Philip L Ravenhill

• Africa

  Henry John Drewal, Philip L Ravenhill•CHAPTER•2003

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• Baule

  Philip L Ravenhill•CHAPTER•2003

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• Likeness and Nearness

  Philip L Ravenhill•ARTICLE•African Arts•2000

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  L'A. tente de comprendre pourquoi dans les representations anthropomorphes de la statuaire baule de Cote d'Ivoire la tete est toujours plus grande par rapport a l'ensemble du corps. Cette disproportion correspond-elle a une intentionnalite artistique specifique ? Si oui, cette intentionnalite de l'emphase est-elle applicable a d'autres styles de l'art figuratif africain ? Selon l'A., la ressemblance et la proximite, les deux concepts qui caracter…

• Dreams and Reverie

  Kathleen E Bickford, Philip L Ravenhill•ARTICLE•African Arts•1998•Citada por: 4

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• Seven Stories about Modern Art in Africa

  Philip L Ravenhill, Clémentine Deliss•ARTICLE•African Arts•1996•Citada por: 1

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• Beyond Reaction and Denunciation

  Philip L Ravenhill•ARTICLE•African Arts•1995•Citada por: 2

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  Dans cette note, l'A denonce le pillage systematique des sites archeologiques du Mali et de la vente organisee (souvent au profit de l'occident) des objets provenant de ces sites. Il lance un appel pour la protection et la valorisation du Patrimoine malien

• African Art in Transit

  Philip L Ravenhill, Christopher B Steiner•ARTICLE•African Arts•1995

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• Mining the Museum

  Philip L Ravenhill•ARTICLE•African Arts•1993

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• "More on "African Art and Authenticity

  Philip L Ravenhill, V Y Mudimbe et al.•ARTICLE•African Arts•1992•Citada por: 1

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  Philip L. Ravenhill, V. Y. Mudimbe, Henry John Drewal, Sidney Littlefield Kasfir, More on "African Art and Authenticity", African Arts, Vol. 25, No. 4, 100th Issue (Oct., 1992), pp. 18+20+22+24+26-28+30+100-103+107-108

• The Art of the Personal Object

  Philip L Ravenhill, Arthur P Bourgeois•ARTICLE•African Arts•1992

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  In 1989 the National Museum of African Art in Washington, D.C., acquired ninety-two utilitarian objects from British colonial collections. This acquisition, generously funded by the James Smithson Society of the Smithsonian National Associates, forms the core of “The Art of the Personal Object,” a permanent exhibition that opened at the museum on September 25, 1991. The exhibition comprises more than one hundred objects, principally from eastern …

• Primitive Art in Civilized Places

  Philip L Ravenhill, Sally Price•REVIEW•African Arts•1990

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• Les Technologies Adaptees et Recuperation des Materiaux

  Philip L Ravenhill, Philip Ravenhill•ARTICLE•African Arts•1989•Citada por: 1

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• An African Triptych

  Philip L Ravenhill•ARTICLE•Art Journal•1988•Citada por: 1

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  Is it possible to explain art? I would argue that, no, art cannot be “explained.” Art is sui generis. Although it can be understood—and this, in different ways—its power and its very raison d'être derive from its uniqueness and from our inability to translate it into verbal form. In the words of Tolstoy, “A good work of art can in its entirety be represented only by itself.”

• Artisanats Traditionnels en Afrique Noire

  Philip L Ravenhill, Jocelyne Etienne-Nugue•ARTICLE•African Arts•1986

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• Survol De l'Archeologie Malienne

  Philip L Ravenhill•ARTICLE•African Arts•1984•Citada por: 1

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• Art and Death in a Senufo Village

  Philip L Ravenhill, Anita J Glaze•ARTICLE•African Arts•1982

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• Baule Statuary Art

  Dennis M Warren, Philip L Ravenhill et al.•ARTICLE•African Arts•1981

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• Art, Economics and Change

  Philip L Ravenhill, Dolores Richter•ARTICLE•African Arts•1981

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• Schneider's Symbolic Culture Theory

  R Feinberg, Bernhard Bock et al.•ARTICLE•Current Anthropology•1979•Citada por: 6•Referências: 9

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  Two traditions have been vying for supremacy in the area of cultural analysis. The first sees culture as encompassing the totality of socially learned human phenomena; the second restricts the term to shared mental-primarily cognitive-properties. David Schneider has achieved a dominant positon in the latter school. In this paper I examine critically Schneider's approach to culture, with special attention to the problems raised by his perspective …

