1st Printing. 202 pages. Published in 1997. Retrospective collection of essays. One of claude Levi-sTrauss' finest achievements. The first appearance of the title in English and in the United States. Precedes and should not be confused with all other subsequent editions, particularly the Softcover Edition. Published in a small and limited first print run as a hardcover original only and as part of Basic Books' "MasterMind" Series. The First Edition is now scarce. Presents Claude Levi-Strauss' "Regarder, Ecouter, Lire" in a felicitous English translation. Published on the occasion of his 90th birthday: His often-surprising reflections on aesthetics. Surprising because they reveal the ground-breaking and unorthodox anthropologist to be a dependable Classicist and universalist when it comes to art, in sharp contrast with the "identity politics" aesthetic tendency of the late-20th century as well as our own time, and in apparent contradiction with his anthopological work. "Over the course of a monumental career, Claude Levi-Strauss has interwoven artistic materials and themes into his seminal analyses of the savage mind. Now, the world's greatest anthropologist turns his attention to aesthetics. In a series of brilliant and meticulous studies, he ranges widely across painting, music, literature, and the plastic arts, his fertile mind opening up new philosophical perspectives" (Publisher's blurb). His correspondence on the nature of art with Andre Breton, the founder and principal exponent of Surrealist aesthetics, conducted more than sixty years ago, is also included. In the book's final chapters, Levi-Strauss-the-anthropologist reasserts itself fully with a fresh look on American-Indian basket-weaving. "Look, Listen, Read" is consistent with Levi-Strauss' scientific work: His nemeses were "culture" and "history", which keep people apart and make them think and believe that they are either superior or inferior to others. His faith was in "myth", and his weapon was, science which, by definition, seeks and discovers universal truths that transcend specific cultures and histories. Written late in life (he died at the age of 101), "Look, Listen, Read" shows the extent to which Levi-Strauss remained a structuralist, in a way that not one of his successors could be. "Only works of art bear evidence that, among human beings, something actually happened during the course of time" (Claude Levi-Strauss). An absolute "must-have" title for Claude Levi-Strauss collectors. This title is a great collection. This is one of few copies of the First Hardcover Edition/First Printing (American) still available online and is in especially fine condition: Clean, crisp, and bright. Please note: Copies available online have serious flaws, are the Softcover Edition, or are remainder-marked. This is surely an accessible and lovely alternative. A scarce copy thus. One of the greatest thinkers of the 20th century. A fine copy. (SEE ALSO OTHER CLAUDE LEVI-STRAUSS TITLES IN OUR CATALOG) ISBN 0465068804.

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D�tails bibliographiques

Titre: LOOK, LISTEN, READ: THE BASIC BOOKS "MASTERMIND" SERIES - Scarce Fine Copy of The First Hardcover Edition/First Printing
�diteur: New York City, NY: Basic Books, 1997
Date de parution: 1997
Langue: anglais
ISBN � 10 chiffres: 0465068804
ISBN � 13 chiffres: 9780465068807
Reliure: Hardcover
�dition: 1st Edition.
�tat de l'article: Fine
�tat de la jaquette: Fine
Sign�: no

