André Leroi-Gourhan

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André Leroi-Gourhan
Birthday
BirthplaceParis
Died
NationalityFrench

Leroi-Gourhan, André

 

Born Aug. 25, 1911, in Paris. French archaeologist and ethnologist. Professor at the University of Paris (from 1956); director of the Institute of Ethnology (from 1963).

Leroi-Gourhan is best known for his investigations of Upper Paleolithic sites and dwellings and cave art and sculptured representations. He systematized the latter by classifying them into epochs and styles; he considered this art to be a reflection of primitive mythology. In his book Evolution and Technology (vols. 1–2, 1943–45) he provided a universal systematics of the phenomena of material culture, tracing its evolution from the primitive to the age of machines and seeking to substantiate general laws of “technomorphology” and the rule of “technical determinism.” His book The Gesture and the Word (vols. 1–2, 1964) attempts an even more sweeping universal historical generalization. The development of human culture in this work is regarded as part of the evolution of living matter. Biological evolution, in the view of Leroi-Gourhan, leads to ethnic and cultural development. Leroi-Gourhan’s conception, flawed by excessive technicality and a belief in the biological determination of social processes, is not accepted by Soviet scholars and scientists.

WORKS

“Religii doistorii.” In the collection Pervobytnoe iskusstvo. Novosibirsk, 1971. (Translated from French.)
Préhistoire de l’art occidentale. Paris, 1965.

REFERENCE

Tokarev, S. A. “A. Lerua-Guran i ego trudy po etnografii i arkheologii.” In the collection Etnologicheskie issledovaniia za rubezhom. Moscow, 1973.
References in periodicals archive ?
Andre Leroi-Gourhan discorreu, certa vez, sobre a essencial transformacao da relacao entre o homem e o espaco, verificada durante a revolucao neolitica (LEROI-GOURHAN, s.
On sait que pour Andre Leroi-Gourhan la tendance est un concept classificatoire qui permet une mise en ordre des differentes formes que prend le binome geste/matiere.
Rather than a Marxist take on reification, however, Noland's analysis is guided by what she calls the human body's social "inscription"; a conspicuous gesture to underscore that the work of Marcel Mauss and Andre Leroi-Gourhan anticipates the later development, specifically within the Frankfurt School, of the notion of social control of the self and its "agentic" means of countering this control.
In this long critique of Heidegger, through analyses of Gilbert Simondon, Andre Leroi-Gourhan, and Jacques Derrida, Stiegler re-reads the myth of Prometheus and challenges the strands of Western philosophy that posited an originary, non-technological human.
Importing other ostensibly non-philosophical materials into his conceptual inventory, he notably makes extensive use of the paleontologist and little-acknowledged pioneer of French structuralism Andre Leroi-Gourhan.
23) Andre Leroi-Gourhan, L'art parietal, langage de la Prehistoire (Paris: Jerome Millon, 1992).
Curtis does have some fun with another esteemed French expert, Andre Leroi-Gourhan (1911-86), who saw the paintings as a grand representation of the male-female principle and deduced that all the bison were female symbols and all the horses male.
En 2000, Marcel Otte y Laurence Remacle senalaban que "parece vano pretender descubrir una tendencia evolutiva [en el arte paleolitico], tal y como lo habia supuesto Andre Leroi-Gourhan.
So, for instance, the woman/bison binome, which was first studied by Andre Leroi-Gourhan and seems to be associated with a 'complex conceptuality', is typical of European rock art.
Algunos de estos problemas ya habian sido formulados por Andre Leroi-Gourhan y Jacques Tixier, pero cobran ahora una vision cronologica en el proceso de transformacion de la materia prima.
Discussing the semiotic structuralist approach of the paleontologist Andre Leroi-Gourhan at length, he argues that, at its origin, figural art is in direct union with language, without intermediaries of shared speech or gesture--that is, language and the figural arts share the same purpose of representing "image and idea in coordination.
The de-functionalisation of the paw, which thereby becomes the hand or the foot, is the very opening of technicity, and constitutes a re-functionalisation (a functional re-equilibration or readjustment, as Andre Leroi-Gourhan says): the hand is then the producer of signs, objects, artefacts, prostheses, and works.