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Creative Impulse An Introduction to the Arts

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9780136034933

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0136034934
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Pub. Date:
2/1/2008
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Pearson Prentice Hall
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Summary

This volume presents an overview of the arts in the Western tradition; within the contexts of the philosophy, religion, aesthetic theory, economics, and politics surrounding them. It is an historical introduction to the humanities yielding a basic familiarity with major styles and their implications, as well as a sense of the historical development of individual arts media.Chapters present and discuss a formal analysis of works of art in the following periods: the Ancient World, the Aegean and Archaic Greece, Greek Classicism and Hellenism, the Roman Period, Judaism and Early Christianity, Byzantium and Islam, the Early Middle Ages, the High Middle Ages, Early Renaissance, High Renaissance, the High, Renaissance and Reformation, the Baroque Age, the Enlightenment, the Romantic Age, Realism, Impressionism, Modernism, and Postmodernism.For art history enthusiasts and those interested in a familiarity with major styles and their implications, as well as a sense of the historical development.

Table of Contents

Sporre, Creative Impulsep. 8
Prefacep. 11
Introduction Understanding the Artsp. 13
Getting Startedp. 14
Two-Dimensional Artp. 14
Mediap. 14
Compositionp. 15
Techniques: Linear Perspectivep. 16
Sculpturep. 17
Dimensionalityp. 17
Texturep. 17
Techniques: Lost-Wax Castingp. 17
Architecturep. 18
Musicp. 19
Genresp. 19
Melody and Formp. 19
Techniques: Musical Notationp. 19
Theatrep. 20
Genresp. 20
Plot, Character, and Visual Elementsp. 20
Literaturep. 20
Genresp. 20
Point of View, Character, and Plotp. 21
Theme and Languagep. 21
Cinemap. 21
Dancep. 22
Genresp. 22
Line, Form, and Repetitionp. 22
Featuresp. 22
Glossary and Datingp. 22
Pronunciationp. 23
Profilesp. 23
Technologyp. 23
Masterworkp. 23
A Dynamic Worldp. 23
Maps and Timelinesp. 24
Chapter Openerp. 24
Chapter Reviewp. 24
Cybersources and Examplesp. 24
Putting The Arts In Contextp. 24
The Arts and Ways of Knowingp. 24
What Concerns Art?p. 25
Creativityp. 25
Aesthetic Communicationp. 25
Symbolsp. 26
Fine and Applied Artp. 26
The Functions of Artp. 26
Entertainmentp. 26
Political and Social Commentaryp. 26
Therapyp. 27
Artifactp. 27
Evaluating Works of Artp. 27
Approaches to Criticismp. 28
Making Judgmentsp. 29
The Ancient Worldp. 31
Contexts And Conceptsp. 32
Contextsp. 32
The Stone Agep. 32
Mesopotamiap. 33
Ancient Egyptp. 34
Conceptsp. 34
Individuality and Symbolsp. 34
Civilizationp. 35
Religionp. 35
Technology: The Invention of the Wheelp. 35
Literacyp. 36
Lawp. 37
The Arts Of The Ancient Worldp. 38
Paintingp. 38
Sculpturep. 39
Masterwork: The Human Form 1: The Tell Asmar Statuesp. 40
A Dynamic World: Ancient Chinap. 41
Profile: Akhenaton and Nefertitip. 45
Architecturep. 46
Musicp. 47
Dancep. 48
Literaturep. 48
The Aegean and Archaic Greecep. 53
Contexts And Conceptsp. 54
