The Theory of Enchantment and the Enchantment of Theory: the Art of Alfred Gell
Identifieur interne : 000891 ( Main/Exploration ); précédent : 000890; suivant : 000892The Theory of Enchantment and the Enchantment of Theory: the Art of Alfred Gell
Auteurs : Brigitte Derlon ; Monique Jeudy AlliniSource :
- Oceania [ 0029-8077 ] ; 2010-07.
Descripteurs français
- Wicri :
- topic : Mélanésie.
English descriptors
- KwdEn :
Abstract
ABSTRACT Gell's Art and Agency that aimed to articulate the first anthropological theory of art has achieved a near‐cult status among the academic community. Departing from previous semiological and aesthetic approaches, this theory takes it that art is a form of instrumental action, the canonical efficacy of which lies in its power to function as a cognitive trap and to captivate the spectator's mind. In this article it is argued that Gell's theory is not as novel as it is claimed; that it fails to define the specific field of art; and that by excluding the aesthetic properties of art objects, it discards ethnographical data nonetheless necessary for understanding the agency of art in Melanesian local cultures. At a meta‐level, Gell assigned to his theory the same captivating purpose as he did to art, and this probably explains the seductive fascination that his work continues to exert.
Url:
DOI: 10.1002/j.1834-4461.2010.tb00076.x
Affiliations:
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Le document en format XML
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<front><div type="abstract" xml:lang="en">ABSTRACT Gell's Art and Agency that aimed to articulate the first anthropological theory of art has achieved a near‐cult status among the academic community. Departing from previous semiological and aesthetic approaches, this theory takes it that art is a form of instrumental action, the canonical efficacy of which lies in its power to function as a cognitive trap and to captivate the spectator's mind. In this article it is argued that Gell's theory is not as novel as it is claimed; that it fails to define the specific field of art; and that by excluding the aesthetic properties of art objects, it discards ethnographical data nonetheless necessary for understanding the agency of art in Melanesian local cultures. At a meta‐level, Gell assigned to his theory the same captivating purpose as he did to art, and this probably explains the seductive fascination that his work continues to exert.</div>
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