File Name: the gift artists and creativity in the modern world .zip
Tags: The Gift: Creativity and the Artist in the Modern World by Lewis Hyde Free download, epub, docs, New York Times, ppt, audio books, Bloomberg, NYT, books to read, good books to read, cheap books, good books, online books, booksonline, book reviews, read books online, books to read online, online library, greatbooks to read, best books to read, top books to read The Gift: Creativity and the Artist in the Modern World by Lewis Hyde books to read online.
Search this site. Eric Hansen says I felt I needed to write a review to counter the negative ones here. Any book that calls the zeitgeist into question is bound to draw confusion and pushback. I've bought this book three times because I give it to friends who don'talways give it back. That's okay: The Gift was and is a profound touchstone for me and for an older generation of writers who knew Hyde from his Minnesota days.
I recommend it to artists who wonder how their gifts may beappeciated for their worth, if not always always their fair value in a modern economy.
Some of the reviewers' gripes probably owe to the fact this is a dense, dense book. Hyde's ideas build and spiral through varied concrete examplesdrawn from anthropology, open-source programming, poetry, and pure versus applied sciences. Hyde also shows balance; he recognizes that fees-for-services are useful when we simply don't care about a long-term relationship with theproducer--but a certain spirit is lost, too, in the case of so many dead objects we bought but which now crowd the attic.
Having just reread the book again, I can say it not only has aged well, but the Great Recession and the rise ofthe sharing economy lend an even greater resonance in fact, the anniversary material in the newer edition is less striking than the original. For me, the most moving chapters are those in the second half on Whitman and Pound, whoillustrate how the gift can circulate to the benefit of a nation or, traded for willpower, lead to soul's rot. Truly, artists should buy the book just for the cautionary tale on Pound.
Here and there, the book's prose rises to a levelof poetry that astonishes me more than on the first reading, where I was just wrestling with the ideas and their implications. This book saves me from choosing will over gift. Nick says I tried to like this book, since it had come so highly recommended, and it was in a 25th anniversary edition. If it has been in print all those years, there must be something to it, right?
First of all, it's badly structured. Thefirst half is an extended discussion of the concept of gifts vs paying for things in ancient vs modern societies. Once you get the basic point, that especially older societies exchanged goods and services as gifts, not for money,and that Hyde thinks that's a better way to do it, then you've got the idea. The second half of the book then talks about Whitman and Pound, two worthy poets, but hardly connected in any real or useful sense to the foregoing gift discussion.
Second and my othermain complaint about the book is that Hyde beats the gift horse to death. He defines, ponders, muses, and ruminates about various aspects of what is after all a pretty simple concept for pages, weaving in fairy tales, ethnography much of it outdated or inaccurate , and random commentary about various writers and artists. It's a maddening, frustrating book that is simultaneously more and less than it aspires to be. Emily says I picked this up at a bookstore where I was killing some time before an appointment.
I read the preface and the introduction and wept through them both. I left for my appointment, thinking I'd have to find a used copy of this booksometime and read it. A couple of hours later, I had to go back and buy it because I was still thinking about it. So it lit a fire under me, for sure. Whether or not it fulfilled the promise of that fire is still up for debate. Thepreface and the intro are really easy reading and point at some really salient issues. The actual text kind of does a dance around the issue at hand.
We're supposed to read the author's analysis of gift-giving as a metaphor for theartistic experience and make the connections ourselves, I suspect. And sometimes I could. Other times, it was such a stretch and the academic style of writing so alienating, I could barely manage to pay attention, let alone makeexpansive inferences.
The literary analysis of Whitman and Pound werefascinating, sure - but for me didn't really help me understand all that much more about art and the modern world.
Mostly, I walked away from that section feeling pretty depressed that two of our great authors lived in poverty for mostof their lives. Also, I left with a fear that my sense of moral outrage about the treatment of artists in this culture could lead me to a life like Ezra Pound's and a fascination with fascism. I mean, no, I'm not going to become afascist like Pound, but somehow Hyde's arguments make me feel how easily a person could slide down that slippery slope.
All of which leaves the question hanging about how to balance the gifts of art, artists, et al. But paragraphs like these show up, too and this is what stokes the fire: "Every culture offers its citizens an image of what it is to be a man or woman of substance.
There have been times and places in which a person came into his or her social being through the dispersal of his gifts, the "big man" or "bigwoman" being that one through whom the most gifts flowed.
The mythology of a market society reverses the picture: getting rather giving is the mark of a substantial person, and the hero is "self-possessed," "self-made. When we reckon oursubstance by our acquisitions, the gifts of the gifted man are powerless to make him substantial. The gift turned inward, unable to be given, becomes a heavy burden, even sometimes a kind ofpoison. It is as though the flow of life were backed up. But how do we fix it?
There are gems in the straw of this book. It's absolutely worth reading. Just put your University hat on before you do and don't expect any clear answers, either. Parks GET. Fox GET. Roy, Ph. Kaplan GET. McCammon GET. Beck GET. Block GET. MacArthur Jr. Usdin GET. Miner GET. Graham GET. PDF Junie B. Siegel GET. Siraisi GET. Cohan GET. PDF Mr. PDF No B. Kennedy GET. Fogg GET. Parker GET. Whorton GET. Raymond GET. Martin Series - Robert C. Martin GET. Gazzaniga GET. Eckert GET. Rocco GET. Rosenberg GET.
Horwitz GET. PDF Wer bin ich - und wenn ja, wie viele? Lee GET. This inspiring examination of the "gift economy" is even more relevant now than when it originally appeared - a brilliantly argued defence of the place of creativity in ourincreasingly market-orientated society. The Gift takes as its opening premise the idea that a work of art is a gift and not a commodity.
Hyde proceeds to show how "the commerce of the creative spirit" functions in the lives of artistsand within culture as a whole, backing up his radical thesis with illuminating examples from economics, literature, anthropology and psychology. Whether discussing the circulations of gifts in tribal societies, the ethics of usury, thewoman given in marriage or Whitman's Leaves of Grass, this wide-ranging book is as entertaining as it is ground-breaking, a masterful analysis of the creative act in all its manifestations.
It is in itself an extraordinary gift to allwho discover it.
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Tags: The Gift: Creativity and the Artist in the Modern World by Lewis Hyde Free download, epub, docs, New York Times, ppt, audio books, Bloomberg, NYT, books to read, good books to read, cheap books, good books, online books, booksonline, book reviews, read books online, books to read online, online library, greatbooks to read, best books to read, top books to read The Gift: Creativity and the Artist in the Modern World by Lewis Hyde books to read online. Search this site. Eric Hansen says I felt I needed to write a review to counter the negative ones here. Any book that calls the zeitgeist into question is bound to draw confusion and pushback.
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The following version of this book was used to create this study guide: Hyde, Lewis. Random House, Second Vintage Books edition. Beginning with a short analysis of cheap drugstore romance novels, Lewis Hyde asks what distinguishes works of arts, even those that are bought and sold, from pure commodities that circulate in the marketplace.
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