Contextsp. 54
Minoansp. 54
Mycenaeansp. 56
Technology: The Olive Pressp. 58
The Dark Centuriesp. 58
The Hellenesp. 58
Conceptsp. 59
The Polisp. 59
The Olympian Godsp. 60
"Love of Wisdom"p. 61
The Arts Of The Aegean And Archaic Greecep. 61
Paintingp. 61
Geometric Stylep. 61
Archaic Stylep. 62
Red- and Black-Figure Potteryp. 62
Sculpturep. 63
A Dynamic World: Native Americap. 63
Architecturep. 66
Musicp. 67
Dancep. 68
Literaturep. 68
Masterwork: Heroes 1: Homer, The Iliadp. 69
Profile: Sapphop. 70
Greek Classicism and Hellenismp. 75
Contexts And Conceptsp. 76
Contextsp. 76
The Persian Warp. 76
The "Golden Age"of Periclesp. 77
The Peloponnesian Warsp. 78
The Hellenistic Agep. 79
Technology: Hero's Steam Turbinep. 80
Conceptsp. 81
Historiap. 81
Sophistryp. 81
Stoicism and Epicureanismp. 82
Cynicism and Skepticismp. 82
Mystery Cultsp. 82
Ethicsp. 83
Aestheticsp. 83
Classicism and Hellenismp. 85
The Arts Of The Classical And Hellenistic Agesp. 85
Paintingp. 85
Sculpturep. 86
Classical Stylep. 86
A Dynamic World: The Nok Style of Africap. 87
Masterwork: The Human Form 2: Myron, Discus Throwerp. 88
Late Classical Stylep. 90
Hellenistic Stylep. 92
Architecturep. 93
Theatrep. 98
Tragedyp. 98
Profile: Aeschylusp. 99
Masterwork: Heroes 2: Sophocles, Oedipus the Kingp. 101
Comedyp. 102
Theatre Layout and Formp. 103
Musicp. 104
Dancep. 105
Literaturep. 105
The Roman Periodp. 111
Contexts And Conceptsp. 112
Contextsp. 112
The Etruscansp. 112
The Roman Republicp. 112
The Roman Empirep. 114
Conceptsp. 117
Roman Lawp. 117
Stoicismp. 117
Neo-Platonismp. 118
Divinities and Mystery Cultsp. 118
Classicismp. 119
Utilitarianism and Pragmatismp. 120
The Arts Of The Roman Periodp. 120
Paintingp. 120
A Dynamic World: Chinese Paintingp. 123
Sculpturep. 124
Architecturep. 126
Technology: Cementp. 129
Masterwork: The Dome 1: The Pantheonp. 130
Theatrep. 132
Comedyp. 132
Blood Sportp. 133
Musicp. 133
Dancep. 134
Literaturep. 134
Profile: Vergilp. 135
Judaism and Early Christianityp. 141
Contexts And Conceptsp. 142
Contextsp. 142
Hebrews, Israelites, and Jewsp. 142
Profile: Solomonp. 146
The Late Roman Empirep. 146
Technology: Matchesp. 147
Conceptsp. 148
Judaismp. 148
Christianityp. 149
The Arts Of Judaism And Early Christianityp. 155
Paintingp. 155
Judaismp. 155
Christianityp. 155
Sculpturep. 156
Late Romanp. 156
Early Christianp. 157
A Dynamic World: Shinto Sculpture in Japanp. 157
Architecturep. 159
Jerusalemp. 159
Masterwork: Buildings as Symbols 1: The Temple of Jerusalemp. 160
The Roman Empirep. 162
Music and Dancep. 165
Literaturep. 165
The Hebrew Biblep. 166
Apocalyptic Literaturep. 169
The New Testamentp. 169
Byzantium and Islamp. 175
Contexts And Conceptsp. 176
Contextsp. 176
Byzantiump. 176
Muhammad and the Rise of Islamp. 179
Profile: Muhammadp. 180
Conceptsp. 182
Orthodoxyp. 182
Islamp. 182
Intellectualismp. 183
Iconsp. 184
Byzantine Cultural Influencep. 184
The Arts Of Byzantium And Islamp. 185
Painting, Mosaics, and Manuscript Illuminationp. 185
Byzantiump. 185
Islamp. 188
Sculpturep. 189
Architecturep. 192
Byzantiump. 192
Technology: Spanning Space with Triangles and Potsp. 192
Masterwork: The Dome 2: Hagia Sophiap. 194
Profile: Anthemius of Trallesp. 195
Islamp. 197
A Dynamic World: Chinese Theatrep. 200
