Aesthetic theories of art refuse to go away. In spite of decades of criticism and derision, a minority of thinkers stubbornly persist in maintaining that we need a general theory of art that makes essential appeal to beauty, elegance, daintiness, and other aesthetic properties.1 However, those who approach the theory of art from a sociological point of view tend to be skeptical about any account of art that appeals to aesthetic properties in a fundamental way. This skepticism (...) takes two overlapping forms, only one of which I will pursue here. The form of skepticism I am interested in is concerned to deny that we need to appeal to aesthetic considerations in explaining the production of art. Let us call this production skepticism. This form of skepticism does not coincide with skepticism about the appeal to aesthetic considerations in explaining our experiences and judgments about art. Let us call that consumption skepticism. Examples of consumption skeptics are Pierre Bourdieu and Terry Eagleton, who think that aesthetic value judgments about art really reflect social status rather than being a response to qualities of the works.2 In my view, the reasons, such as they are, that Bourdieu and Eagleton put forward in favor of.. (shrink)

Explores sociocultural influences on the construction of traditional aesthetic theories and judgments.

Classic and canon -- Description -- Categories -- Metaphors -- Diagrams -- Cynicism and scepticism : two intellectual styles -- Sociological theory and the art of living.

이 글은 “프랑스의 관전(官展) 아카데미즘 속에서 예술가는 어떻게 구성되는가?”라는 질의로부터 출발하였다. 이를 위해 부르디외가 『예술의 규칙』(1992)에서 언급한 ‘장에서의 경쟁논리’를 ‘관전 對 反관전’에 대입해 살펴보았고, 연구를 통해 지배자들의 권력기제와 신참자들의 도전논리가 새로운 예술을 창출하는 동력임을 확인하였다. 주된 연구대상은 양식투쟁을 향한 미술가 집단의 위계구조이다. 연구자는 이 문제의식을 풀어내기 위해 행위자와 제도/양식논쟁과 미술장 사이의 관계분석을 시도하였다. 미술장의 주된 권력으로 기능해온 관전 아카데미즘에 주목함으로써, 프랑스 관전의 계보를 부르디외의 문화이론을 통해 재해석한 것이다. 이를 전제하는 포괄적 조건이 ‘아비투스’와 ‘장’ 개념이며, 예술작품과 예술가 사이에는 이들을 움직이는 객관적 (...) 요소들(언론·비평가·미술시장·미술관·전람회 등)이 존재한다고 본 것이다. 관전의 시작을 알린 살롱전은 프랑스 작가들이 대중과 만나는 유일한 통로였고 포상과 장려로서 국가의 영향력을 결집한 제도였다. 아카데미의 특권은 수상자에게 과시와 명예를 안겨줬지만, 19세기에 이르러 미술중개상에 따른 수요자의 변화, 마네를 축으로 한 졸라와 플로베르 등의 비평, 국가의 미술시장 개입과 이에 대응해 나타난 인상주의의 출현 등으로 권력의 힘을 신참자에게 내주게 되었다. 이렇듯 새로운 장 속에서는 독점을 옹호하려는 지배자들과 빗장을 부수려는 신참자들의 투쟁이 항상 존재하며, 부르디외의 해석을 통해 관전 아카데미즘에 가려진 ‘상대적 자율성’을 발견할 수 있었다. 결과적으로 장에서의 경쟁논리는 ‘구조화되고 구조화시키는 역동적 행위’로 치환됨으로써 새로운 예술을 창출하는 원동력이 된 것이다. (shrink)

An original sociology of art and artistic practice, based on the theories of Emile Durkheim and contemporary models of complex social systems. The book offers a critique of current history, philosophy and sociology of art and stands in a constructive and informative relation to much contemporary art historical theory.

