Much of Arnold Hauser’s work on the social history of art and the philosophy of art history is informed by a concern for the cognitive dimension of art. The present paper offers a reconstruction of this aspect of Hauser’s project and identifies areas of overlap with the sociology of knowledge—where the latter is to be understood as both a separate discipline and a going intellectual concern. Following a discussion of Hauser’s personal and intellectual background, as well as of the shifting (...) political and academic setting of his work, the paper addresses one of Hauser’s central questions, viz. how best to square a thoroughgoing commitment to the social nature of art with the reality of successive artistic styles, given that the latter seem to be characterizable on purely formal grounds. This is followed by a discussion of Hauser’s conflicted views on the relation between art, science, and technology. This injects a tension into Hauser’s work, due to his initial reluctance to explain just how the aesthetic and the cognitive realms relate. The final part of the paper, through a closer examination of the analogies and disanalogies that Hauser sees between art history and the history of science, attempts to give a positive answer—“on Hauser’s behalf”, as it were—to the question of whether art may be credited with a specific cognitive dimension of its own, and if so, what its contribution to our cognitive enterprise may consist in. (shrink)

Much of Arnold Hauser’s work on the social history of art and the philosophy of art history is informed by a concern for the cognitive dimension of art. The present paper offers a reconstruction of this aspect of Hauser’s project and identifies areas of overlap with the sociology of knowledge—where the latter is to be understood as both a separate discipline and a going intellectual concern. Following a discussion of Hauser’s personal and intellectual background, as well as of the shifting (...) political and academic setting of his work, the paper addresses one of Hauser’s central questions, viz. how best to square a thoroughgoing commitment to the social nature of art with the reality of successive artistic styles, given that the latter seem to be characterizable on purely formal grounds. This is followed by a discussion of Hauser’s conflicted views on the relation between art, science, and technology. This injects a tension into Hauser’s work, due to his initial reluctance to explain just how the aesthetic and the cognitive realms relate. The final part of the paper, through a closer examination of the analogies and disanalogies that Hauser sees between art history and the history of science, attempts to give a positive answer—“on Hauser’s behalf”, as it were—to the question of whether art may be credited with a specific cognitive dimension of its own, and if so, what its contribution to our cognitive enterprise may consist in. (shrink)

Loïc Wacquant’s article ‘Homines in Extremis’ outlines five propositions about habitus that support a broader and richer use of Bourdieu’s famous concept. His article was a response to a new edited volume by Sanchez and Spencer under the title Fighting Scholars. In this article, I support Wacquant’s argument, but suggest that he undersells habitus as a topic of and tool for inquiry. I point to previous conversations about habitus and suggest that we may learn more about social phenomena by engaging (...) the relational aspects of habitus and the social aspects of the incorporation of habitus. (shrink)

Introducing the first macro-sociological perspective on the concept of creativity this book includes a review of ten domains which have studied creativity. It also explores the results of a six-year on-going research project comparing students' ideas on creativity with employers' and industry professionals' views.

In the interview in this article, Randall Collins discusses various aspects of his oeuvre. First, he considers why interaction rituals (IRs) in religion are special emotional transformers. This is followed by a discussion of IRs in the digital age and the symbolic and economic power that is required to orchestrate IRs in politics and revolutions. Then comes a discussion of social scientific research into violence, in the past and more recently. The interview continues with a reflection on the notion (...) of attention space, a concept which Collins has applied in analyses of violent interactions and the intellectual struggles between philosophers. Finally, the article considers the state of the art of sociology and its future prospects, evaluating its potential for rapid discovery and its position on the abstraction-reflexivity continuum. As the interview demonstrates Collins’s insightful sociological craftsmanship, it provides social scientists with a strong and optimistic lead in how to do social theory. (shrink)

The oral eye is a metaphor for the dominance of global designer capitalism. It refers to the consumerism of a designer aesthetic by the 'I' of the neoliberalist subject, as well as the aural soundscapes that accompany the hegemony of the capturing attention through screen cultures. An attempt is made to articulate the historical emergence of such a synoptic machinic regime drawing on Badiou, Bellmer, Deleuze, Guattari, Lacan, Rancir̈e, Virilio, Ziarek, and Zizek to explore contemporary art (post-Situationism) and visual cultural (...) education. Jagodzinski develops the concept of an 'avant-garde without authority,' 'self-refleXion' and 'in(design)' to further the questions surrounding the posthuman as advanced by theorists such as Hansen, Stiegler and Ziarek's 'force' of art. (shrink)

La sociologie de Comte nous permet d’aborder une question qui se pose, aujourd’hui encore, aux sciences sociales : celle des rapports entre sociologie et science politique. En dépit d’une intégration de principe, dont on analyse les principaux aspects, Comte pense la politique d’une façon spécifique au sein de sa sociologie. La politique relève d’une science de l’acteur et non seulement de l’analyse des rapports collectifs. En cela l’invention de la science sociale chez Comte démontre une capacité à penser la (...) politique plus pertinente que les sociologies qui lui succéderont.Comte’s sociology allows to deal with an issue which is still raised nowadays in the field of social sciences : the relation between sociology and political science. Despite the principle of a full integration, the main aspects of which are sketched here, Comte understands politics in a specific way. The science of Politics is about the role of actors, and cannot be reduced to the analysis of collective bonds. To this extent, the invention of social science with Comte demonstrates a more accurate understanding of political phenomenons than it will then be the case with posterior sociologies. (shrink)