Theatre, Music, and Dancep. 201
Byzantiump. 201
Islamp. 201
Literaturep. 202
Byzantiump. 202
Islamp. 203
The Early Middle Ages
The Monastic and Feudal Romanesque Periodp. 209
Contexts And Conceptsp. 210
Contextsp. 210
The Middle Agesp. 210
The Medieval Churchp. 211
Profile: Pope Gregory I, the Greatp. 211
Charlemagne's Empirep. 212
Conceptsp. 213
Monasticismp. 213
Mysticismp. 214
Asceticism and Sufismp. 215
Feudalismp. 215
Technology: The Viking Shipsp. 217
The Carolingian Renaissancep. 218
The Arts Of The Early Middle Agesp. 218
Paintingp. 218
A Dynamic World: Igbo-Ukwup. 220
Sculpturep. 221
Masterwork: Organizing the Image 1: The Bronze Doors of Hildesheim Cathedralp. 222
Architecturep. 226
Theatrep. 229
Musicp. 229
Sacred Musicp. 229
Secular Musicp. 230
Profile: Hildegard of Bingenp. 230
Dancep. 231
Literaturep. 231
Legendsp. 231
Poets and Scholarsp. 232
The High Middle Ages
The Gothic Agep. 237
Contexts And Conceptsp. 238
Contextsp. 238
The Social Orderp. 238
The Hundred Years' Warp. 240
Technology: A Better Horse Collarp. 240
The Plaguep. 241
The Great Schismp. 241
Profile: Joan of Arcp. 242
The Crusadesp. 243
Conceptsp. 245
Chivalryp. 245
Secularismp. 245
Aristotelianismp. 246
Industrializationp. 246
The Arts Of The High Middle Agesp. 248
Paintingp. 248
Sculpturep. 253
Architecturep. 256
Masterwork: Buildings as Symbols 2: Chartres Cathedralp. 258
Theatrep. 262
A Dynamic World: Noh Theatre of Japanp. 263
Musicp. 265
Dancep. 266
Literaturep. 267
Religionp. 267
Profile: Geoffrey Chaucerp. 268
Profile: St Francis of Assisip. 272
Secularismp. 272
The Early Renaissancep. 277
Contexts And Conceptsp. 278
Contextsp. 278
The Renaissancep. 278
The World Discoveredp. 279
Technology: Flywheels and Connecting Rodsp. 280
The Papal Statesp. 280
Italian City-Statesp. 280
The Quattrocento in Florencep. 282
Conceptsp. 283
Humanismp. 283
Individualismp. 284
Scientific Naturalismp. 284
Capitalismp. 284
The Arts Of The Early Renaissancep. 285
Paintingp. 285
The Masaccian Heritagep. 285
Lyricismp. 289
A Dynamic World: Chinese Painting and Musicp. 291
Sculpturep. 292
Architecturep. 295
Masterwork: The Dome 3: Florence Cathedralp. 296
Theatrep. 298
Musicp. 299
Dancep. 299
Literaturep. 300
Profile: Niccol Machiavellip. 301
The High Renaissance and Mannerismp. 305
Contexts And Conceptsp. 306
Contextsp. 306
The Expanding Worldp. 306
The Papal Statesp. 307
Spain's Golden Centuryp. 308
Technology: Leonardo: Turning the Screwp. 310
The Ottoman Turksp. 311
Conceptsp. 311
Classicismp. 311
The High Renaissancep. 312
Mannerismp. 312
The Arts Of The High Renaissance And Mannerismp. 313
Paintingp. 313
The High Renaissance in Romep. 313
Profile: Michelangelop. 316
The High Renaissance in Venicep. 320
Mannerismp. 322
A Dynamic World: Painting in Indiap. 322
Sculpturep. 324
Masterwork: The Human Form 3: Michelangelo, Davidp. 325
Architecturep. 326
Theatrep. 330
Musicp. 333
Sacred Choral Musicp. 333
Secular Choral Musicp. 334
Instrumental Musicp. 335
Literaturep. 335
Renaissance and Reformation in Northern Europep. 341
Contexts And Conceptsp. 342
Contextsp. 342
The Reformationp. 342
Reformersp. 342
Profile: Martin Lutherp. 344
Sciencep. 347
Technology: Naval Artilleryp. 348
Conceptsp. 348
