th edn., 2000), I asked Ellis Grove, my colleague at Penn State University, to prepare a chapter on film. Ten years later that chapter formed the basis for Chapter Five of this book. In twenty years of revisions of these two books, much of Ellis's original work has been altered by additions and editing. Nonetheless, the basics are his, and I am indebted to him, as I am to a score of colleagues whose insights, encouragement, and criticism have, hopefully, made each edition of this book better than its predecessor. I am also deeply indebted to Bud Therien at Prentice Hall, my friend, editor, and publisher for more than twenty years; to Marion Gottlieb for her gentle and pleasant spirit; to the editors and copy-editors at Calmann & King in London; and, most of all, to my wife, Hilda, whose patience, love, and understanding, proofreading, note-taking, and research assistance provided me with a solid foundation from which to generate my own part of the project.

D.J.S.

Read More Show Less

Table of Contents

BRIEF TABLE OF CONTENTS:

Introduction

Part I The Media Of The Arts

Chapter 1 Two-Dimensional Art

Chapter 2 Sculpture

Chapter 3 Architecture

Chapter 4 Music and Opera

Chapter 5 Literature

Chapter 6 Theatre

Chapter 7 Cinema

Chapter 8 Dance

Part II The Styles Of The Arts

Chapter 9 Ancient Approaches

Chapter 10 Artistic Reflections in the Pre-Modern World

Chapter 11 Artistic Styles in the Emerging Modern World

Chapter 12 Artistry in an Age of Industry

Chapter 13 The Arts In A Modern, Postmodern, And Pluralistic World

Read More Show Less

Preface

PREFACE:

PREFACE

The purpose of this book is to teach basic principles and practices of the arts—painting, printmaking, sculpture, music, theatre, dance, literature, and architecture—of Western and other cultures. This text is an introduction to the humanities, and is designed for individuals who have limited experience in the arts. In addition, it attempts to provide the humanities instructor with a helpful textbook for courses that touch upon the arts in an inter- or multidisciplinary manner, and approach the arts from a world viewpoint. In order to meet those ends, I have been selective in the material included. My treatment of definitions and concepts in Part I is cursory: in order to stay within the bounds of practicality and the limited perspective of the intended audience, they are explained in general terms, making it simpler to apply them to the diverse cultural approaches examined in Part II.

This book is, of course, not a self-contained humanities course. It cannot substitute for the classroom teacher, whose responsibility it is to shape and mold a course according to the needs of local curricula, and to assist the student to focus on what is important for the thrust of that particular course. No textbook can be relied upon to answer all the students' questions and include all key points. A good book can only suggest the breadth of what is available. This text should encourage the use of other source materials. The instructor should develop emphases or foci of his or her own choosing by adding lectures, videos, or field trips, and expansion of particular areas raised in the general overview presented here. I have aimed toprovidea convenient one-volume outline, with enough flexibility to serve a variety of purposes.

In Part I we examine the media of the arts—painting and architecture, for example, —define and explain important terminology, discuss how works are composed, and suggest ways in which some art effects responses in viewers and listeners. The compendium approach used in Part I seems useful because it allows us to apply its terms and concepts as tools for perceiving, describing, and understanding the arts of the diverse cultures discussed in Part II.

In discussing works of art, I have for the most part kept to description and compositional analysis. By so doing I hope to assist the readers in polishing their skills of technical observation. By avoiding forays into meanings and relationships, I have left room for the instructor to move discussions in whatever direction is deemed appropriate.

As suggested earlier, the choice of what to include and exclude has been more or less arbitrary. This is not a comprehensive history of the arts; nor is it an introduction to aesthetic theory. Even the media discussed in the various chapters vary—for the simple reason that different cultures have left us different kinds of artifacts, some of which are better examples of the culture than others. In organizing each chapter—particularly in Part II—I have let the nature of the material suggest its own internal structure. In all cases I have tried to keep the focus of the discussion on works of art.

Part II is arranged chronologically. Thus, with what I hope is a reasonably simple format, we are able to glimpse the arts from a variety of cultures that were occurring at roughly the same time in history. We must keep in mind, however, that the focus of Part II is style, not history In addition, not every culture has been represented—for example, I have not included Oceania, primarily because consultation with humanities instructors suggested priorities for inclusion. Given practical considerations, such as space and accessibility of illustrations, those priorities became imperative.