This book considers the experience of enchantment in art. Considering the essential characteristics, dynamics and conditions of the experience of enchantment in relation to art, including liminality, it offers studies of different kinds of artistic experience and activity, including painting, music, fiction and poetry, before exploring the possibility of a life oriented to enchantment as the activity of art itself. With attention to the complex relationship between wonder in art and the programmatic disenchantment to which it is often subject, the (...) author draws on the thought of a diverse range of philosophers, sociological theorists and artists, to offer an understanding of art through the idea of enchantment, and enchantment through art. An accessible study, richly illustrated with experience - both that of the author and others - Art and Enchantment will appeal to scholars and students of sociology, anthropology, philosophy, and anyone with interests in the nature of aesthetic experience. (shrink)

Max Weber’s contribution to cultural sociology has received insufficient attention, due to the unfinished character of his work and its reception. This paper investigates aspects of his contribution in relation to the field of art, broadly conceived, and in terms of the uses of his ideas by historians of art and design, such as T. J. Clark. Weber’s social theory considers art from two perspectives: the relative autonomy of cultural and artistic forms and modes of expression, and the social (...) construction of works of art and culture. From the latter point of view technics and the technical become important factors in a double sense: The technologies of modern civilization external to art shape the “spirit” of art and its contents, and development in art proceeds as an effort to solve technical problems internal to the art form itself. Examples from painting, architecture and music illustrate the relationships. It is these perspectives that characterize the Weberian approach to art and invite further investigation as contributions to cultural sociology and social theory. (shrink)

Lasting things : Durkheim as a founding father of the sociology of culture -- Before mediation : social readings of arts -- Sociology and the art object : belief, illusion, artefacts -- The social history of art : reinserting the works into society -- The new history of art : the social in the art work -- The baroque case : musical upheavals -- "What can you hear?" : an ethnographic study of a music lesson -- "Bach today" -- Intermezzo. (...) A sociologist at the Zenith concert hall -- Music lovers : taste as an activity -- Conclusion. The representation of music : in praise of musical artifice -- Epilogue. "Vor deinen Thron". (shrink)

This book offers an interdisciplinary analysis of the social practice of taste in the wake of Pierre Bourdieu¿s sociology of taste. For the first time, this book unites sociologists and other social scientists with artists and curators, art theorists and art educators, and art, design and cultural historians who engage with the practice of taste as it relates to encounters with art, cultural institutions and the practices of everyday life, in national and transnational contexts. The volume is divided into four (...) sections. The first section on ¿Taste and art¿, shows how art practice was drawn into the sphere of ¿good taste¿, contrasting this with a post-conceptualist critique that offers a challenge to the social functions of good taste through an encounter with art. The next section on ¿Taste making and the museum¿ examines the challenges and changing social, political and organisational dynamics propelling museums beyond the terms of a supposedly universal institution and language of taste. The third section of the book, ¿Taste after Bourdieu in Japan¿ offers a case study of the challenges to the cross-cultural transmission and local reproduction of ¿good taste¿, exemplified by the complex cultural context of Japan. The final section on ¿Taste, the home and everyday life¿ juxtaposes the analysis of the reproduction of inequality and alienation through taste, with arguments on how the legacy of ideas of ¿good taste¿ have extended the possibilities of experience and sharpened our consciousness of identity. As the first book to bring together arts practitioners and theorists with sociologists and other social scientists to examine the legacy and continuing validity of Pierre Bourdieu¿s sociology of taste, this publication engages with the opportunities and problems involved in understanding the social value and the cultural dispositions of taste ¿after Bourdieu¿. It does so at a moment when the practice of taste is being radically changed by the global expansion of cultural choices, and the emergence of deploying impersonal algorithms as solutions to cultural and creative decision-making. (shrink)

PRELIMINARIES Hysterical trading in art AT THE PRESENT TIME, when a great amount of music is being both composed and heard, a great deal is also being ...

La sociologie de Comte nous permet d’aborder une question qui se pose, aujourd’hui encore, aux sciences sociales: celle des rapports entre sociologie et science politique. En dépit d’une intégration de principe, dont on analyse les principaux aspects, Comte pense la politique d’une façon spécifique au sein de sa sociologie. La politique relève d’une science de l’acteur et non seulement de l’analyse des rapports collectifs. En cela l’invention de la science sociale chez Comte démontre une capacité à penser la politique (...) plus pertinente que les sociologies qui lui succéderont. (shrink)

This book is a first of its kind: an edited collection bringing the finest of Georg Simmel's writing on art and aesthetics together, and bringing many of these essays into English for the first time. Simmel is considered one of the founding fathers of modern sociology but he, like his contemporary Walter Benjamin, wrote about many aspects of life and culture. Simmel's intellectual contributions have long been recognized and he is a keystone in cultural theory of the early 20th (...) century. The essays in this collection are gathered topically and show the wide range of Simmel's thinking even within the arts: aesthetics, landscape, theater, sculpture, literature, and more. Austin Harrington is the brilliant guide behind this substantial volume. He served as editor and translator and also wrote an introduction. Richly informative and thoroughly familiar with Simmel's life and work, Harrington's introduction will itself be an important contribution to the scholarship on Simmel. (shrink)

