File Size: 4355 KB
Print Length: 464 pages
Publisher: Vintage; 25th Anniversary edition (July 1, 2009)
Publication Date: July 1, 2009
Hyde opens his treatise on the nature of Artwork as a surprise with anthropological studies of surprise exchange coupled with folklore. The diverse sources provide a great depiction of the two economies in which the artist (and her art) must participate. One economy is the visible, capitalistic one of which we are all aware in a daily, accounting-ledger way. This is the economy of commerce, and Hyde traces the origins of capitalistic prosperity and usury, plumbing the disconnect between the " evergreen value" of artwork and the banal " exhaustible" value of capitalistic prosperity. In opposition is the second economy, regarding the gift. The surprise economy is spiritual in nature, and the primary difference between it and commercial economy is that holding at or hoarding a surprise destroys the surprise economy. The surprise must proceed to participate in the economy, and a lot of the folktales illustrate that treating a surprise as a item results in loss, sorrow, or even death.
Maybe understanding how opposed such an economy is to our (Western) way of coalescing and amassing fortunes, Hyde provides a modern day example of the surprise economy: Alcoholics Anonymous. In AA, the newcomer is taught that to keep the surprise of sobriety, she must someday move the surprise of the girl hope, strength and experience to someone else. Like the gifts in the various anthropological studies, the value of the AA teachings are in the sharing of them, to wit the AA saying, " An individual have to give it away to keep it. " In words of an artist and the girl art, yet , issues become blurry since there is the persistent need of the artist to clothe, feed, and shelter herself. If artwork is to be the girl living, how can the girl avoid killing the divinity of the surprise and still traffic in it as a commodity? Hyde proposes that the artist must split herself into two modes of communicating with different economies. Whitman and Ezra Pound are presented as cases studies of (somewhat) modern musicians encountering the modern world impinging on the gifts. Whitman, it seems, stayed truer to his surprise whilst some unnamed disappointment directed Pound to pervert his surprise into a hateful ideology. Hyde's point here is that the artist, much like the ill-fated daughters of the beginning folktale, will be broken if he does not find a way to be true to his surprise - despite all societal pressure to the contrary. A lost artist is one who are unable to fulfill the surprise by giving their art away, or who twist their artwork to some other goal. This doesn't mean an artist must never accept money for her work, but that she must maintain the purity of her pursuit of producing and sharing the surprise separate from her pursuit of money.
How to do this, how to create and earn a living without subverting the size of the present? Hyde doesn't answer the question of < i> how< /i> to preserve the surprise now. Instead, he illustrates why it is imperiled by modern commerce. The schlusswort describes some common options for artists, including a long section on the rise and fall of American patronage (hint: it owes much to the Cool War). This section is the only real place where the book, which was initially published in 1983, shows the age by failing to address the mechanism of crowdfunding. The employ of an agent is another common solution to the situation of working in two economies; the agent handles the commerce economy, thus clearing the artist to stay exclusively in the world of the gift. The vast majority of modern artists, though, have solved the situation of money by having a " second job. " Like a writer myself, I love that Hyde puts the focus on the secondary nature of accomplishing anything that is not a direct effort towards my surprise and art. THE GIFT: CREATIVITY AND THE ARTIST IN THE MODERN WORLD is a thought-provoking read for those who seek an understanding of the unseen forces that can cultivate or kill an artist's gift., I like reading books that increase my perspective, but this is one of the rare books that has truly altered it, or at least given me notice that alteration is essential.
What served me best lawn mowers of reading this book was the undeniable fact that it was one of only two I brought for a very long trip. This meant that I got the required time and less reason to be distracted. With this time I had been able to pace myself by way of a somewhat slow beginning, endure the re-telling of some stories with which We was already familiar, and, by the finish of Part 1, be ready to write a 4-star review of how amazing it was that Lewis Hyde could have so presciently defined the reasoning and sensibilities of the free software and free culture movements that would blossom within ten years of the book being published. His telling of the real establishment of capitalism--that begin with Martin Luther rather than Adam Cruz, and the concomitant destruction of charitable customs in Western nations provide a much more cogent explanation of both moral bankruptcy and the actual bankruptcy of globalism than I've noticed much more than one hundred hours of NPR reports stories. And his explanations are spot-on for what I am seeing as a person who is involved with, and invests in, community development and sustainability. Indeed, I think it would make especially good reading in faith communities that also have a interpersonal community mission.
Then Mr. Hyde lets the other shoe drop: "the gift" describes not only the cultural practices that made economies flourish under conditions beyond the talents or cares of capitalism, but also the human practices that allow the "genius" of imagination to flourish. The depth of his insights are staggering, as well as in the finish they recontextualized a good portion of my own liberal arts education and learning.
I am delighted to have read it, and look forward to applying the lessons to everything I really do going forward, starting with buying enough copies to begin giving them away..., Sure, in every respect. In addition to, I had the great privilege of hearing Mr Hyde speak about this and others of his works., This beautifully written book seems like poems 'what oft was thought but ne'er so well expressed' yet it deals with a pragmatic issue: the issue of reward for art and the role of money. For anyone working in a creative field it is enormously cathartic and empowering as it explores almost simultaneously how essential and irrelevant money is within a creatively productive life. For anyone not working creatively, albeit profitably, it is a spur to question the worth of what they are doing., Reading through The Gift, by Lewis Hyde is an mental and spiritual "retreat" experience.
I find myself dipping into it, absorbing the concepts a little each time.
I think that incorporating some of Lewis Hyde's ideas into my own life has allowed me to savor situations more strongly.
I would prefer that "Left Brain" people and attitudes should stay in charge of making the trains and planes run on time, but cultivating the "Right Brain" in daily living enhances the whole experience.
Reading the publication, I see material things and ownership in a more existential, relaxed way., Thought provoking. Inspires a deeper look and appreciation at how imagination is at the essence of each of us. Deepens and nourishes sense of the divine existence in Oughout. S. And in our world, You know how some things give you access to underlying rhythm of life?
This book is one of those things., Beautifully written, thought-provoking history of humankind's struggle with culture, property, commerce, through the annals of religion, societal mores, and how it is applicable to our lives, especially the arts. A new way of seeing our 'gifts' of talent, as well as how we deal with others in business. We would love for this book to be expected reading for all MBA's!
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