Zangwill's recent article offers a provocative and compelling account of the alleged deficiencies of the sociology of art. However, his main targets—christened, respectively, `production and skepticism' and `consumption skepticism'—are, in fact, only decontextualised and one-sided caricatures of the leading theories in this area. Zangwill has misrepresented some of the discipline's leading theorists including Bourdieu, Eagleton, Pollock and Wolff. His own `aesthetic' explanation of artistic acts appears, at first glance, attractive, not least for its repudiation of radical sociological reductionism. But (...) it turns out to be altogether too simplistic an alternative. Zangwill is a sociological `primitive' who understands adequately neither how society exists in the mind itself, nor, paradoxically, in artists' embodied sense of the right feel for the game. A less `enchanted' approach toartists' practices is required. This needs to stress both artists' role in the public sphere and also their specific interests in the artistic field. Key Words: sociology • art • aesthetics • canon • pleasure. (shrink)

Art is a language. Art objects are therefore decipherable into more or less elaborated and restricted codes. These codes change with the relative solidarity of the community in which they are produced. The more solidary the group, the more restricted the code; the less solidary the community, the more elaborated the artistic codes they produce. In general, realism is a more elaborated code and abstraction a more restricted code, and accordingly more solidary communities should produce more abstract art and less (...) solidary groups should produce more realistic art. This theoretical relationship between artistic codes and group solidarity is captured in the idea of a "semantic equation" and is applied to changes in the styles of New York art from the 1940s through the mid 1980s. (shrink)

This article examines E.H. Gombrich’s critical appraisal of Arnold Hauser’s book, The Social History of Art. Hauser’s Social History of Art was published in 1951, a year after Gombrich’s bestseller, The Story of Art. Although written in Britain for an English-speaking public, both books had their origins in the intellectual history of Central Europe: Gombrich was an Austrian art historian and Hauser was Hungarian. Gombrich’s critique, published in The Art Bulletin in 1953, attacked Hauser’s dialectical materialism and his sociological (...) interpretation of art history. Borrowing arguments from Karl Popper’s critique of historicism, Gombrich described Hauser’s work as collectivist and deterministic, tendencies at odds with his own conception of art history. However, in his readiness to label Hauser a proponent of historical materialism, Gombrich failed to recognize Hauser’s own criticism of deterministic theories of art, especially formalism. This article investigates Gombrich’s reasons for rejecting Hauser’s sociology of art. It argues Gombrich used Hauser as an ideological counterpoint to his own version of art history, avowedly liberal and individualist in outlook. (shrink)

The work of Niklas Luhmann represents perhaps the last major body of social theory of the twentieth century. Beginning with Social Theory or Social Technology: What Does Systems Research Achieve? jointly published with Jürgen Habermas in 1971, Luhmann spent the following three decades up until his death in 1998 laying out the basis for a comprehensive theory of social systems.1 The author of some sixty books and three hundred and eighty essays and articles, Luhmann has had an (...) enormous impact on social and cultural theory in the German-speaking world. In Britain and North America, however, he remains a relatively marginal…. (shrink)

Redner (politics, Monash U., Melbourne, Australia) builds on the thesis that crucial changes in human cultural history correlate with fundamental transformations in modes of representation. He traces human development from primitive culture to that of the present age to construct a comprehensive theory of culture. His theory challenges some established approaches in disciplines such as philosophy, semiotics, sociology, political theory, aesthetics, and history itself. Annotation copyright by Book News, Inc., Portland, OR.

Last Spring two important German books on aesthetics finally appeared in English: Adorno's unfinished Aesthetic Theory, intended to summarize his philosophy and sociology of modern culture, and Büger's Theory of the Avant-Garde, in many ways a dialogue with Adorno and critical theory. Peter Bürger, a professor of French and comparative literature at the university of Bremen, has published extensively on a broad spectrum of classical to avant-garde literature, generally trying to combine an outline of a sociology of (...) culture with detailed socio-historical anaylses of specific works. Bürger sees himself as a mediator between hermeneutics and critical theory. He is an avowed disciple of the Frankfurt School in that the recognizes the cognitive and potentially moral function of art, bound up with art's necessary aloofness from practice in bourgeois society. (shrink)

