Abstract

A series of lengthy and chatty arguments suggesting that most criticism written on the various arts is preoccupied with a misguided sense of the critics' own objectivity. Boas gives examples--there seem to be hundreds--aptly drawn to demonstrate his thesis that what the art-work actually meant to the artist and spectator varies from era to era, from culture to culture, and from class to class. On these grounds Mr. Boas offers a plea "for the understanding of disagreement in matters of taste."--G. D. D.