A propos de ce titre

Synopsis

Over the course of a monumental career, Claude L�vi-Strauss has interwoven artistic materials and themes into his seminal analyses of the “savage mind.” Now the world's most famous anthropologist turns his attention entirely to the domain of aesthetics. In a series of brilliant but meticulous studies, he ranges widely across the domains of painting, music, literature and the plastic arts, his fertile mind opening more general, philosophical perspectives. Look, Listen, Read begins with an analysis of Nicolas Poussin's method of visual composition, and after drawing a surprising parallel with Marcel Proust, moves into a fascinating discussion, joined by Ingres and Delacroix among others, on the art of painting. Next the author turns to music, taking his inspiration from an inquiry into certain chord modulations in Rameau's opera Castor et Pollux, which at the time of its composition were considered a musical breakthrough. The book then considers the nature of the “beautiful.” The reference point here remains the French Enlightenment, and in particular Diderot's reflections on painting. Focusing on the aesthetic controversies of this same period, but with regard to music, a fascinating series of chapters revives the work of the largely forgotten eighteenth-century musicologist Michel-Paul-Guy de Chabanon and his surprisingly contemporary discussion of music's partial resemblance to language. This leads to a consideration of the relations of words to music in opera, where L�vi-Strauss reveals something of his own tastes in music while engaging in a critical review of a work by his recently deceased friend and colleague, Michel Leires. The relation between sounds and colors is considered next, largely through a breathtaking examination of a famous but difficult poem by Arthur Rimbaud. There follows an exchange of notes with Andr� Breton, written some fifty years ago, on the nature of the work of art. In the book's concluding chapters the author dons the more familiar mantle of the anthropologist, and by looking at the myths of the American Indians, offering an analysis of their understanding of the place of art and of the artist in their own societies. Look, Listen, Read is a truly original work, far removed from the intellectual fads that mark contemporary discussions on aesthetics, as L�vi-Strauss advances into new territory even as he remains faithful to his structuralist inspiration. The book weaves a dense tissue of connections, correspondences, and principles, while at the same time remaining sensitive to the specificities of each of the beaux-arts. In a valedictory statement capping a lifetime's work, L�vi-Strauss has made a major new contribution to our understanding of the place of art in human life, the nature of its appeal, the source of its creativity, and its universality.

Pr�sentation de l'�diteur

Over the course of a monumental career, Claude L�vi-Strauss has interwoven artistic materials and themes into his seminal analyses of the savage mind.” Now the world's most famous anthropologist turns his attention entirely to the domain of aesthetics. In a series of brilliant but meticulous studies, he ranges widely across the domains of painting, music, literature and the plastic arts, his fertile mind opening more general, philosophical perspectives. Look, Listen, Read begins with an analysis of Nicolas Poussin's method of visual composition, and after drawing a surprising parallel with Marcel Proust, moves into a fascinating discussion, joined by Ingres and Delacroix among others, on the art of painting. Next the author turns to music, taking his inspiration from an inquiry into certain chord modulations in Rameau's opera Castor et Pollux, which at the time of its composition were considered a musical breakthrough. The book then considers the nature of the beautiful.” The reference point here remains the French Enlightenment, and in particular Diderot's reflections on painting. Focusing on the aesthetic controversies of this same period, but with regard to music, a fascinating series of chapters revives the work of the largely forgotten eighteenth-century musicologist Michel-Paul-Guy de Chabanon and his surprisingly contemporary discussion of music's partial resemblance to language. This leads to a consideration of the relations of words to music in opera, where L�vi-Strauss reveals something of his own tastes in music while engaging in a critical review of a work by his recently deceased friend and colleague, Michel Leires. The relation between sounds and colors is considered next, largely through a breathtaking examination of a famous but difficult poem by Arthur Rimbaud. There follows an exchange of notes with Andr� Breton, written some fifty years ago, on the nature of the work of art. In the book's concluding chapters the author dons the more familiar mantle of the anthropologist, and by looking at the myths of the American Indians, offering an analysis of their understanding of the place of art and of the artist in their own societies. Look, Listen, Read is a truly original work, far removed from the intellectual fads that mark contemporary discussions on aesthetics, as L�vi-Strauss advances into new territory even as he remains faithful to his structuralist inspiration. The book weaves a dense tissue of connections, correspondences, and principles, while at the same time remaining sensitive to the specificities of each of the beaux-arts. In a valedictory statement capping a lifetime's work, L�vi-Strauss has made a major new contribution to our understanding of the place of art in human life, the nature of its appeal, the source of its creativity, and its universality.

Les informations fournies dans la section � A propos du livre � peuvent faire r�f�rence � une autre �dition de ce titre.

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