Throughout the world, Eastern European critical theory is enjoying a moderate, yet exciting, resurgence. From its oppositional roots in praxis philosophy and critical sociology, this diffuse and dynamic tradition has expanded its field of concern to encompass, among other problems, the aporias of democracy, the Holocaust and legacies of totalitarianism, the vicissitudes of modern culture and the ethical imperatives of living after the grand narrative. In the process, Eastern European thought has come to figure as a vital alternative to (...) the dominant tendencies emanating from Frankfurt and Paris. This essay surveys and introduces a collection of papers delivered at The International Conference of Marxist Critical Theory in Eastern Europe held in Chengdu, P.R.C., in November 2018. It both highlights the thematic range of contemporary scholarship on Eastern European critical theory and signals potential directions in future research. (shrink)

The article explores the specific conception of art developed by Danko Grlić, a prominent member of the Yugoslav Praxis School. Grlić conceptualised art beyond both aesthetic norms and technological determinism. Within the context of praxis philosophy, a distinct theory of the subject and a Marxist humanist approach, he reconceptualised art as a distinct type of praxis, a revolutionary and creative practice of changing existing living conditions. The article explains how his unique understanding of art leads Grlić to analyse, criticise (...) and refute various Marxist approaches to art: art as an ideology, art as a reflection of the objective world, art as sociological analysis. Moreover, while sharing many ideas and conceptions with Walter Benjamin’s materialist conception of art, Grlić reached the point where he became critical due to Benjamin’s belief in technology concerning processes of emancipation, which Grlić viewed with scepticism. (shrink)

The sociology of art as synthesized by Arnold Hauser is based on a theory of knowledge and articulates the cognitive role of art. In a brief analysis, this paper elaborates on the sources of this epistemological enterprise. The pedigree of Hauser’s main thoughts was oriented towards a Kantian and Marxist framework, respectively. As a Kantian, he tried to take into account the philosophical consequences of two (or even more) different sources of cognition that are equal in value, correlative and (...) necessarily cooperating. Giving exclusive priority to only one of these leads to classical philosophical errors such as psychologism and intellectualism. As a Marxist, Hauser was anti-dogmatic and anti-deterministic, because he adopted an interpretive-hermeneutical meaning of Marxism and considered it an aid against distorting tendencies in our thinking. His basic insight that the different sources of value-equal and cooperating cognitive layers are in an everyday-life perspective intertwined, so that a kind of reservatio mentalis is needed to methodically separate them for the sake of better understanding, makes him a distant relative of classical phenomenology. This web of epistemological investigations is what I call the multilayer theory of knowledge. (shrink)

This article develops an analytical framework to study the role of narratives in markets and argues that there is a relationship between the structure and composition of narratives produced by market actors and market dynamics. With respect to theory, the article bridges the perspectives that study markets as cultures and as fields and draws from the organizational studies approach to the analysis of narratives. Two empirical cases of the crises narratives in the emerging contemporary art markets of Russia and (...) India illustrate the use of the framework. The analysis is based on in-depth interviews with artists and art dealers as well as observations in Moscow, Saint Petersburg, New Delhi, and Mumbai conducted between April 2012 and June 2013. The article shows that there is a widely shared crisis narrative with a coherent structure in the Indian art market. In contrast, fragmented and contested stories that lack narrative structure dominate in the Russian art market. The analysis of the first case highlights the narrative structure and shows the productive work it does in the Indian market—it provides a moral justification of existing market norms and produces a perspective for the future. The analysis of the second case focuses on the context of narrative production and connects the conflicting interpretations of the crisis in the Russian art market to contested hierarchies and persistent uncertainty. (shrink)

This article contributes to studies in democratic theory and civic engagement by critically reflecting on the role of contemporary art for the transformation of the public sphere. It begins with a short assessment of the role of art during the Enlightenment, when the communicative function and the public role of art were most clearly articulated. It refers in particular to the analogies between aesthetic and political judgement in order to understand the emancipatory role of artistic production within a philosophical (...) project centred on reason’s capacity to liberate itself from the dogmatism of authority and from the errors of superstition, both elements considered crucial to the development of a functioning public sphere. The article then discusses the historical transformation of art following a number of philosophical and sociological critiques to a similar project of the Enlightenment and assesses the attempt of historical avant-gardes to appropriate this critique yet maintain art’s emancipatory function in society. Having examined some problems raised by these attempts, the article turns to the analogies with contemporary artistic production. It examines the role of contemporary visual art in the public sphere and shows how the anti-rationalist theories articulated to reflect on contemporary works of art, and the works themselves, both fail to develop art’s emancipatory role in society. Without rethinking artistic experience in a way that places emphasis on reason’s capacity for critical and constructive self-understanding and without reconsidering art theory in a way that brings back the emphasis on the emancipatory role of rational communication, contemporary art, far from contributing to the revitalization of the public sphere, will contribute to its decline. (shrink)

