Suchergebnisse

While analyzing all available sources for examining the criminal traditions of Italy, the main ones would include administrative protocols, well-known crime histories, criminal organizations and societies, statistics, observations, and results of working with the representatives of criminal organizations. However, up to this moment, no one has considered an additional source of information and data verification as a sociology of art. The purpose of this article is to analyze the significance of multidisciplinary scientific work, to exhibit the method of applying the sociology of art to study the behavioral and psychological characteristics of the criminal traditions of southern Italy based on Salvator Rosa artistic works, to demonstrate some trends and ways for improving and developing approaches and methods of scientific.

AbstractIn its current state the sociology of art markets is characterized by an externalist approach to the analysis of art value in which the art object is the repository of beliefs, judgements given to it by art market actors. However, a review of the literature on art museums poses a challenge to this externalist approach by focusing on the mutually constitutive relationship between the art object, its exhibition and museum context, and viewers. The article reviews this literature exploring the advantages of this line of research for a meaningful sociology of art markets. It will argue for the need to overcome its current externalist focus with studies of the emotional dimension of art market objects as well as of the practices of art market actors.

Considers the interdisciplinary nature of the sociology of art and its relationship with other fields of sociology and social psychology. Also discusses the relationship between artist, work of art and society. (SJO)

The German sociologist Dirk Baecker is one of the most prominent voices within contemporary social systems theory and German sociology, but is not well known within the wider circles of international sociology. He follows in the footsteps of Niklas Luhmann, yet in marked contrast with his 'sociological master' Baecker also gives ample attention to the notion of culture. This paper first summarizes some of the main lines in his writings on the notion of culture and on contemporary culture. It then continues with a succinct presentation of Baecker's approach to artistic communication against the background of this more general characterization of the relationship between the individual and society, conscious sensory perception and communication, in terms of an 'aesthetic coupling'. It will be shown that a recurrent figure of thought links up Baecker's various considerations on culture and art, i.e. the inclusion of the excluded.

This article sets Bauman's arguments on postmodern art against current debates in the sociology of arts, particularly in the so-called 'production of culture' approach, and its notion of 'art worlds'. It will argue that they offer two contradicting analytical positions on what constitutes art, which are, in principle, reductionist. However, they also help shed new light on a methodological model to understand 'cultural practice' in so-called postmodern art communities. The article is divided into three parts. First, it discusses Bauman's definitions of postmodern art; second, it re-contextualises Bauman's arguments within the production of culture approach. Third, it compares Bauman's notion of postmodern community with Becker's art worlds.

This articles brings up the most recent, internal discussions among researchers in the field of the sociology of arts, more precisely the thiking of experts who participated in a forum of culture organized in 2001. In her writing, Vera Zolberg accentuates, overall, the need for sociology of art to retain both its humanistic and scientific roots. She reminds that sociology of culture has developed from the sociology of art in recent decades. Next, she summarizes the tendencies and interests of researchers in the forum, by showing the fluidity of its possibilities and creative capacities. She mentions the most recent production in the field, proving that aesthetic elements play a crucial part in the sociological studies about the arts. According to Vera Zolberg, it is time to bring the arts back.

AbstractOver the past two decades, Howard Becker's Art Worlds and Pierre Bourdieu's The Rules of Art were guidelines for the dominant paradigms in sociology of art. Nevertheless, according to Bourdieu, sociology and art do not make a good match. To overcome this dilemma, the French sociologist Nathalie Heinich proposed a "sociology from art," based on the uniqueness of artists and their works, but she neglected artworks as sociological subject. A realistic and persistent criticism against sociology from the arts claims that artworks are fictions created by artists, therefore epistemologically unacceptable as social realities. Is it possible the making of sociology from artworks? Through theoretical review and using the example of literature, I will argue in this paper that artworks are important heuristic resources and a legitimate subject of sociological research.