Christian Humanismp. 348
Utopianismp. 349
The Arts Of The Renaissance And Reformation In The Northp. 349
Paintingp. 349
Flandersp. 349
The Netherlandsp. 351
Germanyp. 353
A Dynamic World: Ming Dynasty Porcelainp. 357
Francep. 357
Englandp. 358
Architecturep. 358
Theatrep. 358
Masterwork: Heroes 3: Shakespeare, Hamletp. 360
Musicp. 361
Flandersp. 361
Germanyp. 363
Francep. 363
Englandp. 363
Dancep. 365
Literaturep. 366
The Baroque Agep. 371
Contexts And Conceptsp. 372
Contextsp. 372
The Catholic and Counter-Reformationp. 372
The Wars of Religionp. 374
The Scientific Revolutionp. 374
Technology: Standardized Measurementp. 375
Conceptsp. 377
Academicismp. 377
Scientific Rationalismp. 377
Social Contractp. 377
Absolutismp. 378
The Arts Of The Baroque Agep. 379
Paintingp. 379
Italyp. 380
Spainp. 381
Flandersp. 382
Francep. 383
The Netherlands (Holland)p. 384
Sculpturep. 387
Architecturep. 390
A Dynamic World: The Taj Mahalp. 390
Profile: Sir Christopher Wrenp. 394
Masterwork: The Dome 4: St Paul's Cathedralp. 394
Theatrep. 396
Musicp. 398
Instrumental Musicp. 398
Profile: Johann Sebastian Bachp. 399
Vocal Musicp. 400
Operap. 401
Dancep. 403
Literaturep. 404
Spainp. 404
Englandp. 404
The Enlightenmentp. 409
Contexts And Conceptsp. 410
Contextsp. 410
The Enlightenmentp. 410
Technologyp. 412
Technology: James Watt and the Steam Enginep. 412
Economics and Politicsp. 413
Profile: Maria Theresap. 414
Conceptsp. 415
Rationalismp. 415
Aestheticsp. 415
Humanitarianismp. 415
Profile: Voltairep. 417
Classicismp. 418
Feminismp. 418
The Arts Of The Enlightenmentp. 419
Paintingp. 419
Rococo Stylep. 419
The English Schoolp. 420
Genrep. 423
Neoclassicismp. 423
Masterwork: Organizing the Image 2: David, The Oath of the Horatiip. 424
Sculpturep. 425
Architecturep. 427
Theatrep. 430
Britainp. 430
Americap. 430
Francep. 431
A Dynamic World: Japanese Kabuki Theatrep. 431
Musicp. 432
Pre-Classical Stylep. 432
Expressive Stylep. 432
Classical Stylep. 433
Dancep. 437
Literaturep. 438
Rococop. 438
Neoclassicismp. 441
Humanitarianismp. 442
Feminismp. 442
Genrep. 443
Pre-Romanticp. 443
The Romantic Agep. 447
Contexts And Conceptsp. 448
Contextsp. 448
Technologyp. 448
Technology: Exact Tolerancep. 449
Social Changesp. 449
The Victorian Agep. 451
Conceptsp. 451
Marxismp. 451
Evolutionp. 451
Idealismp. 452
Positivism and Materialismp. 452
Internationalismp. 452
Patronagep. 453
Romanticismp. 453
The Arts Of The Romantic Agep. 454
Paintingp. 454
Masterwork: Organizing the Image 3: Gricault, The Raft of the "Medusa"p. 455
A Dynamic World: Japanese Paintingp. 457
Profile: Rosa Bonheurp. 459
Architecturep. 460
Theatrep. 460
Popularism and Historicismp. 462
Melodramap. 463
Musicp. 463
Liederp. 463
Piano Worksp. 464
Program Musicp. 465
Symphoniesp. 466
Trendsp. 466
Choral Musicp. 466
Profile: Johannes Brahmsp. 467
Operap. 468
Dancep. 469
Literaturep. 471
Romanticism in Europep. 471
American Renaissancep. 475
Realism, Impressionism, and Beyondp. 481
Contexts And Conceptsp. 482
Contextsp. 482
European Migrationp. 482
Workers and Socialismp. 483
The German Reichp. 484
A Scientific Explosionp. 484
Technology: Coca-Colap. 485
Nietzschean Philosophyp. 486
Freudian Psychologyp. 487
Conceptsp. 487
Aestheticismp. 487