The use of the term posthistory in Arnold Gehlen’s writings can be traced back to as early as the Fifties. It occurs also in his work Zeit-Bilder. Zur Soziologie und Ästhetik der modernen Malerei, where his theory of the art-historical development of pictorial rationality and his notion of ‘peinture conceptuelle’ are formulated as key tendencies of modern painting. Focusing on both Gehlen’s notion of modern art’s aesthetics and on his ‘theorem’ of posthistory, my attempt in this paper is to (...) highlight the contribution of the so-called “conservative thinker” with regard to contemporary debates in art and art history. (shrink)

Arnold Gehlen's use of the term posthistory can be traced back to his writings from the 50s. It occurs also in Zeit-Bilder. Zur Soziologie und Ästhetik der modernen Malerei, where his theory of pictorial racionality in art history is formulated and "peinture conceptuelle" as the key tendency of modern painting is appointed. Focusing on both, Gehlen's aesthetics of modern art and his theorem of posthistory, we try to remind of the conservative thinker's contribution to today's debates of art and (...) art history. (shrink)

In Bielefeld, Germany in April, 1997 an author conference was devoted to Arthur C. Danto's 1995 Mellon Lectures After the End of Art: Contemporary Art and the Pale of History. This essay provides an introduction to seven essays given at that conference and expanded for this Theme Issue of History and Theory. Danto presented his view of the nature of art in The Transfiguration of the Commonplace. He then added in the Mellon lectures a sociological perspective on the (...) current situation of the visual arts, and an Hegelian historiography. The history of art has ended, Danto claims, and we now live in a posthistorical era. Since in his well-known book on historiography, Analytical Philosophy of History, Danto is unsympathetic to Hegel's speculative ways of thinking about history, his adaptation of this Hegelian framework is surprising. Danto's strategy in After the End of Art is best understood by grasping the way in which he transformed the purely philosophical account of The Transfiguration into a historical account. Recognizing that his philosophical analysis provided a good way of explaining the development of art in the modern period, Danto radically changed the context of his argument. In this process, he opened up discussion of some serious but as yet unanswered questions about his original thesis, and about the plausibility of Hegel's claim that the history of art has ended. (shrink)

Arnold Gehlen's use of the term posthistory can be traced back to his writings from the 50s. It occurs also in Zeit-Bilder. Zur Soziologie und Ästhetik der modernen Malerei, where his theory of pictorial racionality in art history is formulated and "peinture conceptuelle" as the key tendency of modern painting is appointed. Focusing on both, Gehlen's aesthetics of modern art and his theorem of posthistory, we try to remind of the conservative thinker's contribution to today's debates of art and (...) art history. (shrink)

In Bielefeld, Germany in April, 1997 an author conference was devoted to Arthur C. Danto's 1995 Mellon Lectures After the End of Art: Contemporary Art and the Pale of History . This essay provides an introduction to seven essays given at that conference and expanded for this Theme Issue of History and Theory. Danto presented his view of the nature of art in The Transfiguration of the Commonplace . He then added in the Mellon lectures a sociological perspective (...) on the current situation of the visual arts, and an Hegelian historiography. The history of art has ended, Danto claims, and we now live in a posthistorical era. Since in his well-known book on historiography, Analytical Philosophy of History , Danto is unsympathetic to Hegel's speculative ways of thinking about history, his adaptation of this Hegelian framework is surprising. Danto's strategy in After the End of Art is best understood by grasping the way in which he transformed the purely philosophical account of The Transfiguration into a historical account. Recognizing that his philosophical analysis provided a good way of explaining the development of art in the modern period, Danto radically changed the context of his argument. In this process, he opened up discussion of some serious but as yet unanswered questions about his original thesis, and about the plausibility of Hegel's claim that the history of art has ended. (shrink)

