Einleitung KULTURANTHROPOLOGIE DER KUNST 4 PARADOXA

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EinleitungKULTURANTHROPOLOGIE DER KUNST 4
PARADOXA
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• Haselberger, H. (1961). Methods of Studying
  Ethnological Art. Current
• Anthropology 2 341-84.
• Anderson, R. (1979). Art in Primitive Societies.
  Englewoood Cliff, N.J.
• Prentice-Hill.
• Rothfuchs-Schulz, C. (1980). Aspekte der
  Kunstethnologie. Beiträge zum
• Problem der Universalität von Kunst. Mainzer
  ethnologische Arbeiten 2,
• Berlin.
• Umwandlung der Realität in bildliche Darstellung
• Typische Form
• Ausdruck kultureller Werte
• Standard of Excellence
• Ästhetische Tätigkeit - Prozess der Wahrnehmung
• Wohlgefallen
• Morphy, H. (1994). The Anthropology of Art, in
  T. Ingold (ed.) Companion
• Encyclopedia of Anthropology. London and New
  York Routledge 648-85.

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• DAzevedo, W.L. (ed.) (1989). The Traditional
  Artist in Africa. Bloomington
• Indianapolis Indiana UP.
• Bascom, W. (1989). A Yoruba Master Carver Duga
  of Meko,
• in W.L. dAzevedo (ed.) 62-78.
• Gbegi gbegi
• Gbena gbena
• Biebuyck, D. (1973).Introduction, in D. Biebuyck
  (ed.) Tradition and Creativity
• in Tribal Art. Berkeley et al. California UP
  1-13.
• Fagg, W. (1973). In Search of Meaning in
  African Art, in A. Forge (ed.)
• Primitive Art and Society. London - NewYork The
  Wenner Gren Foundation
• for Anthropological Research / Oxford UP 151-68.
• Layton, R. (1981). The Anthropology of Art.
  Cambridge CUP.

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• Firth, R. (1925). The Maori Carver. Journal of
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• Boas, F. (1955). Primitive Art. New York Dover
  (1st 1927).
• Griaule, M. (1938). Masques Dogons. Travaux et
  mémoires de lInstitut dEthnologie
• de lUniversité de Paris. Paris.
• Jopling, C. (ed.) (1971). Art and Aesthetics in
  Primitive Societies. New York Dutton.

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• Munn, N. (1973). Walbiri Iconography Geographic
  Representation and Cultural Symbolism in a
  Central Australian Society. Ithaca, New York
  Cornell UP.
• Lévi-Strauss, Claude. 1979. La voie des masques.
  Paris. Plon.
• Benzing, B. (1978). Das Ende der Ethnokunst.
  Studien zur ethnologischen
• Kunsttheorie. Wiesbaden. Heymann.

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• Firth, Raymond. 1992. Art and Anthropology. In
  Jeremy Coote and Anthony
• Shelton (eds.), Anthropology, Art, and
  Aesthetics. Oxford. Clarendon.
• Graburn, N. (ed.) (1976). Ethnic and Tourist
  Art. Cultural Expressions from
• the Fourth World. California UP.
• Jules-Rosette, B. (1984). The Messages of
  Tourist Art. An African Semiotic
• System in Comparative Perspective. New York
  London.
• Malraux, André. 1952. Le Musee imaginaire de la
  sculpture mondiale. Paris.
• Benzing, B. (1978). Das Ende der Ethnokunst.
  Studien zur ethnologischen
• Kunsttheorie. Wiesbaden. Heymann.
• Foster, Hal. 1996. The Artist as Ethnographer.
  In ders., The Return of the Real.
• The Avant-Grade at the End of the Century.
  Cambridge Mass.-London.
• An October Book. The MIT P.

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Schneider, Arnd and Christopher Wright (eds.).
2006. Contemporary Art and Anthropology. Oxford
- NY. Berg.
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Pflichtliteratur

• Morphy, H. and M. Perkins (eds.). 2007. The
  Anthropololgy of Art. A Reader. Malden, Mass.
  Oxford. Blackwell P.
• Morphy, H. and M. Perkins, The Anthropology of
  Art A Reflection on its History and Contemporary
  Practice. Pp. 1-32.
• Forge, A. The Abelam Artist. Pp. 109-122.
• Morphy, H. From Dull to Brilliant The
  Aesthetics of Spiritual Power Among the Yolngu.
  Pp. 302-325.
• Steiner, Ch. B. The Art of the Trade On the
  Creation of Value and Authenticity in the African
  Art Market. Pp. 454-466.
• Myers, F. Representing Culture The Production
  and Discourse(s) for Aboriginal Acrylic
  Paintings. Pp. 495-512.