This review explores the present fashion for aesthetics in contemporary sociology. It evaluates the claims that society is undergoing a deep-seated process of aestheticization, and that sociology is experiencing an aestheticization of its epistemological concerns. The aestheticization literature is divided as follows: (1) the re-reading of classical sociological theory through the aesthetic dimension of modernity; (2) the claim that postmodern society involves an `aestheticization of everyday life'; and (3) those sociological theories which stress that contemporary society is more (...) and more like a work of art in its form. The argument is made that the discovery of aesthetics as a way of problematizing sociological reasoning is to some extent rediscovery, returning to various Kantian precepts: the disinterestedness characteristic of aesthetic experiences; the antinomy between the individual and the social aspects of taste; and the work of art as an organism predicated on an inner teleology. (shrink)

This book examines business education from the perspective of the social sciences and humanities, specifically sociology and ethics. In particular, it offers the rare combination of liberal arts and business management education which is used to investigate how aspects of business education might be responsible for and connected to the distribution of wealth that currently dominates the global economy. Through interviews with business ethics faculty members, students, and graduates around the world, as well as attendance in business ethics classes (...) and examination of classroom materials, the author presents patterns of theory, perspectives, and outcomes from culturally and geographically diverse business schools. This research provides insights into how business ethics educators are responding to the growing diversity in student populations, and the dual crises of environmental destruction and lack of ethical stewardship. The book also discusses alternative discourses within business schools and makes recommendations for future improvements. (shrink)

Instead of simply following the current neoliberal mantra of proclaiming economic growth as the single most important factor for maintaining well-being, Education and Schmid's Art of Living revisits the idea of an education focused on personal development and the well-being of human beings. Drawing on philosophical ideas concerning the good life and recent research in positive psychology, Teschers argues in favour of shifting the focus in education and schooling towards a beautiful life and an art of living for today's students. (...) Containing a thorough discussion of the ideas of contemporary German philosopher Wilhelm Schmid, this book considers the possible implications of developing a more humanistic and life-centred approach to educational policy, research and practice, showing that Schmid's concept of Lebenskunst provides a firm philosophical basis for this endeavour. Among others, this book draws on analytical and continental traditions to challenge current views and assumptions in regard to education and the role of schooling for contemporary societies. As a result, Teschers' work is sure to spark a debate about the direction of educational policy and practice in the 21st century. Education and Schmid's Art of Living is essential reading for academics and students with an interest in education. Given the importance of such topics as the relationship between education and society, teacher education and how best to structure schools and learning environments, Teschers' work will appeal to academics and students in a diverse range of fields, including education, philosophy, sociology and psychology. (shrink)

This article draws on contributions from the Sociology of Science and Technology and Science and Technology Studies, the Sociology of Risk and Uncertainty, and the Sociology of Work, focusing on the transformations of employment regarding expanded automation, robotization and informatization. The new work patterns emerging due to the introduction of software and hardware technologies, which are based on artificial intelligence, algorithms, big data gathering and robotic systems are examined closely. This article attempts to “open the black boxes” of the “black (...) carpet” (robotic sorting system) and examine the reorganization of Greek postal services through the introduction of software and hardware technologies, highlighting a) the high risk of flexible, pluralistic, decentralized (under)employment and aspects of the sub-politics of automation, b) the new forms of work organization and c) aspects of labor precariousness as a result of de-specialization or “flexible expertise” interconnected with new forms of inequalities based on AI, algorithms, big data and robots as reflected in the lived experiences of workers. The above are investigated through primary empirical social research in postal service companies in Greece. (shrink)

Excerpt from The Fields and Methods of Sociology His volume is intended to serve as a textbook for advanced T courses in sociology in which the purpose is to survey the various divisions of sociology as this science has developed in the United States in particular, and in all other countries where the subject is taught or studied. It emphasizes especially the sources of materials for investigation, the methods of research, and the processes of generalization in the various fields of (...) sociological science. Present day sociologists are more interested in research than in classification. It is recognized, however, that intelligent research cannot be undertaken to the best advantage without an adequate understanding of the various divisions into which the general science of sociology falls. Consequently, the first part of the volume is devoted to an analysis of the fields and problems of sociology and the second part to sources and methods. While the volume is organized in textbook form, it is expected that it will appeal very largely to the general reader who is searching for a well organized and clear presentation of the subject of sociology in all its aspects. It is believed that the present volume offers the most complete and thoroughgoing analysis and synthesis of sociological content and methodology now available. I wish to emphasize especially the inductive approach of the present treatise. Every chapter is the result of a careful study of the data it treats. Speculative and a priori approaches have been avoided. Consequently each field of sociology has been analyzed realistically as to subject matter, sources and methods and the results are set forth as clearly and as simply and directly as pos sible. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