Arnold Gehlen's use of the term posthistory can be traced back to his writings from the 50s. It occurs also in Zeit-Bilder. Zur Soziologie und Ästhetik der modernen Malerei, where his theory of pictorial racionality in art history is formulated and "peinture conceptuelle" as the key tendency of modern painting is appointed. Focusing on both, Gehlen's aesthetics of modern art and his theorem of posthistory, we try to remind of the conservative thinker's contribution to today's debates of art and (...) art history. (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)

Every doctoral thesis requires contextualization within its specific discipline's theoretical bases. For a visual arts practice-based thesis, the relevant bases include those of aesthetics and visual perception. This article reviews a Western history of the domain of visual aesthetic theory, addressing both the _analytical_ philosophical efforts to define art and the _continental_ approaches, which construe art as social construction. It then reviews a third, normative stance that foregrounds cognitive value before definition or sociological context—an _aesthetic cognitivist_ position, art (...) practice as a means of acquiring and sharing experiential knowledge and understanding. Contemporary concerns about environmental aesthetics and somaesthetics are also addressed in the Introduction. Aesthetic theories are related to visual perception theories as an aid to fulfilling the scholarly requirements for a practice-based thesis. (shrink)

This groundbreaking work challenges modernist military science and explores how a more open design epistemology is becoming an attractive alternative to a military staff culture rooted in a monistic scientific paradigm. The author offers fresh sociological avenues to become more institutionally reflexive -- to offer a variety of design frames of reference, beyond those typified by modern military doctrine. Modernist military knowledge has been institutionalized to the point that blinds militaries to alternative designs organizationally and in their interventions. This (...) book seeks to reconstruct strategy and operations in "designing ways" and develops theories of action through multifaceted contextualizations and recontextualizations of situations, showing that military design does not have to rely on set rational-analytic decision-making schemes, but on seeking alternative meanings in- and on-action. (shrink)

Theory and Practice in the Politics of Recognition and Misrecognition Content Type Journal Article Pages 1-9 DOI 10.1007/s11158-012-9181-7 Authors Wendy Martineau, School of Sociology, Politics and International Studies, University of Bristol, 34 Tyndalls Park Road, Clifton, Bristol BS8 1TY, UK Nasar Meer, School of Arts and Social Sciences, Northumbria University, Lipman Building, Newcastle upon Tyne, NE1 8ST UK Simon Thompson, Department of Arts, University of the West of England, Frenchay, Bristol BS16 1QY, UK Journal Res Publica Online ISSN 1572-8692 (...) Print ISSN 1356-4765 Journal Volume Volume 18 Journal Issue Volume 18, Number 1. (shrink)

This volume has 41 chapters written to honor the 100th birthday of Mario Bunge. It celebrates the work of this influential Argentine/Canadian physicist and philosopher. Contributions show the value of Bunge’s science-informed philosophy and his systematic approach to philosophical problems. The chapters explore the exceptionally wide spectrum of Bunge’s contributions to: metaphysics, methodology and philosophy of science, philosophy of mathematics, philosophy of physics, philosophy of psychology, philosophy of social science, philosophy of biology, philosophy of technology, moral philosophy, social and political (...) philosophy, medical philosophy, and education. The contributors include scholars from 16 countries. Bunge combines ontological realism with epistemological fallibilism. He believes that science provides the best and most warranted knowledge of the natural and social world, and that such knowledge is the only sound basis for moral decision making and social and political reform. Bunge argues for the unity of knowledge. In his eyes, science and philosophy constitute a fruitful and necessary partnership. Readers will discover the wisdom of this approach and will gain insight into the utility of cross-disciplinary scholarship. This anthology will appeal to researchers, students, and teachers in philosophy of science, social science, and liberal education programmes. 1. Introduction Section I. An Academic Vocation Section II. Philosophy Section III. Physics and Philosophy of Physics Section IV. Cognitive Science and Philosophy of Mind Section V. Sociology and Social Theory Section VI. Ethics and Political Philosophy Section VII. Biology and Philosophy of Biology Section VIII. Mathematics Section IX. Education Section X. Varia Section XI. Bibliography. (shrink)