Functionalismp. 488
The Arts: Realism, Impressionism, And Beyondp. 488
Painting and Sculpturep. 488
Realismp. 488
Masterwork: Organizing the Image 4: Manet, Djeuner sur l:herbep. 490
Pre-Raphaelitesp. 491
Impressionismp. 492
A Dynamic World: Japanese Paintingp. 496
Post-Impressionismp. 497
Cubismp. 500
Mechanism and Futurismp. 502
Expressionismp. 502
Fauvismp. 503
Architecturep. 504
Profile: Louis Sullivanp. 506
Theatrep. 507
Realism and Naturalismp. 507
Symbolismp. 508
Aestheticismp. 508
Expressionismp. 508
Musicp. 509
Impressionismp. 509
Naturalismp. 509
Nontraditionalismp. 510
Profile: Igor Stravinskyp. 511
Dancep. 512
Ethnic Foundationsp. 512
Balletp. 512
Modern Dancep. 514
Literaturep. 514
Realismp. 514
Pre-Raphaelitesp. 515
Naturalismp. 515
Impressionismp. 516
Symbolismp. 517
Futurismp. 517
Expressionismp. 517
Cubismp. 518
Cinemap. 518
Modernismp. 523
Contexts And Conceptsp. 524
Contextsp. 524
The Modern World in Conflictp. 524
Between the Warsp. 527
World War IIp. 529
Science and Warp. 531
Technology: Computersp. 532
Conceptsp. 532
Pragmatismp. 532
Existentialismp. 533
Abstractionp. 533
Modernismp. 534
The Arts In The Modern Worldp. 534
Painting and Sculpturep. 534
Abstractionp. 535
Dadap. 535
Surrealismp. 536
American Paintingp. 537
Profile: Georgia O:Keeffep. 537
The Harlem Renaissancep. 539
Central American Paintingp. 540
African and Primitive Influencesp. 540
A Dynamic World: African Masksp. 540
Photographyp. 542
Architecturep. 543
Masterwork: Buildings as Symbols 3: Wright, Kaufmann Housep. 544
Theatrep. 547
Epic Theatrep. 547
Absurdismp. 547
Musicp. 548
Modern Traditionalismp. 548
Departuresp. 548
Jazzp. 550
Dancep. 550
Modern Dancep. 550
Literaturep. 551
Modernismp. 551
The Chicago Renaissancep. 554
The Harlem Renaissancep. 555
Cinemap. 555
Europep. 555
The Rise of the Studiop. 556
New Genresp. 556
Social Commentaryp. 556
From Modernism to Postmodernism and Beyondp. 559
Contexts And Conceptsp. 560
Contextsp. 560
Decolonizationp. 560
The Cold Warp. 561
European Unificationp. 562
Science and Libertyp. 562
Technology: Robotsp. 562
Conceptsp. 563
Postmodernismp. 563
Pluralismp. 563
The Arts From Modernism To Postmodernism And Beyondp. 564
Painting and Sculpturep. 565
Postwar Modernismp. 565
Masterwork: Organizing the Image 5: Frankenthaler, Buddhap. 566
Profile: Pablo Picassop. 567
Postmodernismp. 577
Pluralismp. 585
Architecturep. 586
Postwar Modernismp. 586
Postmodernismp. 589
Pluralismp. 593
Theatrep. 593
Postwar Modernismp. 593
Postmodernismp. 594
Pluralismp. 596
Musicp. 598
Postwar Modernismp. 599
Postmodernismp. 601
Profile: Richard Danielpourp. 602
Pluralismp. 603
Dancep. 605
Modernp. 605
Balletp. 606
Postmodernp. 606
Pluralismp. 606
Literaturep. 607
Postmodernismp. 607
Pluralismp. 608
Cinemap. 611
International Film and the Demise of the Studiop. 611
Pluralismp. 612
Glossaryp. 614
Further Readingp. 622
Notesp. 624
Literary Acknowledgmentsp. 625
Picture Creditsp. 626
Indexp. 627
MAPS
Sites of prehistoric importance in Europep. 33
The ancient Near and Middle East, showing peoplesp. 34
The Aegeanp. 55
Ancient Greecep. 77
The Roman Republic, 264-31 B.C.E.p. 114
The Roman Empire to 280 C.E.p. 115
Lands of the Bible, showing trade routesp. 143
