17 : 30 | Santiniketan
๐๐ผ๐ถ๐ป ๐๐ ๐๐ต๐ถ๐ ๐ช๐ฒ๐ฑ๐ป๐ฒ๐๐ฑ๐ฎ๐ ๐ฎ๐ ๐๐ฟ๐๐ต๐๐ต๐ถ๐น๐ฎ ๐ฆ๐ฎ๐ป๐๐ถ๐ป๐ถ๐ธ๐ฒ๐๐ฎ๐ป ๐ณ๐ผ๐ฟ ๐๐ต๐ฒ ๐ฏ๐ผ๐ผ๐ธ ๐ฑ๐ถ๐๐ฐ๐๐๐๐ถ๐ผ๐ป ๐๐ฒ๐๐๐ถ๐ผ๐ป ๐๐ถ๐๐น๐ฒ๐ฑ ‘๐๐ฟ๐๐ ๐๐ป
๐ฆ๐ผ๐ฐ๐ถ๐ฒ๐๐’ edited ๐ฏ๐ ๐๐๐ฎ๐ฅ ๐๐๐ซ๐ค๐๐ซ, ๐๐ต๐ถ๐ฐ๐ต ๐ถ๐ ๐น๐ฒ๐ฑ ๐ฏ๐ ๐๐๐ก๐ข๐ฉ๐ฌ๐ก๐ ๐๐ซ๐๐๐ก๐๐ง.
๐ญ๐ฏ๐๐ต ๐๐๐ด๐๐๐, ๐ฎ๐ฌ๐ฎ๐ฑ | ๐ช๐ฒ๐ฑ๐ป๐ฒ๐๐ฑ๐ฎ๐
๐ฑ:๐ฏ๐ฌ ๐ฝ๐บ ๐ผ๐ป๐๐ฎ๐ฟ๐ฑ๐
๐ข๐ฝ๐ฒ๐ป ๐๐ผ ๐๐น๐น.
Arts in Society is a widely respected collection of cultural criticism that has remained influential since its publication over three decades ago. Known for its clear and direct style, the book avoids vague or overly academic commentary, instead offering sharp insights into the role of art and culture in society. It features essays by major thinkers such as Angela Carter on male
pin-ups, John Berger on war photography, and Michael Wood on John Lennonโs lasting connection to his grammar school roots. The collection also explores the major social and moral shifts of the 1960s and 70s, ending with E.P. Thompsonโs powerful critique of Britainโs attachment to national pride and moral authority.
This discussion will explore a selection of essays from the book that stood out for their depth, relevance, or originality. These particular pieces either resonated on a personal level or offered fresh and thought-provoking perspectives on the cultural and political issues they address.
๐๐ฟ๐ฒ๐ฒ ๐ฎ๐ป๐ฑ ๐ผ๐ฝ๐ฒ๐ป ๐ณ๐ผ๐ฟ ๐ฎ๐น๐น.
๐ช๐ฒ ๐น๐ผ๐ผ๐ธ ๐ณ๐ผ๐ฟ๐๐ฎ๐ฟ๐ฑ ๐๐ผ ๐๐ฒ๐ฒ๐ถ๐ป๐ด ๐๐ผ๐ ๐๐ต๐ฒ๐ฟ๐ฒ!
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