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“Reading-In”: Franz Boas’s Theory of the Beholder’s Share

“Reading-In”: Franz Boas’s Theory of the Beholder’s Share The German-American anthropologist Franz Boas (1858–1942) was one of the most protean and influential anthropologists of the twentieth century. In part based on his book Primitive Art (1927), this essay considers his theory of the beholder’s share in constructing the significance of visual form and in interpreting its meaning. Boas’s analysis of what he called “contradictions” between his indigenous informants’ exegeses of form lay at the heart of his conclusion that individual agents “read-in” to form some of the most crucial aspects of social experience that are most salient and specific to them. “Reading-in,” I argue, is the verbal speaking of visual “seeing-as,” and it infuses visual form with the diversity and particularity of a speaker’s grammatical choices undertaken within their natural human language(s). This model might now seem self-evident. At the time, however, it opened up the possibility of an “anthropology” of art and, to an extent as yet unrealized, the possibilities of its sociology and history. The essay evaluates Boas’s model in relation to other well-known accounts of the beholder’s share in art history, philosophy, and elsewhere and concludes with a discussion of the uptake of his idea in the “structuralism” of Roman Jakobson and Claude Lévi-Strauss. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Representations University of California Press

“Reading-In”: Franz Boas’s Theory of the Beholder’s Share

Davis, Whitney
Representations , Volume 144 (1): 33 – Nov 1, 2018
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Publisher
University of California Press
Copyright
Spring 2018 © The Regents of the University of California
ISSN
0734-6018
eISSN
1533-855X
DOI
10.1525/rep.2018.144.1.1
Publisher site
See Article on Publisher Site

Abstract

The German-American anthropologist Franz Boas (1858–1942) was one of the most protean and influential anthropologists of the twentieth century. In part based on his book Primitive Art (1927), this essay considers his theory of the beholder’s share in constructing the significance of visual form and in interpreting its meaning. Boas’s analysis of what he called “contradictions” between his indigenous informants’ exegeses of form lay at the heart of his conclusion that individual agents “read-in” to form some of the most crucial aspects of social experience that are most salient and specific to them. “Reading-in,” I argue, is the verbal speaking of visual “seeing-as,” and it infuses visual form with the diversity and particularity of a speaker’s grammatical choices undertaken within their natural human language(s). This model might now seem self-evident. At the time, however, it opened up the possibility of an “anthropology” of art and, to an extent as yet unrealized, the possibilities of its sociology and history. The essay evaluates Boas’s model in relation to other well-known accounts of the beholder’s share in art history, philosophy, and elsewhere and concludes with a discussion of the uptake of his idea in the “structuralism” of Roman Jakobson and Claude Lévi-Strauss.

Journal

Representations – University of California Press

Published: Nov 1, 2018

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