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Humanities Through he Arts, eighth edition, continues to explore the humanities with an emphasis upon the arts as an expression of cultural and personal values, examining the relationship of the humanities to important values, objects and events.
The book is arranged topically by art form from painting, sculpture, photography, and architecture to literature, music, theater, film, and dance. Intended for introductory level, interdisciplinary courses offered across the curriculum in the Humanities, Philosophy, Art, English, Music, and Education departments, this beautifully illustrated text helps students learn how to actively engage a work of art.
| Preface | |
| Fundamentals | |
| The Humanities: An Introduction | |
| The Humanities: A Study of Values | |
| Taste | |
| Responses to Art | |
| Structure and Artistic Form | |
| Perception | |
| Abstract Ideas and Concrete Images | |
| What Is a Work of Art? | |
| Identifying Art Conceptually | |
| Identifying Art Perceptually | |
| Artistic Form | |
| Participation | |
| Participation and Artistic Form | |
| Content | |
| Subject Matter | |
| Subject Matter and Artistic Form | |
| Participation, Artistic Form, and Content | |
| Artistic Form: Examples | |
| Subject Matter and Content | |
| Being a Critic of the Art | |
| You Are Already an Art Critic | |
| Participation and the Critic | |
| Kinds of Criticism | |
| Descriptive Criticism | |
| Detail, Regional, and Structural Relationships | |
| Interpretive Criticism | |
| Evaluative Criticism | |
| The Arts | |
| Painting | |
| Your Visual Powers | |
| The Media of Painting | |
| Tempera | |
| Fresco | |
| Oil | |
| Watercolor | |
| Acrylic | |
| Other Media | |
| Pigment and Binders | |
| Elements of Painting | |
| Line | |
| Color | |
| Texture | |
| Composition | |
| The Clarity of Painting | |
| The "All-at-Onceness" of Painting | |
| Abstract Painting | |
| Intensity and Restfulness | |
| Representational Painting | |
| Comparison of Five Impressionist Paintings | |
| Determining the Subject Matter of Painting | |
| Interpretation of the Self: Frida Kahlo, Romaine Brooks, and Rembrandt van Rijn | |
| Some Painting Styles of the Past Hundred Years | |
| Sculpture | |
| Sculpture and Touch | |
| Sculpture and Density | |
| Sensory Interconnections | |
| Sculpture and Painting Compared | |
| Sunken-Relief Sculpture | |
| Low-Relief Sculpture | |
| High-Relief Sculpture | |
| Sculpture in the Round | |
| Sensory Space | |
| Sculpture and the Human Body | |
| Sculpture in the Round and the Human Body | |
| Techniques of Sculpture | |
| Contemporary Sculpture | |
| Truth to Materials | |
| Space Sculpture | |
| Protest Against Technology | |
| Accomodation with Technology | |
| Machine Sculpture | |
| Earth Sculpture | |
| Sculpture in Public Places | |
| Architecture | |
| Centered Space | |
| Space and Architecture | |
| Chartres | |
| Living Space | |
| Four Necessities of Architecture | |
| Technical Requirements of Architecture | |
| Functional Requirements of Architecture | |
| Spatial Requirements of Architecture | |
| Revelatory Requirements of Architecture | |
| Earth-Rooted Architecture | |
| Site | |
| Gravity | |
| Raw Materials | |
| Centrality | |
| Sky-Oriented Architecture | |
| Axis Mundi | |
| Defiance of Gravity | |
| Integration of Light | |
| Earth-Resting Architecture | |
| Earth-Dominating Architecture | |
| Combinations of Types | |
| Two Contemporary Architects: Zaha Hadid and Santiago Calatrava | |
| Urban Planning | |
| Literature | |
| Spoken Language and Literature | |
| Literary Structures | |
| The Narrative and the Narrator | |
| The Episodic Narrative | |