The aim of this paper is to defend the position that aesthetics and ethics in sport are not two separate domains or aspects. In sport, the aesthetic and the ethical both arise from sport’s attractiveness or from the pleasure sport offers to its activists and consumers. To think about sport philosophically, we should find a link and a principle beyond this division as a source of both the aesthetic and the ethical in sport. The philosophy and philosophical sociology of (...) Jean-Marie Guyau is presented as a response to this problem. Two points of fundamental importance are considered critically here: his criticism of any reductionism, and life or the idea of life as key principle of a philosophical system which puts ethics and aesthetics together. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.4 (2004) 32-45 [Access article in PDF] Ernst H. Gombrich, Pictorial Representation, and Some Issues in Art Education Nanyoung Kim Introduction This essay will deal with different ways of conceptualizing pictorial representation in art education and their implications. The philosophical issues involved in pictorial representation have fascinated philosophers since the time of Plato and Aristotle. In the first half of the twentieth century, the (...) issue of representation became a centerpiece of various theories among art historians in an attempt to explain representational styles of non-Western cultures that were vastly different from Western styles, and also in order to reinterpret less-valued Western styles that had deviated from the Classical and Renaissance traditions. In recent years, the field of aesthetics has seen a resurgence of interest in the issue, probably because of the demise of Formalism and the returning interest in representation among postmodernists.In art education, interest in pictorial representation has been limited to research on children's drawing (mostly unsolicited drawing) and to the alleged benefits of drawing activity on children's emotional and cognitive development. To understand art images made by adult artists, especially in the Western tradition, art educators must refer to art history or aesthetics. For non-Western images, an anthropological or sociological approach seems appropriate because, more than Western images, they seem to demand knowledge about the culture in which they originated. Art education therefore does not have one comprehensive model of pictorial representation to encompass all these different kinds of images.For more than a decade, the dominant theory of children's pictorial representation in art education has been a symbolic model, and it thrived and is thriving in the context of ever-growing cognitive claims on art. Replacing the long-held creative self-expression model of Viktor Lowenfeld of the 1960s and 1970s, the advocates for this model advanced their theory based on Nelson Goodman's symbolic interpretation of pictorial representation.1 [End Page 32] While their theory illuminated what had not been revealed by the previous creative self-expression model, its long-held dominance in the field lends it an aura of self-evidence and authority.My aim in this essay is to reintroduce Ernst H. Gombrich's theory of pictorial representation in order to balance the dominant theory and to provide a broad perspective for viewing children's drawings and adults' art images together.2 Despite its potential contribution to art education, Gombrich's theory has not been adequately interpreted for art educators. When Gombrich's theory was introduced in art education in the past, he was treated, along with Goodman, as a prime advocate of the concept of representation as a convention. His attention to cultural, psychological, biological, sociological, and art historical dimensions of pictorial representation has never been fully explored by art educators. Gombrich was first and foremost an art historian and theorist of art history of solid classical scholarship, but he was also a cultural historian equipped with extensive knowledge of diverse fields such as cognitive psychology, ethology, psychoanalysis, and the philosophy of science. He was truly a scholar with an interdisciplinary penchant, which makes it difficult for his readers to categorize him. In addition, his elusive writing style tends to limit access to his theory.In this sense, Leslie Cunliffe's recent reintroduction of Gombrich's theories to art education is notable.3 Cunliffe covered the whole gamut of Gombrich's theories, including that on representation, by contextualizing him as a Social-Constructivist, and he expounded many potential benefits that art educators may gain through understanding and adopting his theories. My scope will be narrower than Cunliffe's. I will deal with Gombrich's theory of representation insofar as it illuminates the nature of children's drawings and other art images and helps us understand them within a coherent system. The order of discussion will be as follows: first, the linguistic model derived from Goodman and its continuing influence on art education; second, Gombrich's theory of pictorial representation, including his discussions of the conventional and biological aspects of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.4 (2004) 32-45 [Access article in PDF] Ernst H. Gombrich, Pictorial Representation, and Some Issues in Art Education Nanyoung Kim Introduction This essay will deal with different ways of conceptualizing pictorial representation in art education and their implications. The philosophical issues involved in pictorial representation have fascinated philosophers since the time of Plato and Aristotle. In the first half of the twentieth century, the (...) issue of representation became a centerpiece of various theories among art historians in an attempt to explain representational styles of non-Western cultures that were vastly different from Western styles, and also in order to reinterpret less-valued Western styles that had deviated from the Classical and Renaissance traditions. In recent years, the field of aesthetics has seen a resurgence of interest in the issue, probably because of the demise of Formalism and the returning interest in representation among postmodernists.In art education, interest in pictorial representation has been limited to research on children's drawing (mostly unsolicited drawing) and to the alleged benefits of drawing activity on children's emotional and cognitive development. To understand art images made by adult artists, especially in the Western tradition, art educators must refer to art history or aesthetics. For non-Western images, an anthropological or sociological approach seems appropriate because, more than Western images, they seem to demand knowledge about the culture in which they originated. Art education therefore does not have one comprehensive model of pictorial representation to encompass all these different kinds of images.For more than a decade, the dominant theory of children's pictorial representation in art education has been a symbolic model, and it thrived and is thriving in the context of ever-growing cognitive claims on art. Replacing the long-held creative self-expression model of Viktor Lowenfeld of the 1960s and 1970s, the advocates for this model advanced their theory based on Nelson Goodman's symbolic interpretation of pictorial representation.1 [End Page 32] While their theory illuminated what had not been revealed by the previous creative self-expression model, its long-held dominance in the field lends it an aura of self-evidence and authority.My aim in this essay is to reintroduce Ernst H. Gombrich's theory of pictorial representation in order to balance the dominant theory and to provide a broad perspective for viewing children's drawings and adults' art images together.2 Despite its potential contribution to art education, Gombrich's theory has not been adequately interpreted for art educators. When Gombrich's theory was introduced in art education in the past, he was treated, along with Goodman, as a prime advocate of the concept of representation as a convention. His attention to cultural, psychological, biological, sociological, and art historical dimensions of pictorial representation has never been fully explored by art educators. Gombrich was first and foremost an art historian and theorist of art history of solid classical scholarship, but he was also a cultural historian equipped with extensive knowledge of diverse fields such as cognitive psychology, ethology, psychoanalysis, and the philosophy of science. He was truly a scholar with an interdisciplinary penchant, which makes it difficult for his readers to categorize him. In addition, his elusive writing style tends to limit access to his theory.In this sense, Leslie Cunliffe's recent reintroduction of Gombrich's theories to art education is notable.3 Cunliffe covered the whole gamut of Gombrich's theories, including that on representation, by contextualizing him as a Social-Constructivist, and he expounded many potential benefits that art educators may gain through understanding and adopting his theories. My scope will be narrower than Cunliffe's. I will deal with Gombrich's theory of representation insofar as it illuminates the nature of children's drawings and other art images and helps us understand them within a coherent system. The order of discussion will be as follows: first, the linguistic model derived from Goodman and its continuing influence on art education; second, Gombrich's theory of pictorial representation, including his discussions of the conventional and biological aspects of... (shrink)

