Ngh thut va nhan van art and humanity (1)
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Ngh thut va nhan van art and humanity (1)
The Teaching of the Arts andHumanities at Harvard CollegerMapping the FutureThe Teaching of rhe Arts and Humanities at Harvard College Mapping the Fut Ngh thut va nhan van art and humanity (1) tureIntroductionThe Arts and Humanities teach US how to describe experience, how to evaluate it, and how to imagine its liberating transformation.Many of the adjectives we find indispensable for description of experience are drawn from the formal terms of imaginative art and philosophy. A very short Ngh thut va nhan van art and humanity (1) sample of a very long list would include “tragic," “comic,” “elegiac,” “satiric,” “sublime,” “stoic,” “Platonic,” and “harmonious." A culture of theNgh thut va nhan van art and humanity (1)
Humanities enables US, that is, satisfyingly to describe, and thereby give precise voice to, sets, and subsets, of our most vital emotional and cognitThe Teaching of the Arts andHumanities at Harvard CollegerMapping the FutureThe Teaching of rhe Arts and Humanities at Harvard College Mapping the Fut Ngh thut va nhan van art and humanity (1) y are “where the meanings are” (or at least a good deal of them!); the terms of art and philosophy are the irreplaceable, companionable forms to our articulate reception of the world, without which we tall painfully mute.The capacity precisely to describe experience of the world also, however, provo Ngh thut va nhan van art and humanity (1) kes ewlwntion of the world, through the act of deliberative criticism. The very word “criticism,” deriving from Greek “kites," meaning “judge,” signalNgh thut va nhan van art and humanity (1)
s the profound connections between descriptive reception and reparative evaluation of the world: our rigorous, receptive responsiveness to art and phiThe Teaching of the Arts andHumanities at Harvard CollegerMapping the FutureThe Teaching of rhe Arts and Humanities at Harvard College Mapping the Fut Ngh thut va nhan van art and humanity (1) ve from experience of rhe immense 1 lumanities archive to answer, as critics, not merely to the work oi art but to the work! al large. We do so through the application ol practical judgment.As we answer, so loo do we seek lo harness art’s capacity constructively to imagine rrnns/onnnnon of rhe world Ngh thut va nhan van art and humanity (1) . Inst as rhe engineer makes lite- transforming models through drawing on her ingeniutn, or imagination, so too rhe artist, and those emboldened to evNgh thut va nhan van art and humanity (1)
aluation through responsiveness to art, imagine the remaking oi an always recalcitrant world, livery work ot art is an act of recreative poc.ús, or maThe Teaching of the Arts andHumanities at Harvard CollegerMapping the FutureThe Teaching of rhe Arts and Humanities at Harvard College Mapping the Fut Ngh thut va nhan van art and humanity (1) y to differing elements in this nexus of practices. This document, indeed, will articulate distinguishable traditions of Humanities scholarship more precisely below. We start, however, simply by underscoring the activity of humanists as variously receptive, critical and constructive. This is a deepl Ngh thut va nhan van art and humanity (1) y satisfying, passionate pedagogic enterprise (for both teachers and students), whose dynamism derives from the relation between rhe private study, thNgh thut va nhan van art and humanity (1)
e communal classroom and the world beyond.1 he need to underscore this nexus of illuminating reception and constructive evaluation by the Arts and theThe Teaching of the Arts andHumanities at Harvard CollegerMapping the FutureThe Teaching of rhe Arts and Humanities at Harvard College Mapping the Fut Ngh thut va nhan van art and humanity (1) logical challenges OÍ mighty prolilc. We therefore judge re-articulation ol the extraordinary promise OÍ the Humanities to be timely. Our students arc preparing to act adroitly in a global environment; they are also preparing to flourish in an austere job market. Tire Arts and the Humanities are ess Ngh thut va nhan van art and humanity (1) ential on both interMflppins (he Future 1related fronts, cultural and personal. This document offers such an articulation. We begin by focusing, howevNgh thut va nhan van art and humanity (1)
er, on a prior and more immediate challenge, which is rhe troubled status of the Humanities themselves in this new environment.The transmission to undThe Teaching of the Arts andHumanities at Harvard CollegerMapping the FutureThe Teaching of rhe Arts and Humanities at Harvard College Mapping the Fut Ngh thut va nhan van art and humanity (1) tical realignment, diminution and neutralization of Humanities learning at university' level would appear to characterize European more than American university systems, partly because there is no such thing as a national university system in the United States, and partly because there is profound i Ngh thut va nhan van art and humanity (1) nstitutional and social investment in the liberal arts in this country.1 2 These shifts, both actual and foreseen, are nonetheless provoking alarm inNgh thut va nhan van art and humanity (1)