What is a national theoretical tradition in art history? Description of the history of art theory is based on the experience of the Russian Institute of Art History (The Zubov Institute), which was founded as a private educational institution and became a center of art studies. In fact, art theory and art history was actualized in Russia largely thanks to the Institute of Art History. Valentin Zubov and his colleagues had introduced a new viewpoint on the history of (...) art as an important and independent science with its specific place in Russian humanities. On the example of the Institute we examine the change of attitude to the science about art in the 1920-1930s, mostly under ideological pressure. The paperscrutinizes the process of actualization of a new branch of knowledge and its deactualization in the time when sociological method and Marxist theory became the basis for Soviet art studies. Thereby deactualization makes a non-ideological art theory one of cultural exclusion zones. Chang of scientific pragmatism in the field of art studies transforms its grammar and, in fact, destroys art studies themselves. (shrink)

This book challenges the traditional idea that religions can be understood primarily as texts to be interpreted, decoded, or translated. In More Than Belief, Manuel A. Vásquez argues for a new way of studying religions, one that sees them as dynamic material and historical expressions of the practices of embodied individuals who are embedded in social fields and ecological networks. He sketches the outlines of this approach through a focus on body, practices, and space. In order to highlight the centrality (...) of these dimensions of religious experience and performance, Vásquez recovers materialist currents within religious studies that have been consistently ignored or denigrated. Drawing on state-of-the-art work in fields as diverse as anthropology, sociology, philosophy, critical theory, environmental studies, cognitive psychology, and the neurosciences, Vásquez offers a groundbreaking new way of looking at religion. (shrink)

This article develops a sociological analysis of the price mechanism on the market for contemporary art. On the basis of in-depth interviews with art dealers in New York and Amsterdam, I address two pricing norms: one norm inhibits art dealers from decreasing prices; the other induces them to set prices according to size. To account for these pricing norms, I argue that price setting is not just an economic but also a signifying act: despite their impersonal, businesslike connotations, actors (...) on markets manage to express a range of cognitive and cultural meanings through prices. Previously, meanings of prices have been recognized in signaling theories within economics. However, these meanings are restricted to profit opportunities. Within the humanities, by contrast, meanings of prices are restricted to contaminating or corrosive meanings. The sociological perspective I develop claims that prices, price differences, and price changes convey multiple meanings related to the reputation of artists, the social status of dealers, and the quality of the artworks that are traded. (shrink)

This text aims to provide a contribution to the analysis of beliefs and, through the elaboration of the notion of good reasons, to make a significant contribution to the theory of rationality. It examines the main theories that have been used in the social sciences and psychology for the explanation of beliefs. The author develops a particular model which enables him to show that people often have good reasons to believe in false ideas. The central idea of this model (...) is that people often draw controversial conclusions from valid arguments because they introduce implicit statements which they do not perceive, since they treat them - with good reasons - as self-evident. Hence they can hold doubtful, or even false, conclusions and regard them as solidly grounded. Boudon shows that this model can be used to reinterpret many findings from the sociology of religion and the sociology of knowledge, as well as from cognitive psychology. (shrink)

Relational theories of art—paradigmatically, the ‘Institutional’ theory—arose from dissatisfaction with the Wittgenstein-inspired ‘family resemblance’ account of art, and were taken not merely to be preferable in various ways to that account, but actually to falsify it. We argue that this latter thought is rooted in a fundamental misunderstanding of the falsification-conditions of a family resemblance account; and we suggest that, once the reasons for this are appreciated, any apparent motivation to engage in relational theorizing about art evaporates.