• The Interpretation of Symbolism in Wan Female Initiation

  Open Access•Philip L Ravenhill•ARTICLE•Africa•1978•Referências: 9

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  The ProblemAnthropological analyses of cultural symbolism have often benefitted fron the commentary of gifted informants who have provided ethnographers with detailed symbolic exegeses of the rites and ceremonies of their societies. Ethnographers have usually signalled with enthusiasm such received help and offered profound thanks to their philosophically reflective friends, but at the same time few, if any, ethnographers have indicated a willing…

• Le Gagou, Son Portrait Culturel

  Philip L Ravenhill, B Holas•ARTICLE•The International Journal of…•1977

  Incluir item

• Schneider's Symbolic Culture Theory

  R Feinberg, Bernhard Bock et al.•ARTICLE•Current Anthropology•1979•Citada por: 6•Referências: 9

  Incluir item

  Two traditions have been vying for supremacy in the area of cultural analysis. The first sees culture as encompassing the totality of socially learned human phenomena; the second restricts the term to shared mental-primarily cognitive-properties. David Schneider has achieved a dominant positon in the latter school. In this paper I examine critically Schneider's approach to culture, with special attention to the problems raised by his perspective …

• Dreams and Reverie

  Kathleen E Bickford, Philip L Ravenhill•ARTICLE•African Arts•1998•Citada por: 4

  Incluir item

• Beyond Reaction and Denunciation

  Philip L Ravenhill•ARTICLE•African Arts•1995•Citada por: 2

  Incluir item

  Dans cette note, l'A denonce le pillage systematique des sites archeologiques du Mali et de la vente organisee (souvent au profit de l'occident) des objets provenant de ces sites. Il lance un appel pour la protection et la valorisation du Patrimoine malien

• Seven Stories about Modern Art in Africa

  Philip L Ravenhill, Clémentine Deliss•ARTICLE•African Arts•1996•Citada por: 1

  Incluir item

• "More on "African Art and Authenticity

  Philip L Ravenhill, V Y Mudimbe et al.•ARTICLE•African Arts•1992•Citada por: 1

  Incluir item

  Philip L. Ravenhill, V. Y. Mudimbe, Henry John Drewal, Sidney Littlefield Kasfir, More on "African Art and Authenticity", African Arts, Vol. 25, No. 4, 100th Issue (Oct., 1992), pp. 18+20+22+24+26-28+30+100-103+107-108

• Les Technologies Adaptees et Recuperation des Materiaux

  Philip L Ravenhill, Philip Ravenhill•ARTICLE•African Arts•1989•Citada por: 1

  Incluir item

• An African Triptych

  Philip L Ravenhill•ARTICLE•Art Journal•1988•Citada por: 1

  Incluir item

  Is it possible to explain art? I would argue that, no, art cannot be “explained.” Art is sui generis. Although it can be understood—and this, in different ways—its power and its very raison d'être derive from its uniqueness and from our inability to translate it into verbal form. In the words of Tolstoy, “A good work of art can in its entirety be represented only by itself.”

• Survol De l'Archeologie Malienne

  Philip L Ravenhill•ARTICLE•African Arts•1984•Citada por: 1

  Incluir item

• Le Gagou, Son Portrait Culturel

  Philip L Ravenhill, B Holas•ARTICLE•The International Journal of…•1977

  Incluir item

• The Interpretation of Symbolism in Wan Female Initiation

  Open Access•Philip L Ravenhill•ARTICLE•Africa•1978•Referências: 9

  Incluir item

  The ProblemAnthropological analyses of cultural symbolism have often benefitted fron the commentary of gifted informants who have provided ethnographers with detailed symbolic exegeses of the rites and ceremonies of their societies. Ethnographers have usually signalled with enthusiasm such received help and offered profound thanks to their philosophically reflective friends, but at the same time few, if any, ethnographers have indicated a willing…

• Schneider's Symbolic Culture Theory

  R Feinberg, Bernhard Bock et al.•ARTICLE•Current Anthropology•1979•Citada por: 6•Referências: 9

  Incluir item

  Two traditions have been vying for supremacy in the area of cultural analysis. The first sees culture as encompassing the totality of socially learned human phenomena; the second restricts the term to shared mental-primarily cognitive-properties. David Schneider has achieved a dominant positon in the latter school. In this paper I examine critically Schneider's approach to culture, with special attention to the problems raised by his perspective …