This paper reviews the studies of Japanese society and culture undertaken by Hong Kong-based sociologists and scholars in related disciplines. It presents information on research projects funded by the Research Grants Council, Social Sciences Citation Index (SSCI), and Arts and Humanities Citation Index (A&HCI) journal articles, authored and edited books, book chapters, non-SSCI and non-A&HCI journal articles, as well as master and doctoral theses written by scholars and graduate students associated with Hong Kong's major universities. It is found that the (...) main topics of research are Japan's capitalist development and corporate growth, meanings and social ramifications of traditional and popular culture, education, gender, and marriage, as well as aspects of work and employment, whereas the major research methods include document analysis, ethnography, and in-depth interviews. The limited amount of research and the preoccupation with economic development and popular culture reflect in part Hong Kong's unique political conditions and the government's indifference to the pursuit of social and political policy analysis. In recent years, the growth of academic exchanges between scholars in Hong Kong, Japan, and other East Asian regions and the heightened emphasis by university administrators on academic research will hopefully bring about advancements in such academic endeavors. (shrink)

This book examines reason and unreason in the legal and political responses to terrorism. Terrorism is often perceived as sheer madness, unreasonable use of extreme violence and senseless, futile political action. These assertions are challenged by this book. Combining ‘traditional’ thought on reason and unreason in terrorism with empirical explorations of post-modern terrorism and its use of communication platforms the work uses interdisciplinary and cross disciplinary dimensions to provide a multidimensional picture of critical issues in current politics and a deeper (...) examination of their implications than previously available. The book looks at various aspects of modern politics, from terrorism to protest, from decision-making to political discourse, applying the perspective of philosophical thought. To do so, political issues and actions are examined by using concepts such as reason, emotions, madness, magic, morality, absolutism, extremism, psychopathology, rationality and others. The analysis is rooted in theories and concepts derived from history, philosophy, religion, art, sociology, psychology, and political science. This book, which was mostly written by the late Abraham Kaplan, an American philosopher, and edited and updated by Gabriel Weimann, will be of much interest to students of political violence/terrorism, philosophy, war and conflict studies and political science in general. (shrink)

The novel On the rocks o f Calvados is the first and the greatest achievement of Antoni Sygietyński’s art. The author of this article considered the work worthy of a special attention with regard to the way of presenting the problem of adultery. The writer gives the social explanation of infidelity not concentrating on the psychological side of this phenomenon. He emphasizes the decisive role of such social factors as: the origin, the model of education and the social milieu. From (...) his point of view they exert a great influence on the main heroine’s behaviour. The subject of the novel centres around the moral dilemmas of an individual more cultured than her fellow-citizens, who is forced to live in a primitive world. Sygietyński’s heroine, Berta – educated in a monastic school in Caen – experiences a painful disappointment after coming back to her family village. Her imagination, excited by the lecture of sentimental romances, lets her dream of an ideal, romantic love. She has high expectations of life. Unfortunately, the reality by no means resembles the literary world of stormy feelings and passions. Berta feels alienated in her own society as the lifestyle of its members conflicts definitely with her beliefs. It is worth noting that the writer shows a very striking picture of Grandcamp’s community. Its primitive and monotonous existence overwhelms the novel’s heroine. The marriage with a brutal, devoid of sensibility fisherman – Gabriel Orange – deepens much her loneliness. Small wonder then that the arrival of the French engineer to the sea-town arouses hope in Berta’s heart again. Armand de Coux seems to be an embodiment of all her yearnings. Berta Boudard commits adultery trusting that the lover will soon free her from such common and boring inhabitants of the fishermen’s village. On the Rocks o f Calvados is not the only work that points out the sociological aspect of a marital betrayal. Thus, this opinion encourages the reader to make further literary research. (shrink)