Sociological theories of morality have grown in prevalence over the last decade and a half. These theories often focus on developing single concepts such as identity, reputation or emotion, or they provide sweeping historical accounts. Such theories often also take the construct of empathy for granted, as an inevitable consequence of morality. Here, I present a mechanistic theory of empathy which operates at multiple levels of analysis. The approach offered can help frame particular topics in the sociology of (...) morality, though it is also robust enough to analyse historical change. Specifically, the theory presented here is composed of sets of situational, structural and societal mechanisms. Each set is discussed, as well as their relation to one another, before turning to an explication of how the present theory relates to a selective sampling of prominent theories in the contemporary sociology of morality. (shrink)

The axial aim of the paper is to dissect the main concepts of Margaret Archer’s theoretical position. In that line, first, the broader context of critical realism as a unique standpoint of philosophy of science is depicted, as her understanding of epistemology of the social is derived from there. The main body of the manuscript conveys discussions about crucial conceptual categories of the sociology of Margaret Archer primarily linked with analytical dualism, realist social theory, and morphogenetic/morphostatic approach. Moreover, a (...) short review of novel tendencies in further articulation of Archer’s theory, such as relational sociology, is presented. Furthermore, some examples of empirical application of her concepts are noted, as well as some critical remarks addressed to her epistemological-theoretical standpoint. Finally, in the concluding section, the prospects of using Archer’s sociological theory for empirical research on the transformation of contemporary Croatian society are emphasized. (shrink)

Arnold Gehlen is one of the most controversial figures of German intellectual history. Gehlen’s commitment to National Socialism (a commitment he never disavowed) is mostly seen in close connection with his theoretical focus on institutions. According to Gehlen, what mankind requires above all is order and thus the protection of institutions. And yet, by reducing Gehlen’s sociology to the necessity of order one misses the analytical scope of his writings. As this article aims to show, the strength of Gehlen’s sociology (...) lies less in its theory of institutionalization than in its attempt to comprehend change, i.e. the conceptual clarification of the interplay between radical innovation and institutionalization. In order to apprehend Gehlen’s understanding of change we have to look at his sociology of art as it is art which works as ‘a small symbol of society’. To approach Gehlen from this perspective is not to rehabilitate the controversial thinker. Instead, I am trying to show that Gehlen’s theoretical framework is as complex as modern culture itself and should therefore not prematurely be declared a reactionary testimony of the past. (shrink)

Book Information A Theory of Art. A Theory of Art Berger Karol Oxford Oxford University Press 2000 287 Hardback By Berger Karol. Oxford University Press. Oxford. Pp. 287. Hardback:.

This book places the contribution of psychoanalysis to the understanding of art within a philosophical framework and seeks to show by argument and example the potential and unrealized power of psychoanalytic theory for a philosophy of art and culture.

I want to propose to you a theory about the nature of objectivity—a theory which will tell us something about its causes, its intrinsic character, and its sources of variation. The theory in question is very simple. Indeed, it is so simple that I fear you will reject it out of hand. Here is the theory: it is thatobjectivity is social. What I mean by saying that objectivity is social is that theimpersonalandstablecharacter that attaches to some (...) of our beliefs, and the sense of reality that attaches to their reference, derives from these beliefs beingsocial institutions. (shrink)

The general theory of art and aesthetic value developed in this book is based on the notions of inexhaustibility and contrast and has important forebears in Kant, Coleridge, and Whitehead.

During the last two decades, sociologist Pierre Bourdieu has become a dominant force in cultural activity ranging from taste in music and art to choices in food and lifestyles. _The Field of Cultural Production_ brings together Bourdieu's major essays on art and literature and provides the first introduction to Bourdieu's writings and theory of a cultural field that situates artistic works within the social conditions of their production, circulation, and consumption. Bourdieu develops a highly original approach to the study (...) of literary and artistic works, addressing many of the key issues that have preoccupied literary art and cultural criticism in the last twentieth century: aesthetic value and canonicity, intertextuality, the institutional frameworks of cultural practice, the social role of intellectuals and artists, and structures of literary and artistic authority. Bourdieu elaborates a theory of the cultural field which situates artistic works within the social conditions of their production, circulation, and consumption. He examines the individuals and institutions involved in making cultural products what they are: not only the writers and artists, but also the publishers, critics, dealers, galleries, and academies. He analyzes the structure of the cultural field itself as well as its position within the broader social structures of power. The essays in his volume examine such diverse topics as Flaubert's point of view, Manet's aesthetic revolution, the historical creation of the pure gaze, and the relationship between art and power. The Field of Cultural Porduction will be of interest to students and scholars from a wide range of disciplines: sociology and social theory, literature, art, and cultural studies. (shrink)

