Necessity of Artspeak: The Language of Arts in the Western Tradition [Paperback]

Roy Harris (Author)

Book Description

Publication Date: May 28, 2003 | ISBN-10: 0826460798 | ISBN-13: 978-0826460790

Are contemporary art theorists and critics speaking a language that has lost its meaning? Is it still based on concepts and values that are long out of date? Does anyone know what the function of the arts is in modern society? This title situates these issues within the long-running debate about the arts and their place in society that goes back to the classical period in ancient Greece. "The Necessity of Artspeak" shows that what have usually been considered problems of aesthetics and artistic justification often have their source in the linguistic assumptions underlying the terms and arguments presented. It also shows how artspeak is manipulated to serve the interests of particular social groups and agendas. Until the semantics of artspeak is more widely understood, the public will continue to be taken in by the latest fads and fashions that propagandists of the art world promote.

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About the Author

Roy Harris is Emeritus Professor of General Linguistics at the University of Oxford and editor of the journal Language & Communication. His many publications include The Language Myth and Rethinking Writing.

Product Details

• Paperback: 224 pages
• Publisher: Continuum (May 28, 2003)
• Language: English
• ISBN-10: 0826460798
• ISBN-13: 978-0826460790
• Product Dimensions: 9.4 x 6.2 x 0.7 inches
• Shipping Weight: 14.2 ounces (View shipping rates and policies)
• Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #3,496,230 in Books (See Top 100 in Books)

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2 of 2 people found the following review helpful:

4.0 out of 5 stars A useful--if flawed--critique of aesthetic semantics, February 19, 2005

By 

Robert in SF - See all my reviews

This review is from: Necessity of Artspeak: The Language of Arts in the Western Tradition (Hardcover)

Author Roy Harris is a Professor of Linguistics at Britain's Oxford University. In "The Necessity of Artspeak", he attempts to dissect the way that humans have spoken and written about the arts since the earliest surviving documents (at least as far back as Classical Greece). This rather specialized study is an admirable effort, and Professor Harris does a good job of reframing our understanding of historic art-speak.

The first third of the book examines archaic and antique views of the arts, and the second portion focuses on the "modern" (from the mid-19th century onwards). I found much in these two sections that was informative, even if Harris' style isn't as lucid as one might wish it to be. His tone is a bit dry--which is not perhaps surprising given his academic milieu. Still, the wit of Robert Hughes would've been most welcome here.

The third section, which rests directly upon the first two, soon sharply branches off into contemporary semantic tendencies. Harris asserts that today there are three basic modes of art-speak (and those who employ these art-speaks): "surrogational", "contractual" and "integrational". He lays the groundwork for their differences and occasional commonalties admirably, but where his thesis founders is in his absolutism. In the interest in neatly sewing up his assertions, Harris essentially says that these are the only three positions being used for communicating modern aesthetic theory, and that they are mutually exclusive. The anecdotes he cites would seemingly bolster his thesis, but they are always selected from the absurd extremes.

Speaking as one whose profession is that of a contemporary artist, and one who often participates in forums about art and aesthetic theory, I feel that Harris has widely overstated the divisions between these competing "art-speaks". Many artists--myself included--take a far more pragmatic and synthetic position, accepting elements of each of the three camps Harris describes, and successfully applying them to the arts. His determination to support integrationism eventually becomes somewhat didactic, where he stakes out his theoretical territory as zealously and uncompromisingly as in any manifesto.

There is much that "The Necessity of Artspeak" has to say, and it does an good job of informing the reader of the history of the practices of art-speak. But anyone who is mostly interested in contemporary aesthetic theories would be wise to recognize Professor Harris' clear bias and his rather narrow perspective of art today before accepting his pronouncements as gospel.