• Baule Statuary Art

  Dennis M Warren, Philip L Ravenhill et al.•ARTICLE•African Arts•1981

  Incluir item

• Art, Economics and Change

  Philip L Ravenhill, Dolores Richter•ARTICLE•African Arts•1981

  Incluir item

• Art and Death in a Senufo Village

  Philip L Ravenhill, Anita J Glaze•ARTICLE•African Arts•1982

  Incluir item

• Survol De l'Archeologie Malienne

  Philip L Ravenhill•ARTICLE•African Arts•1984•Citada por: 1

  Incluir item

• Artisanats Traditionnels en Afrique Noire

  Philip L Ravenhill, Jocelyne Etienne-Nugue•ARTICLE•African Arts•1986

  Incluir item

• An African Triptych

  Philip L Ravenhill•ARTICLE•Art Journal•1988•Citada por: 1

  Incluir item

  Is it possible to explain art? I would argue that, no, art cannot be “explained.” Art is sui generis. Although it can be understood—and this, in different ways—its power and its very raison d'être derive from its uniqueness and from our inability to translate it into verbal form. In the words of Tolstoy, “A good work of art can in its entirety be represented only by itself.”

• Les Technologies Adaptees et Recuperation des Materiaux

  Philip L Ravenhill, Philip Ravenhill•ARTICLE•African Arts•1989•Citada por: 1

  Incluir item

• Primitive Art in Civilized Places

  Philip L Ravenhill, Sally Price•REVIEW•African Arts•1990

  Incluir item

• "More on "African Art and Authenticity

  Philip L Ravenhill, V Y Mudimbe et al.•ARTICLE•African Arts•1992•Citada por: 1

  Incluir item

  Philip L. Ravenhill, V. Y. Mudimbe, Henry John Drewal, Sidney Littlefield Kasfir, More on "African Art and Authenticity", African Arts, Vol. 25, No. 4, 100th Issue (Oct., 1992), pp. 18+20+22+24+26-28+30+100-103+107-108

• The Art of the Personal Object

  Philip L Ravenhill, Arthur P Bourgeois•ARTICLE•African Arts•1992

  Incluir item

  In 1989 the National Museum of African Art in Washington, D.C., acquired ninety-two utilitarian objects from British colonial collections. This acquisition, generously funded by the James Smithson Society of the Smithsonian National Associates, forms the core of “The Art of the Personal Object,” a permanent exhibition that opened at the museum on September 25, 1991. The exhibition comprises more than one hundred objects, principally from eastern …

• Mining the Museum

  Philip L Ravenhill•ARTICLE•African Arts•1993

  Incluir item

• Beyond Reaction and Denunciation

  Philip L Ravenhill•ARTICLE•African Arts•1995•Citada por: 2

  Incluir item

  Dans cette note, l'A denonce le pillage systematique des sites archeologiques du Mali et de la vente organisee (souvent au profit de l'occident) des objets provenant de ces sites. Il lance un appel pour la protection et la valorisation du Patrimoine malien

• African Art in Transit

  Philip L Ravenhill, Christopher B Steiner•ARTICLE•African Arts•1995

  Incluir item

• Seven Stories about Modern Art in Africa

  Philip L Ravenhill, Clémentine Deliss•ARTICLE•African Arts•1996•Citada por: 1

  Incluir item

• Dreams and Reverie

  Kathleen E Bickford, Philip L Ravenhill•ARTICLE•African Arts•1998•Citada por: 4

  Incluir item

• Likeness and Nearness

  Philip L Ravenhill•ARTICLE•African Arts•2000

  Incluir item

  L'A. tente de comprendre pourquoi dans les representations anthropomorphes de la statuaire baule de Cote d'Ivoire la tete est toujours plus grande par rapport a l'ensemble du corps. Cette disproportion correspond-elle a une intentionnalite artistique specifique ? Si oui, cette intentionnalite de l'emphase est-elle applicable a d'autres styles de l'art figuratif africain ? Selon l'A., la ressemblance et la proximite, les deux concepts qui caracter…

• Africa

  Henry John Drewal, Philip L Ravenhill•CHAPTER•2003

  Incluir item

• Baule

  Philip L Ravenhill•CHAPTER•2003

  Incluir item

Art (15 obras) · African history and culture studies (8 obras) · Epistemology (5 obras) · Geography (5 obras) · Philosophy (5 obras) · Visual arts (4 obras) · Aesthetics (3 obras) · Archaeology (3 obras) · Computer Science (3 obras) · Cultural Heritage Management and Preservation (3 obras)