The origins of art; a psychological & sociological inquiryHirn, Y. (Yrjö)
Philosophy
The origins of art; a psychological & sociological inquiry
Hirn, Y. (Yrjö)
Aesthetics; Art -- Philosophy; Art, Primitive
For the purposes of this research there is, however, a great deficiency
of reliable information. In the descriptions of dances and pantomimes
which can be gathered from the literature of travel the most important
point is generally omitted—whether the performances in question
were executed in the presence of the other sex or not. From the
general records of savage life one may indeed draw some conclusions
bearing upon this question. But these conclusions, even when, taken
apart, they seem to be sufficiently reliable, are, when considered
collectively, full of contradiction. With regard to a great number
of tribes the strict separation between the sexes which prevails in
all phases of social life—in work as well as in amusements—provides a
negative argument against the theory of female influence on art. This
circumstance has of course been adduced by opponents of the selection
theory; and it was Mr. Gurney’s chief objection to Wagner’s assertion
that the earliest popular dances were erotic pantomimes.[347] But
the adherents of Darwin’s theory are no less able to support their
assertion by ethnological facts. This is made obvious, for instance,
by Wallaschek’s _Primitive Music_, which work, as far as we know,
gives the most complete account existent of primitive dances and
pantomimes. After having enumerated a great variety of tribes in which
the sexes are separated when dancing, the author says, “As a rule,
however, both sexes dance together.” And he then corroborates this
statement by a still greater number of instances in which dances, often
of a decidedly erotic character, are performed either by both sexes
together or by one sex before the other.[348] Thus facts confront
facts in a most bewildering contradiction which is indeed trying to
the believer in ethnological argumentation. No sound statistician
would base any conclusions on majorities made up of such confused
masses of contradictory instances. The question of sex influence on art
would therefore be for ever undecided if there were no expedient for
classifying the units and balancing them against each other in greater
groups.
Such a classification is of course no less possible than it is
necessary. But it presupposes a close examination of every single
instance quoted. Owing to our insufficient knowledge of some of the
most interesting tribes, a satisfactory arrangement is therefore as
yet involved in great difficulty. In this work, at any rate, it would
not be possible to enter into all these detailed researches. We shall
restrict ourselves to a few short indications of the mode in which we
think that this much-debated question is to be solved.
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Elsewhere in the archive
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account