De Bach à Boulez : trois siècles de musique, trois siècles de créations, de reprises, de disparitions, longue traîne du présent, de toutes les oeuvres présentes. "Musics for piano" de John Cage, "Sonates" de Mozart, "Symphonie fantastique" de Berlioz, "Concerts royaux" de Couperin, "Saint François d'Assise" de Messiaen. Comment rendre compte de ces oeuvres? Qu'est-ce qui fait l'oeuvre et sa valeur, en musique? On connaît deux manières de répondre à la question, disons deux paradigmes de l'oeuvre d'art. Paradigme musicologique : (...) l'oeuvre, c'est la partition ou le texte musical fixé sur un support. Paradigme sociologique : l'oeuvre, c'est ce que des acteurs, critiques, publics, agents, institutions, désignent comme telle. Où compte avant tout l'intention esthétique. L'auteur revient sur l'un et l'autre, pointant les maillons forts et les maillons faibles de ces schèmes de pensée, et leur complicité dans le projet d'arrêter l'oeuvre d'art. " L'art arrêté! " Tel pourrait être le bandeau de nombre d'ouvrages sur le thème. Invite à ne pas les approcher! A l'intellectuel déçu par les sillons fermés de la pensée, au mélomane perdu devant la schématisation de ce qu'il aimait, proposons un autre chemin. Suivons une oeuvre " en liberté " décrivons ses manifestations, repérées par ce nom : "Sur Incises" de Pierre Boulez ; saisissons, plutôt qu'une oeuvre, "ce et ceux qui oeuvrent" et alimentent aujourd'hui notre passion. (shrink)

Heidegger's phenomenological approach, as exhibited in Being and Time, provides a conceptual background to discussions in role?theory. His work was not meant as an empirical contribution to sociology, nor does he assimilate sociology to conceptual inquiry. Heidegger's contention is, rather, that if we understand the way in which human beings exist (the nature of Dasein) we shall understand why empirical role?theoretical inquiries are possible. Without experience, without paying attention to the facts of human life, there could be no phenomenological enterprise. (...) But by eliciting the fundamental structure of Dasein Heidegger has pointed to what makes the empirical data ultimately intelligible. The enterprise is a transcendental one, in the Kantian sense. (shrink)

In a world permeated by digital technology, engineering is involved in every aspect of human life. Engineers address a wider range of design problems than ever before, raising new questions and challenges regarding their work, as boundaries between engineering, management, politics, education and art disappear in the face of comprehensive socio-technical systems. It is therefore necessary to review our understanding of engineering practice, expertise and responsibility. This book advances the idea that the future of engineering will not be driven by (...) a static view of a closed discipline, but rather will result from a continuous dialogue between different stakeholders involved in the design and application of technical artefacts. Based on papers presented at the 2016 conference of the forum for Philosophy, Engineering and Technology in Nuremberg, Germany, the book features contributions by philosophers, engineers and managers from academia and industry, who discuss current and upcoming issues in engineering from a wide variety of different perspectives. They cover topics such as problem solving strategies and value-sensitive design, experimentation and simulation, engineering knowledge and education, interdisciplinary collaboration, sustainability, risk and privacy. The different contributions in combination draw a comprehensive picture of efforts worldwide to come to terms with engineering, its foundations in philosophy, the ethical problems it causes, and its effect on the ongoing development of society. (shrink)

The thesis of the paper is that the distinction between evidential and non-evidential grounds for adopting beliefs is crucial to the study of the sociology of knowledge.

Language is the primary fact which concerns contemporary philosophy. Men have been speaking and writing for a long time, but it is only recently that the task of philosophy has been said to be the analysis of language. Ethical perplexities, social anxieties, the nature of scientific knowledge, religious speculations, are held not to be directly the problems of the philosopher. They enter his study by way of a domain of languages and sub-languages. This preoccupation with language is itself an unusual (...) phenomenon in our intellectual history. It challenges the sociologist of philosophic ideas for an explanation, and it leads one to wonder upon what evidence philosophers have accepted the doctrine of linguistic primacy. (shrink)

Temporal aspects dwell both in the world around us and at the core of our experience of it. Reality, thought, and language all seem to be imbibed in temporality at some level or another. It is thus not surprising that philosophers who have to face the problems of understanding time have resorted to tools from different spheres of investigation, and often at the points of overlap of these areas. Metaphysics, philosophy of physics and science in general, philosophy of language, (...) phenomenology, philosophy of mind, the study of perception and cognition, but also anthropology, sociology, and history of culture, art, and ideas all contain theories and reflections that are crucial to our understanding and experience of time. Many recent debates in analytic philosophy have tackled in different ways the question of whether the sensation of the passage of time that seems to characterise our ordinary experience should be understood as reflecting some obje .. (shrink)