The Roman Empire in the fourth century C.E.p. 148
The spread of Christianityp. 150
The empire of Justinian I, showing peoplesp. 177
The Byzantine Empire, 1340-1403p. 179
The Byzantine and Islamic empires, 814p. 181
Growth of the empire of Charlemagne, 768-814, and its division, 843p. 212
The Crusadesp. 244
Renaissance Italyp. 281
European trade in the fifteenth centuryp. 285
World exploration, 1487-1610p. 307
Religious divisions in sixteenth-century Europep. 343
Map of Europe from the Atlas sive cosmo graphicae published by Gerard Mercator, Duisburg, 1585p. 347
Scientific thinkers and philosophes of the Enlightenmentp. 416
The industrialization of Europe in the nineteenth centuryp. 450
European emigration in the eighteenth and nineteenth centuriesp. 483
Europe on the eve of World War Ip. 526
World War II in Europep. 530
World War II in the Pacificp. 531
Collapse of the Soviet bloc, 1989-93p. 561
Table of Contents provided by Publisher. All Rights Reserved.

Excerpts

ࡱ > 9 ; 8 #' B bjbj .* B b b b b b b b v , v j $ V h z b b b $ Y Y Y b b Y Y Y b b Y ziw + Y : 0 j Y 8 5 8 e e 0 8 b @ Y , q C j v v v D v v v v v v b b b b b b SPORRE, THE CREATIVE IMPULSE, 8th editionPrefaceThis edition, the eighth, maintains The Creative Impulses overall focus and intent: to present an overview of the arts in the Western tradition within the contexts of philosophy, religion, aesthetic theory, economics, and politics. The text remains an historical introduction to the humanities from which the reader will gain a basic familiarity with major styles and their implications as well as a sense of the historical development of individual arts disciplines. The major focus of the text is still the arts and their interrelationships. Another emphasis fundamental to the book also remains: an emphasis, by example, on the formal analysis of works of art, which supplements discussion of them. By including several such analyses, I aim for students to infer how to see, hear, read, and put into words what makes a particular work of art tick, so to speak. Developing confidence in relating and responding to works of art, both verbally and viscerally, allows students to carry their interest in the arts beyond the confines of the classroom and the timeframe of the course into the rest of their lives. That lifelong relationship with the arts forms the purpose of introductory humanities courses. When encountering an artwork for the first time we often lack access to biographical or contextual materials. We have only the artwork and the ability to confront it, either with or without confidence. Thus, the analyses, which examine how art works in terms of line, form, color, melody, plot, and so on, provide a means by which people can approach, respond to, and share artworks in an on-the-spot manner; the way we encounter works of art in real life. Several important changes have been made in this edition. More than sixty new illustrations and maps and a number of new literature extracts have been added. With illustrations of works such as Christo and Jeanne-Claudes The Gates, new-media artist Simon Pennys interactive Big Father, the Burj Dubai, and movie stills from Shrek 2 and Oceans 11 (all in Chapter 17), students can