| The Organic Narrative | |
| The Quest Narrative | |
| The Lyric | |
| Literary Details | |
| Image | |
| Metaphor | |
| Symbol | |
| Irony | |
| Diction | |
| Drama | |
| Aristotle and the Elements of Drama | |
| Dialogue and Soliloquy | |
| Imitation and Realism | |
| An Alternative Theory of Tragedy | |
| Archetypal Patterns | |
| Genres of Drama: Tragedy | |
| The Tragic Stage | |
| Shakespeare's Romeo and Juliet | |
| Comedy: Old and New | |
| Tragicomedy: The Mixed Genre | |
| A Play for Study: The Bear | |
| Musical Comedy | |
| Modern Drama | |
| Music | |
| Hearing and Listening | |
| Tone | |
| Consonance | |
| Dissonance | |
| Rhythm | |
| Tempo | |
| Melodic Material: Melody, Theme, and Motive | |
| Counterpoint | |
| Harmony | |
| Dynamics | |
| Contrast | |
| The Subject Matter of Music | |
| Feelings | |
| Two Theories: Formalism and Expressionism | |
| Sound | |
| Tonal Center | |
| Musical Structures | |
| Theme and Variations | |
| Rondo | |
| Fugue | |
| Sonata Form | |
| Fantasia | |
| Symphony | |
| Beethoven's Symphony in E-flat Major, No. 3, Eroica | |
| Listening Key: The Symphony | |
| Blues and Popular Music | |
| Dance | |
| Subject Matter of Dance | |
| Form | |
| Dance and Ritual | |
| Indian Dance | |
| The Zuni Rain Dance | |
| Social Dance | |
| The Court Dance | |
| Ballet | |
| Swan Lake | |
| Modern Dance | |
| Alvin Ailey's Revelations | |
| Martha Graham | |
| Pilobolus and Momix Dance Companies | |
| Mark Morris Dance Group | |
| Twyla Tharp | |
| Popular Dance | |
| Film | |
| The Subject Matter of Film | |
| Directing and Editing | |
| The Participative Experience and Film | |
| The Film Image | |
| Camera Point of View | |
| Audience Response to Film | |
| Sound | |
| Image and Action | |
| Film Structure | |
| Filmic Meanings | |
| The Context of Film History | |
| Francis Ford Coppola's The Godfather | |
| The Narrative Structure of The Godfather Films | |
| Coppola's Images | |
| Coppola's Use of Sound | |
| The Power of The Godfather | |
| A Classic Film: Casablanca | |
| Experimentation | |
| Television and Video Art | |
| The Evolution of Television | |
| The Subject Matter of Television and Video Art | |
| Commercial Television | |
| The Television Series | |
| The Structure of the Self-Contained Episode | |
| The Television Serial | |
| Video Art | |
| Photography | |
| Photography and Painting | |
| Photography and Painting: The Pictorialists | |
| Straight Photography | |
| Stieglitz: Pioneer of Straight Photography | |
| The F/64 Group | |
| The Documentarists | |
| The Modern Eye | |
| Color Photography | |
| Interrelationships | |
| Is it Art or Something Like It? | |
| Art and Artlike | |
| Illustration | |
| Realism | |
| Folk Art | |
| Popular Art | |
| Propaganda | |
| Kitsch | |
| Decoration | |
| Design | |
| Idea Art | |
| Dada | |
| Duchampism | |
| Conceptual Art | |
| Performance | |
| Shock Art | |
| Virtual Art | |
| The Interrelationships of the Arts | |
| Appropriation | |
| Synthesis | |
| Interpretation | |
| Film Interprets Literature: Howards End | |
| Music Interprets Drama: The Marriage of Figaro | |
| Poetry Interprets Painting: The Starry Night | |
| Sculpture Interprets Poetry: Apollo and Daphne | |
| Painting Interprets Dance and Music: The Dance and Music | |
| The Interrelationships of the Humanities | |
| The Humanities and the Sciences | |
| The Arts and the Other Humanities | |
| Perceiving and Thinking | |
| Values | |
| The Arts and History | |
| The Arts and Philosophy | |
| The Arts and Theology | |
| Glossary | |
| Dada | |
| Index | |
| Table of Contents provided by Publisher. All Rights Reserved. |
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