Mohamed Idyassine
Phd Student , UIZ University Agadir, Morocco
DOI : https://doi.org/10.47191/ijmra/v7-i05-21Google Scholar Download Pdf
ABSTRACT:
Doris Sommer's Book The Work of Art in the World: Civic Agency and Public Humanities must be received as vivid recollections of anecdotal and yielding civic interventions. Most of these celebrated creative social interventions relate either to confident "high-ranking" political leaders or weird grassroots artists in some particular socioeconomic contexts already in paralysis.no doubt, such models of civic initiatives cannot be transposed to other communities; therefore, it is easy to reject Sommer's propositions as over-optimistic and operationally inapplicable. It is also acceptable here to restate the reactions of the Duke Press editors who told Doris Sommer right at the onset that this book "is too much theory" and "no one wants to read theory".1
REFERENCES
1) Schiller, Friedrich, Elizabeth M. Wilkinson, and L A. Willoughby. On the Aesthetic Education of Man: In a Series of Letters. Oxford: Clarendon P, 1968. Print.
2) Warner, Michael. Publics and Counterpublics. Zone Books, 2002.
3) MIT Program in Art, Culture and Technology. Doris Sommer, The Work of Art in the World: Civic Agency and Public Humanities, March 2, 2015. https://www.youtube.com/watch?v=AJANn193KD0&t=3405s
4) Freire, Paulo. Pedagogy of the Oppressed. Penguin Classics, 2017.
5) Sommer, Doris. The Work of Art in the World: Civic Agency and Public Humanities. Duke University Press. 2014.
6) Warner, Michael. Publics and Counterpublics. New York: Zone Books, 2002.
Volume 07 Issue 05 May 2024
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