Suchergebnisse

Important issues are obscured if people assume that describing sociology as a vocation is talking of it as a career. Drawing on Max Weber and Martin Buber, I argue that a vocation only exists when there is a shift in the space, time and ontology of ordinary purposive life. When manifesting a vocation, the sociologist is not an acting subject but part of an unfolding presence. Understood vocationally, then, sociology should not be taught as an object with which students are to identify; it must be taught through ascetic practices that suspend the student sociologist's subjectivity and allow them to find their potential through their relation with an other that is different but not outside. The emphasis should be not on the student's comprehension of sociological content but on the ethics of their encounter; the discipline of vocational sociology is not based on the desire of subjectification but on love.

Au lieu d'écrire, la plupart des sociologues se conferment encore à l'orthodoxie de l'auteur et de l'éloquence en faisant des comptes rendus, en recopiant ou en prenant des notes. En évoquant des expériences d'ecriture bien connues, liées à la mort du sujet connaissant et de l'auteur éloquent, nous voulons montrer que le modèle expressif est seulement persuasif si nous réprimons ce que nos corps écrivants savent de l'inspiration, de la communion, de la méditation, de l'annonciation, du génie, de la prophétie, des anges, des fantômes, de la possession, de l'intuition, de la passion, du ravissement et de l'extase. Ces injonctions transformatives, que les écrivains expérimentent chaque jour, sont les fondements de la créativité et de la socialité. Elles viennent appuyer l'hypothèse de Levinas voulant que la possession ou l'enthousiasme soient dissimulés au coeur de l'écriture et d'autres activity, qu'un délire plus profond que la pensee sous‐tende la pensée.Instead of writing, most sociologists still adhere to an authorial and expressive orthodoxy by writing up, writing out or writing down. By evoking familiar writerly experiences of the death of the knowing subject and the expressive author, I want to show that the expressive model is only persuasive if we repress what our writing bodies know of inspiration, communion, muses, annunciation, genius, prophecy, angels, ghosts, possession, intuition, passion, rapture and ecstasy. These transformative summonses, experienced daily by writers, are the bases of creativity and sociality. They support Levinas' suggestion that enthusiasm or possession are concealed at the heart of writing and other activities, that "a delirium more profound than thought" supports thought.