예술의 기원, 심리학적 및 사회학적인 면에서 본. The Book of The origins of art; a psychological & sociological inquiry, by Yrjo Hirn

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예술의 기원, 심리학적 및 사회학적인 면에서 본. The Book of The origins of art; a psychological & sociological inquiry, by Yrjo Hirn
핀란드 대학교 헬싱키 런던 의 강의를 책으로 만듬.
목차의 내용처럼, 예술과 각부분의 내용을 기술함. 자세한 내용은 목차를 따라서 본문에서 확인 바람니다. 즉, 예술문제 시작,예술과 맥박, 감정 톤 ,고통의 쾌락,사회적표현, 예술 폼, 예술의 일 ,목적과 답변, 예술의 구체적인 기원들, 예술과정보, 역사적인 예술,동물의 전시, 예술과 성적 선택, 에로틱 예술, 자신의 장식의 기원, 예술과 일 전쟁 매직 ,그리고 결론. 등으로 강의한 강의 책자.

THE
ORIGINS OF ART
A PSYCHOLOGICAL & SOCIOLOGICAL
INQUIRY
BY YRJ？ HIRN
LECTURER ON ÆSTHETIC AND MODERN LITERATURE AT THE UNIVERSITY OF FINLAND, HELSINGFORS
London
MACMILLAN AND CO., LIMITED NEW YORK: THE MACMILLAN COMPANY
1900

목차

예술의 기원, 심리학적 및 사회학적인 면에서 본. The Book of The origins of art; a psychological & sociological inquiry, by Yrjo Hirn


CONTENTS
[Pg x]
CHAPTER I
THE PROBLEM STATED
CHAPTER II
PAGE
1
THE ART-IMPULSE 18
CHAPTER III
THE FEELING-TONE OF SENSATION 30
CHAPTER IV
THE EMOTIONS 43
CHAPTER V
THE ENJOYMENT OF PAIN 56
CHAPTER VI
SOCIAL EXPRESSION 72
CHAPTER VII
DEDUCTION OF ART-FORMS 86 [Pg xi]
CHAPTER VIII
ART THE RELIEVER 102
CHAPTER IX
THE WORK OF ART 111
CHAPTER X
OBJECTIONS AND ANSWERS 134
CHAPTER XI
THE CONCRETE ORIGINS OF ART 143
CHAPTER XII
ART AND INFORMATION 149
CHAPTER XIII
HISTORICAL ART 164
CHAPTER XIV
ANIMAL DISPLAY 186
CHAPTER XV
ART AND SEXUAL SELECTION 203
CHAPTER XVI
THE ORIGINS OF SELF-DECORATION 214
[Pg xii]
CHAPTER XVII
EROTIC ART 228
CHAPTER XVIII
ART AND WORK 249
CHAPTER XIX
ART AND WAR 261
CHAPTER XX
ART AND MAGIC 278
CHAPTER XXI
CONCLUSIONS 298
LIST OF AUTHORITIES QUOTED 307
INDEX OF AUTHORS 323
INDEX OF SUBJECTS 328

출판사 서평

예술의 기원, 심리학적 및 사회학적인 면에서 본. The Book of The origins of art; a psychological & sociological inquiry, by Yrjo Hirn
PREFACE
[Pg vi]
The aim and scope of this book is sufficiently indicated by its title. I have endeavoured throughout to restrict my attention to questions connected with the origins of art. Points of history and criticism have been touched upon only in so far as they appeared to contribute towards the elucidation of this purely psychological and sociological problem. In order to save space as well as to spare the reader’s attention, the descriptive parts have been concentrated as much as possible. As a rule, only one ethnological example, which has been selected as typical, is described in the text, while the corroborating examples are represented by references in the footnotes. And even of these references only such are adduced as have been considered especially significant. Only in one matter have I aimed at completeness, viz. that of reference to authors from whom I have borrowed facts or observations. And whenever in earlier literature I have found theories which have appeared similar to the views advanced in this book, these similarities have been pointed out in the footnotes.
[Pg vii]
There is one point, however, to which the reader’s attention should be called in this Preface. When treating of the art-impulse I have―especially in the tenth chapter―mentioned in the footnotes some modern writers on æsthetic, who, although starting from different assumptions, have arrived at a conception of art which in many points may be compared to the one advanced in this book. This comparison, however, has not been carried out in the text. Considerations of space account for this omission; but it has a further ground in the circumstances under which the present work has originated. A part of it, containing the examination of feeling and its expression, and the chapter on “Animal Display,” was published in Swedish as early as 1896[1]―that is, before the above- mentioned authors had made their theories known. This is not mentioned in order to raise any futile questions of priority, but only as a justification of the way in which my conclusions have been presented.
It has appeared to me that the continuity of the argument could not but have been broken if, instead of proceeding from my original starting-point, I had based my conclusions upon a critical examination of modern æsthetic doctrines. And I trust that the differences between the thesis of this book and other emotionalistic explanations will appear with sufficient[Pg viii] clearness to the attentive reader even if they have not been expressly pointed out in the text.
There are, no doubt, many points, a fuller treatment of which might have been to the advantage of the book. The force of circumstances has compelled me to aim at brevity before anything. But even if it had been possible to give this study a far greater comprehensiveness, the difficulties of expressing myself in a foreign tongue would have withheld me from any avoidable amplification. I have constantly been conscious of my audacity in appearing before the English public without sufficiently mastering the English language, and I have been anxious not to make my offence greater by any number of pages than it already is.

The “List of Authorities quoted” and the Indexes have been compiled by my wife. This is, however, only the least important part of the assistance which throughout the book has been rendered to me by the constant collaborator in all my researches.
Y. H.
HELSINGFORS,
.1900.08

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저자(글) Yrjo Hirn

예술의 기원, 심리학적 및 사회학적인 면에서 본. The Book of The origins of art; a psychological & sociological inquiry, by Yrjo Hirn
핀란드 대학교 헬싱키 런던 의 강의.
THE
ORIGINS OF ART
A PSYCHOLOGICAL & SOCIOLOGICAL
INQUIRY
BY YRJ？ HIRN
LECTURER ON ÆSTHETIC AND MODERN LITERATURE AT THE UNIVERSITY OF FINLAND, HELSINGFORS
London
MACMILLAN AND CO., LIMITED NEW YORK: THE MACMILLAN COMPANY
1900