For some aestheticians, Wittgenstein's notion of _seeing as (or aspect perception) could be used to explain perception of artworks as artworks (artistic appreciation). This paper urges that the idea of aspect perception cannot provide such a model, even for a perceptualist about artistic appreciation (like the author). First, this would be inconsistent with Wittgenstein's argumentative strategy in key passages in _Philosophical Investigations Part Two. Second, the characteristics of aspect perception make it unsuitable as a model, whatever Wittgenstein's intentions. Moreover (one (...) of Wittgenstein's own contentions), a suitably rich account of perception does not require this appeal to aspects. (shrink)

Theodor W.Adorno was one of the towering intellectuals of the twentieth century. His contributions cover such a myriad of fields, including the sociology of culture, social theory, the philosophy of music, ethics, art and aesthetics, film, ideology, the critique of modernity and musical composition, that it is difficult to assimilate the sheer range and profundity of his achievement. His celebrated friendship with Walter Benjamin has produced some of the most moving and insightful correspondence on the origins and objects of the (...) Frankfurt School of Critical Theory. This unprecedented collection, devised and assembled by one of Europe's rising social theorists, distills the best from published assessments and responses to Adorno's oeuvre. The collection is divided into 4 volumes: Volume 1: Philosophy, Ethics and Critical Theory Part 1: Negative Dialectics Included here are contributions on the concept of totality in the writings of Adorno and Lukacs; Adorno and Bourgeois Philosophy; the relationship between Adorno and Kierkegaard; Adorno's Critique of Idealism; Adorno and Linguistics; Adono and Habermas. Part 2: Ethics and Redemption This is comprised of contributions on Adorno and Truth; Adorno's Inverse Theology; and Adorno and the Ineffable Part 3: Critical Theory, Ideology Critique and Social Science Included here are contributions on Adorno's relation to the Positivist Dispute; the Popper-Adorno Controversy; Adorno and Empirical Research; and Hermeneutics and Critical Theory. Volume 2: Aesthetic Theory Part 1: Art and Politics in 'Aesthetic Theory' This includes material on the De-Aestheticization of Art; Adorno, Utopia and Mimesis; Adorno and autonomous art; Adorno and Dialectics; Adorno, Marxism and Art; Art and Criticism in Adorno's Aesthetics; Adorno's concept of the Avant-Garde. Part 2: Philosophy of Music This includes contributions on Adorno's music and social criticism; Adorno and nostalgia; Adorno, Heidegger and the meaning of music; Adorno and Wagner. Part 3: On Jazz The material included here addresses questions of Adorno and Popular Music; Adorno's encounter with jazz; Adorno, Jazz and Society; and the reasons for Adorno's apparent hatred of jazz. Volume 3: Social Theory & The Critique of Modernity Part 1: On 'The Dialectic of Enlightenment' Included here are chapters on the dialectic of enlightenment and post-functionalist thought; dialectic of enlightenment as genealogy critique; the relationship between the dialectic of enlightenment, modernity and postmodernity; Adorno's critique of progress; Adorno and theories of subjectivity; and the dialectic of enlightenment and rationality. Part 2: Anti-Semitism This consists of material on Adorno and Horkheimer; and Adorno and Public Sphere Part 3: Popular Culture and Capitalism Included here are contributions on Adorno and Sport; Adorno's alleged left-wing elitism; Adorno's critique of astrology and the Occult; Benjamin and Adorno on Disney; Adorno, Totalitarianism and the Welfare State; and Adorno and Mass Society. Volume 4: Cultural Theory and the Postmodern Challenge Part 1: 'Damaged Life': Exile in America This section includes Leo Lowenthal's insightful recollections of Adorno; Adorno and the primal history of subjectivity; Adorno and Los Angeles; Adorno's relation to American culture; and Adorno's exile in England. Part 2: Film Theory This section includes chapters on Adorno and the Culture Industry; Benjamin, Adorno and Contemporary Film Theory; Adorno, Aesthetics and the Social. Part 3: Wellmer and Adorno Included here are papers on Aesthetic, Psychic and Social Synthesis in Adorno and Wellmer; and New German Aesthetic Theory after Adorno. Part 4: Jameson on Adorno Included here are papers on Jameson, Adorno and the persistence of the Utopian; and a Marxism for Postmodernism Part 5: Modernism and Postmodernism This section contains papers on Adorno, Foucault and the Modern Intellectual; Adorno, Foucault and Two forms of the Critique of Modernity; Adorno and the Habermas-Lyotard Debate; Adorno, Postmodernism and Edward Said; Adorno, Heidegger and Postmodernism; Adorno and the Decline of the Modern Age; The literary process of modernism; Adorno, Tradition and the Postmodern Part 5: The Feminist Response Included here are contributions on Adorno and Judith Butler; Adorno, Art Theory and Feminist Practice; and Gender in the writings of Adorno and Horkheimer. The collection comes with a superb Introduction to Adorno by Gerard Delanty which elucidates the main contributions of this penetrating and enduring thinker. Comprehensive and consistently illuminating, the collection includes the thought on Adorno from some of the most distinguished commentators on social theory. Included here are selections from the writings of Susan Buck-Morss, Martin Jay, Agnes Heller; David Frisby; Johann Arnason; Richard Wolin; Andrew Bowie; Robert Hulnot-Kentor; Leo Lowenthal; Richard Rorty Axel Honneth; Albrecht Wellmer; and Jurgen Habermas. The result is a peerless research resource allowing readers to delve into all aspects of Adorno's extraordinary accomplishments in social thought, philosophy and cultural criticism. It will be required reading for students of the Frankfurt School, Marxism, Critical Theory, Philosophy of Art and Aesthetics and Social Theory. (shrink)

