Suchergebnisse

A Marxist approach to the sociology of art is presented, based on the interrelation of history & sociology. Marxism is founded on the integration of actual historical processes, spontaneous historical beliefs, & scientific historicism into a single conceptual structure. This conceptual structure makes it possible to understand the conjoint nature of general & individual forms of expression, particularly in terms of aesthetics. The sociology of art must be founded on materialistic monism, but this is not the same as economic reductionism. Historical determinism should not be treated as a rigid process, but one that has room for individual creativity. W. H. Stoddard.

The French sociologist Nathalie Heinich has carried out innovative sociological analyses of the field of art since the 1980s. While she is a major figure in French sociology, most of her books are as yet not translated into English.The article seeks to communicate the main contours of Heinich's ideas to an Anglophone audience, by outlining the nature of her most important works concerned with modern and contemporary art, particularly concentrating on her most recent publications. Heinich's advocacy of a descriptive, interpretative sociology of art — as opposed to a `critical' sociology in the manner of Bourdieu — is depicted and considered. The article also traces out her growing orientation towards the development of a`sociology of values'.

AbstractThe following article explores the different ways art sociologists investigate art that is based in the participatory arts. The aim is to shift the empirical focus to the art practice, which speaks for itself, and to place the work of the artist and all who cooperate or collaborate in the making of the artwork at the center of sociological analysis. By allowing the artist to speak fully about their work, art sociologists can uncover new social and cultural phenomena and better understand the different motivations underlying art‐making. The following literature highlights the recent tendencies in the sociology of art, explores the "social turn" in art and presents different sociologists who focus on the art practice and the art's voice. For further development of the field, I suggest the sociology of art needs to catch‐up with the recent tendencies in art by placing the empirical focus on participatory art practices that will not only give us a better understanding about the intricate actions taking place in the art making, but it will also illuminate new layers of social life that are hidden. To conclude, I suggest that sociologists engage with participatory‐based artists to enhance sociology through a public sociology of art.

Cover -- Half Title -- Title -- Copyright -- Contents -- List of Figures -- Acknowledgements -- Notes on Contributors -- Introduction: 'Art' and Sociology David Inglis and John Hughson -- Key questions -- Structure and purposes -- Ways of seeing -- Part I Theory Past, Present and Future -- 1 Thinking 'Art' Sociologically David Inglis -- Introduction -- Taking issue with 'art' -- Taking issue with the 'artist' -- 'Art' and 'society' -- The 'art world' -- Conclusion -- 2 When Does Art Become Art? Assessing Pierre Bourdieu's Theory of Artistic Fields Jeremy F. Lane -- Introduction -- The social conditions of artistic reception -- The social conditions of artistic production -- The historical genesis of an autonomous field of production -- Conclusion -- 3 The Female Body in Women's Artistic Practice: Developing a Feminist Sociological Approach Alexandra Howson -- Introduction -- Making women's art -- The politics of the female body in women's art -- Psychoanalysis, postmodernism and visual culture -- Poststructuralism, philosophy and psychoanalysis (again) -- Feminism and art today -- Conclusion -- 4 A 'New' Paradigm for a Sociology of Aesthetics Robert W. Witkin -- Introduction -- Abstraction -- Semiotic systems -- Social systems -- Perceptual systems -- Haptic systems -- Optic systems -- Somatic systems -- Conclusion -- Acknowledgments -- 5 Invisible Aesthetics and the Social Work of Commodity Culture Paul Willis -- Introduction -- Everyday meanings -- Commodity culture and informal meaning-making -- Cultural commodities -- Making the invisible visible -- Representing the invisible -- Private and public 'art worlds' -- Conclusion -- Acknowledgement -- 6 Cultural Studies and the Sociology of Culture Janet Wolff -- Introduction -- Between 'social life' and 'texts' -- Sociology and 'culture' -- Conclusion: Towards rapprochement.

Diff concepts & Sch's of thought in the field of sociol of art are treated (1) to show relation & frontiers between sociol of art & the traditional sci's of art; (2) to consider how the sociol of art can be integrated in the soc sci's as a whole. It is shown that nonwithstanding a number of singular res results, all these attempts have not as yet established a systematic sociol of art, because they neglect the soc process which comes into existence through the 'Kunsterlebnis' (experience of art). Also, the COMM between producing & consuming individuals, groups or instit's is to be seen as the foundation of the work of art & not just as an accessory or by-product. The diff fields of res for an empirical sociol of art are enumerated. H. Jensen.

In the introduction to this issue of Przegląd Socjologii Jakościowej, we undertake an attempt to characterize the contemporary field of the sociology of art in Poland. For the point of departure, we took four generations of the sociology of art as defined by Nathalie Heinich as well as the identification of the following four elements: an artwork and its reception, an artist and a creative process, an audience, and a social-institutional framework. We try to draw the timeline of this sub-discipline by means of indicating works of Stanisław Ossowski (the sociology of art sensu largo) and Florian Znaniecki (the sociology of artist) as its beginning in the country. We also define the unique status of art sociology in Poland as a sub-discipline of the sociology of culture, as well as its mutual relations with different sciences. We analyze the emergence of scientific communities and the appearance and disappearance of research specializations during the period of over 80 years. Additionally, we indicate missing pages as well as thematic fields and perspectives that are still developing. We are aware of the fact that it is difficult to exhaust the problem of the history and status of art sociology in Poland within one article, which is why our objective is, rather, to indicate problems, perspectives, and ideas that can begin the discussion on the topic.

AbstractWe examine WEB Du Bois's writings about the arts in the NAACP journal The Crisis from 1910–1934 in order to construct a Du Boisian social theory of the arts. The key elements of this theoretical framework are: artists, money, freedom, organization, truth, beauty, and propaganda. The most surprising element is propaganda, which for Du Bois meant that art needs to address racial politics. There is a strong sense in Du Bois's writings that art can and should have socially transformative effects. Comparing Du Bois's work to current theories from the sociology of art, we find that Du Bois emphasizes the role of art in social change, while current work treats art primarily as a tool for social reproduction. We argue for expanding the theoretical toolbox of the sociology of the arts through greater consideration of Du Bois's propaganda concept.