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For one thing, the analogy between artworks and persons allows Danto to connect, in retrospect, the political currents of 1964, the year of the Freedom Summer and the Civil Rights Act, to his own discovery that seeing something as art requires us to look beyond appearances.
For people hoping nonetheless to comprehend the lives of elephants, there is an astounding wealth of information about them, a tiny fraction of which appears in the addendum at the end, a slightly larger fraction on my office shelves, and a realistically inexhaustible fund in libraries, databases, and oral histories around the world.
For one thing, the analogy between artworks and persons allows Danto to connect, in retrospect, the political currents of 1964, the year of the Freedom Summer and the Civil Rights Act, to his own discovery that seeing something as art requires us to look beyond appearances.
For people hoping nonetheless to comprehend the lives of elephants, there is an astounding wealth of information about them, a tiny fraction of which appears in the addendum at the end, a slightly larger fraction on my office shelves, and a realistically inexhaustible fund in libraries, databases, and oral histories around the world.