This book is based on the belief that art from whatever culture is a view of the universe, of human reality, that is expressed in a particular medium and shared with others. Throughout time humans have struggled to understand the universe, and, though separated by centuries or cultures, our concerns and questions, as reflected in our works of art, are alike. By examining art we can enrich our own understanding of our existence. Therefore, as we proceed through the text, try to go beyond the facts and descriptions presented and seek meanings, if only from an individual perspective. Ask questions about what the artist may have been trying to accomplish, and seek to understand how you relate to these creative expressions in terms of your own perception of human reality

Finally, a work such as this does not spring entirely from the general knowledge or primary source research of its author. Some of it does, because of my long-term and close affiliation with the various arts disciplines. Much is the result of notes accumulated here and there, of travel around the world, and of research specifically directed to this project. In the interest of readability, and in recognition of the generalized purpose of this text, copious footnoting has been avoided. I hope that the method I have chosen for presentation and documentation of others' works meets the needs of both responsibility and practicality. The bibliography gives a comprehensive list of works used.

This fourth edition contains several major additions. First is a series of feature boxes titled "Profile." These appear throughout the text and introduce the reader to artists of note in fuller biographical detail than would normally occur. Second is a series of feature boxes titled "Masterwork." These appear throughout the second half of the text and draw special attention to several significant works of art, architecture, and literature. The third addition is correlation of the music sections with a compact disc available from Prentice Hall. For the first time, we now have specific illustrations of music that apply both to the descriptive materials in the first half of the text and to the historical materials of the second half. Another addition to this edition is a greatly expanded treatment of music and musicians in the history sections. Also, I have increased the number of literature selections and the number of illustrations.

One final note: in 1977, when I wrote Perceiving the Arts (Prentice Hall, 6th edn., 2000), I asked Ellis Grove, my colleague at Penn State University, to prepare a chapter on film. Ten years later that chapter formed the basis for Chapter Five of this book. In twenty years of revisions of these two books, much of Ellis's original work has been altered by additions and editing. Nonetheless, the basics are his, and I am indebted to him, as I am to a score of colleagues whose insights, encouragement, and criticism have, hopefully, made each edition of this book better than its predecessor. I am also deeply indebted to Bud Therien at Prentice Hall, my friend, editor, and publisher for more than twenty years; to Marion Gottlieb for her gentle and pleasant spirit; to the editors and copy-editors at Calmann & King in London; and, most of all, to my wife, Hilda, whose patience, love, and understanding, proofreading, note-taking, and research assistance provided me with a solid foundation from which to generate my own part of the project.

D.J.S.

Read More Show Less

Customer Reviews

Average Rating 5
( 1 )
Rating Distribution

5 Star

(1)

4 Star

(0)

3 Star

(0)

2 Star

(0)

1 Star

(0)

Your Rating:

Your Name: Create a Pen Name or

Barnes & Noble.com Review Rules

Our reader reviews allow you to share your comments on titles you liked, or didn't, with others. By submitting an online review, you are representing to Barnes & Noble.com that all information contained in your review is original and accurate in all respects, and that the submission of such content by you and the posting of such content by Barnes & Noble.com does not and will not violate the rights of any third party. Please follow the rules below to help ensure that your review can be posted.

Reviews by Our Customers Under the Age of 13

We highly value and respect everyone's opinion concerning the titles we offer. However, we cannot allow persons under the age of 13 to have accounts at BN.com or to post customer reviews. Please see our Terms of Use for more details.

What to exclude from your review:

Please do not write about reviews, commentary, or information posted on the product page. If you see any errors in the information on the product page, please send us an email.

Reviews should not contain any of the following:

  • - HTML tags, profanity, obscenities, vulgarities, or comments that defame anyone
  • - Time-sensitive information such as tour dates, signings, lectures, etc.
  • - Single-word reviews. Other people will read your review to discover why you liked or didn't like the title. Be descriptive.
  • - Comments focusing on the author or that may ruin the ending for others
  • - Phone numbers, addresses, URLs
  • - Pricing and availability information or alternative ordering information
  • - Advertisements or commercial solicitation

Reminder:

  • - By submitting a review, you grant to Barnes & Noble.com and its sublicensees the royalty-free, perpetual, irrevocable right and license to use the review in accordance with the Barnes & Noble.com Terms of Use.
  • - Barnes & Noble.com reserves the right not to post any review -- particularly those that do not follow the terms and conditions of these Rules. Barnes & Noble.com also reserves the right to remove any review at any time without notice.
  • - See Terms of Use for other conditions and disclaimers.
Search for Products You'd Like to Recommend

Recommend other products that relate to your review. Just search for them below and share!

Create a Pen Name

Your Pen Name is your unique identity on BN.com. It will appear on the reviews you write and other website activities. Your Pen Name cannot be edited, changed or deleted once submitted.

 
Your Pen Name can be any combination of alphanumeric characters (plus - and _), and must be at least two characters long.

Continue Anonymously
Sort by: Showing 1 Customer Reviews
  • Anonymous

    Posted October 15, 2013

    No text was provided for this review.

Sort by: Showing 1 Customer Reviews

If you find inappropriate content, please report it to Barnes & Noble
Why is this product inappropriate?
Comments (optional)