experience and feel compatible with the arts of their own time. The Music for the Humanities CD has been fully integrated into the text, and each selection now has an accompanying discussion. Granting the reader easy access to the music described by the text, a CD icon now appears in the book whenever a selection is mentioned. The Masterwork features have been linked thematically to enhance connectivity among periods and chapters. For instance, the theme Heroes links discussion of Homers Iliad with Sophocles Oedipus the King and Shakespeares Hamlet; The Human Form links the Tell Asmar statues with Myrons Discobolus and Michelangelos David; The Dome links the Pantheon with Hagia Sophia, Florences Duomo, and Londons St Pauls Cathedral. Each Masterwork relates to several Masterworks in other chapters. As a result, the readers consideration of these works of art expands to different examples and different eras. Based on popular request from reviewers, there are new sections on modern and contemporary topics including photography, jazz, and digital media. New material on photography appears in Chapters 15, 16, and 17. In addition, discussions of jazz have been greatly enhanced in Chapters 16 and 17. An entirely new section on digital media (new-media) appears in Chapter 17. In the Introduction, the discussion of criticism has been revised to consider meaning and to improve comprehension. Finally, the Further Reading section has been updated so that those who wish to delve more deeply into the material covered in the text will have up-to-date authorities to consult. Much of the planning and many of the specific changes for this revision were based on the observations and expressed needs of humanities instructors and users of the book from around the country. The following individuals, to whom I am very grateful, undertook a detailed, line-by-line review of the seventh edition of The Creative Impulse, and their suggestions provided a solid springboard for the preparation of the eighth edition. My thanks go to Linda Pastryk; Helen Barnes of Butler Community College, El Dorado; Karen Buttitta, Emerita of Ward Melville High School, East Setauket; Claire Ellis of Inver Hills Community College, Inver Grove Heights; Amy Hickman of Collins College, Phoenix; Aditi Samarth of Richland College, Dallas; and Joyce Kerr Tarpley of Mountain View College, Dallas. I have done my best to incorporate their helpful suggestions in this edition, hoping for the result of increased accuracy, clarity, and immediacy.Dennis J. Sporre * 1 2 3 V W k $ , S T ! * , ( ĻİĿĿ}}}uuum hT= CJ aJ h~ CJ aJ h CJ aJ hap CJ aJ h$F} CJ aJ hC CJ aJ h CJ aJ hI'' h CJ aJ hI'' hP CJ aJ hP 6 CJ aJ hP CJ aJ h _D CJ aJ h C >* CJ aJ h _D >* CJ aJ h C 6 CJ aJ hC 6 CJ aJ h C CJ aJ ) * 2 3 T D 1 B $ a$ gdF_ gdGk gd C B % - . A Q S C \ x { սժŪyyſqe hGk hGk 6 CJ aJ hG# CJ aJ hw/w hw/w 6 CJ aJ h? CJ aJ hNb CJ aJ hH hI'' 6 CJ aJ hI'' 6 CJ aJ hI'' CJ aJ hGk h R CJ aJ h R CJ aJ hw/w CJ aJ h CJ aJ hGk hGk CJ aJ hGk CJ aJ hT= CJ aJ hP CJ aJ h%z' CJ aJ & : Y v ~ + 0 A Q d j k l A G H I K L S ' ^ v w z ŽŴŴŴſŴ𿡿ؽ h c CJ aJ h T# CJ aJ h? h? 6 CJ aJ hH CJ aJ hH h? CJ aJ h? 6 CJ aJ h3 CJ aJ h? 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