Building on a theory of human intelligence, this book explores the importance of - and limits of - cost/benefit calculus (safety first in hostile environment), on the evolution of economic activity and political discourse. Arguing that intelligence consists of wisdom, cost/benefit reasoning, and creative genius, the book explores the history of the world from hunting and gathering to modern times, drawing on art, literature and invention. It emphasizes ethics, expectations and the importance of historical experience in shaping the humanist economics (...) story. (shrink)

Cet article étudie l'aspect sociologique des recherches de Lefebvres des Noëttes, plus particulièrement son ouvrage : „L'attelage. Le cheval de selle à travers les âges“. Comme le sous-titre de cet ouvrage („Contribution à Thistoire de l'esclavage“) l'indique déjà, le savant français y étudie la technique de l'attelage des animaux de trait. Il tend à démontrer que ce fut l'insuffisance de ces derniers, phénomène resté inchangé jusqu'au vu® siècle de l'ère chrétienne, qui joua un rôle principal dans le maintien de l'esclavage. (...) Les travaux les plus pénibles, le transport des grosses charges en particulier, qui furent accomplis plus tard par les animaux et qui le sont aujourd'hui essentiellement par des moyens mécaniques, ne pouvaient en effet être exécutés à cette époque qu'en recourant au travail forcé, élément caractéristique de l'esclavage. L'histoire nous montre qu'il existe un rapport direct entre l'ampleur des réalisations de l'homme, tout particulièrement des constructions et des routes, et la rigueur avec laquelle on traitait les êtres privés de liberté. Même dans les temps modernes, l'institution de l'esclavage réapparaît, sous une forme ou sous une autre, partout où la force animale est insuffisante (plantations en Amérique du Sud, portage en Afrique centrale). La question de l'esclavage peut donc aujourd'hui être traitée comme une branche de 1' „histoire critique de la technique“, comme un chapitre de la grande controverse entre l'homme et la nature, retirant ainsi tout fondement aux vagues explications politiques ou morales concernant l'origine et le déclin de l'esclavage.This essay deals with the sociological significance of Lefebvres des Noettes' researches, in particular with his work „Harnessing. The Saddle- Horse throughout the Ages“. As the sub-title of his book „Contribution to the History of Slavery“ indicates, the French scholar studies the technical art of harnessing draught-animals, and endeavours to show how its inadequacy, which remained unchanged right into the seventh century A. D. was an essential condition for the maintenance of slavery. For the heavy labour-tasks, above all the transport of huge loads, which later were based on animal-power and to-day are largely accomplished by mechanised locomotion, were then only to be achieved by man-power, by the use of force, as exemplified in slavery. In history there obtains a direct relationship between the extent of cultural achievements, shown especially in buildings and roads, and the severity in the treatment of slaves. Wherever in more recent times, there was not at hand, an extensive draught-animal apparatus, there arose, in some form or other, the institution of slavery (plantations in South America, porters in Central Africa). Such an interpretation makes it possible to consider the question of slavery, as a part of the „critical history of technology“, and as a chapter in the struggle of man against nature. In this way, vague political or moral explanations of the rise and fall of slavery lose all their force. (shrink)

Twelve essays exploring aspects of literacy and art criticism, retrospective sociology and the effects of relativism on moral behavior.

Rhythm is the fundamental pulse that animates poetry, music, and dance across all cultures. And yet the recent explosion of scholarly interest across disciplines in the aural dimensions of aesthetic experience--particularly in sociology, cultural and media theory, and literary studies--has yet to explore this fundamental category. This book furthers the discussion of rhythm beyond the discrete conceptual domains and technical vocabularies of musicology and prosody. With original essays by philosophers, psychologists, musicians, literary theorists, and ethno-musicologists, The Philosophy of Rhythm opens (...) up wider-and plural-perspectives, examining formal affinities between the historically interconnected fields of music, dance, and poetry, while addressing key concepts such as embodiment, movement, pulse, and performance. Volume editors Peter Cheyne, Andy Hamilton, and Max Paddison bring together a range of key questions: What is the distinction between rhythm and pulse? What is the relationship between everyday embodied experience, and the specific experience of music, dance, and poetry? Can aesthetics offer an understanding of rhythm that helps inform our responses to visual and other arts, as well as music, dance, and poetry? And, what is the relation between psychological conceptions of entrainment, and the humane concept of rhythm and meter? Overall, The Philosophy of Rhythm appeals across disciplinary boundaries, providing a unique overview of a neglected aspect of aesthetic experience. (shrink)