the profession nationally.We can articulate the obvious challenges that humanists face nationally and internationally. Skeptical commentators routinelThe Teaching of the Arts andHumanities at Harvard CollegerMapping the FutureThe Teaching of rhe Arts and Humanities at Harvard College Mapping the Fut Ngh thut va nhan van art and humanity (1) The Economic Argument. The world order, both political and economic, established in rhe wake of Allied Victory in 1945 is palpably shifting. As it1See Geoffrey Galt Harpham, Vie Humanities and rhe Diearn of America (University of Chicago Press, 2011), Chapter 6 (especially pp. 148'151).2Many of the Ngh thut va nhan van art and humanity (1) se arguments are handily collected, and answered, in Mark Turcato and Stefan Sinclair’s "Confronting the Criticisms: A Survey of Actada..on-tb£.HumaniNgh thut va nhan van art and humanity (1)
tie$" WHwmanines, 10/9/2012). See also James Grossman’s blog post, “Tire Value of the Humanities: A Roundtable o.t Links" (AHA Today, 2/26/2013) for fThe Teaching of the Arts andHumanities at Harvard CollegerMapping the FutureThe Teaching of rhe Arts and Humanities at Harvard College Mapping the Fut Ngh thut va nhan van art and humanity (1) udy of the Humanities was a tine accoutrement of the civilizing mission of a victorious imperial power throughout the last half of the twentieth century, but balances ot world power impose new exigencies. We must educate young people to compete in a global environment. Knowledge ot the Humanities is Ngh thut va nhan van art and humanity (1) no practical response to most pressing practical challenges we face. University education must be aligned with national need, both strategic and econNgh thut va nhan van art and humanity (1)
omic.3 (u) The Cultural and Social Arguments. Some cultures with discontinuous political histories privilege art, particularly literature, as a prime The Teaching of the Arts andHumanities at Harvard CollegerMapping the FutureThe Teaching of rhe Arts and Humanities at Harvard College Mapping the Fut Ngh thut va nhan van art and humanity (1) a legal text. The Constitution is the only text that matters for the larger project of soldering the nation. No artistic canon serves that function; art is, and will remain, a rather low-level factor in the grand and ongoing project of building the national and international community. The Humaniti Ngh thut va nhan van art and humanity (1) es might offer US private understanding, pleasure and consolation. Or they might imagine they are serving a constructive public function, when in factNgh thut va nhan van art and humanity (1)
, especially since the Vietnam War, they serve only the critical function of unmasking the operations of power in language largely impenetrable to a wThe Teaching of the Arts andHumanities at Harvard CollegerMapping the FutureThe Teaching of rhe Arts and Humanities at Harvard College Mapping the Fut Ngh thut va nhan van art and humanity (1) (ill) The Scientific Argument. Despite its medieval origins, the modern research university is the child of the eighteenth-century Enlightenment. The3See Harpham, p. 149 for an account of the British situation; for an example of this kind of argument in the U.S. context, see the Council on Foreign R Ngh thut va nhan van art and humanity (1) elation’s 2012 Independent Task Force Report, “U.S. Education Reform and National Security.”4See Harpham, Chapter 6.Mappins die Future 4EnlightenmentNgh thut va nhan van art and humanity (1)
produced two related modes of arriving at knowledge, the experiment and the model (used by both the sciences and the social sciences). While neither oThe Teaching of the Arts andHumanities at Harvard CollegerMapping the FutureThe Teaching of rhe Arts and Humanities at Harvard College Mapping the Fut Ngh thut va nhan van art and humanity (1) The knowledge produced by the Humanities looks soft by comparison, forever relative, forever a matter of “mere interpretation.’’(iv)The Vocational Argument. Research has demonstrated that university disciplines must do at least one of three things to draw the support of university administrators. To Ngh thut va nhan van art and humanity (1) be successful, the discipline must either (i) be devoted to the study of money; or (ii) be capable of attracting serious research money; or (iii) demNgh thut va nhan van art and humanity (1)
onstrably promise that its graduates will make significant amounts of money. ’ The university study of the Humanities is thought to score zero on eachThe Teaching of the Arts andHumanities at Harvard CollegerMapping the FutureThe Teaching of rhe Arts and Humanities at Harvard College Mapping the Fut Ngh thut va nhan van art and humanity (1) g intelligently with their feet.(v)The Technological Argument. Human societies, both literate and non- literate, have universally understood themselves through works of art that require deep immersion. In the twenty-first century, however, deep immersion is no longer the order of the technological d Ngh thut va nhan van art and humanity (1) ay. New technologies disfavor the long march of narrative, just as they militate against sustained imaginative engagement. Students born after 1990 wiNgh thut va nhan van art and humanity (1)
ll not read paper books; much more significantly, they might not read books at all. The study of the “deep-immersion” art forms is the study of shrinkGọi ngay
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