In Between Facts and Norms (1996) Habermas presents the more straightforward normative discourse theory of law and democracy, in terms of contemporary legal orders, and then examines, in terms of social theory, whether the theory is plausible, given the complex nature of today’s conditions. The following article focuses in particular on Habermas’ social theory. It is critical of Habermas’ idea of ‘the lifeworld’ and discusses whether the circulation-of-power model might be mapped onto the system–lifeworld model.

Arnold Gehlen is one of the most controversial figures of German intellectual history. Gehlen’s commitment to National Socialism is mostly seen in close connection with his theoretical focus on institutions. According to Gehlen, what mankind requires above all is order and thus the protection of institutions. And yet, by reducing Gehlen’s sociology to the necessity of order one misses the analytical scope of his writings. As this article aims to show, the strength of Gehlen’s sociology lies less in its (...) class='Hi'>theory of institutionalization than in its attempt to comprehend change, i.e. the conceptual clarification of the interplay between radical innovation and institutionalization. In order to apprehend Gehlen’s understanding of change we have to look at his sociology of art as it is art which works as ‘a small symbol of society’. To approach Gehlen from this perspective is not to rehabilitate the controversial thinker. Instead, I am trying to show that Gehlen’s theoretical framework is as complex as modern culture itself and should therefore not prematurely be declared a reactionary testimony of the past. (shrink)

What, if anything, has art to do with the rest of our lives, and in particular with those ethical and political issues that matter to us most? Will art created today be likely to play a role in our lives as profound as that of the best art of the past? A Theory of Art shifts the focus of aesthetics from the traditional debate of "what is art?" to the engaging question of "what is art for?" Skillfully describing the (...) social and historical situation of art today, author Karol Berger argues that music exemplifies the current condition of art in a radical, acute, and revealing fashion. He also uniquely combines aesthetics with poetics and hermeneutics. Offering a careful synthesis of a wide breadth of scholarship from art history, musicology, literary studies, political philosophy, ethics, and metaphysics, and written in a clear, accessible style, this book will appeal to anyone with a serious interest in the arts. (shrink)

Critical Theory constitutes one of the major intellectual traditions of the twentieth century, and is centrally important for philosophy, political theory, aesthetics and theory of art, the study of modern European literatures and music, the history of ideas, sociology, psychology, and cultural studies. In this volume an international team of distinguished contributors examines the major figures in Critical Theory, including Horkheimer, Adorno, Marcuse, Benjamin, and Habermas, as well as lesser known but important thinkers such as Pollock (...) and Neumann. The volume surveys the shared philosophical concerns that have given impetus to Critical Theory throughout its history, while at the same time showing the diversity among its proponents that contributes so much to its richness as a philosophical school. The result is an illuminating overview of the entire history of Critical Theory in the twentieth century, an examination of its central conceptual concerns, and an in-depth discussion of its future prospects. (shrink)

This book features papers written by renowned international scholars that analyze the interdependence of art, phenomenology, and social science. The papers show how the analysis of the production as well as the perception and interpretation of art work needs to take into consideration the subjective viewpoint of the artist in addition to that of the interpreter. Phenomenology allows a description of the subjectively centered life-world of the individual actor-artist or interpreter-and the objective structures of literature, music, and the aesthetic domain (...) in general. The perspective of social science serves to reconstruct the socio-historical structure involved in the creation and reception of the art work. The authors concentrate on this specific theoretical focus which combines both phenomenology and social science and offers an innovative framework for the analysis of works of art from the fields of literature, music, visual arts, photography, and film. Some of the contributions present creative interpretations of a variety of distinct art works in addition to the realization of theoretical reflections on the interdependence of arts, phenomenology, and social science. This book features papers that were presented at the international and interdisciplinary conference Phenomenology, Social Sciences, and the Arts, held at the University of Konstanz, May 2009, in commemoration of philosopher and social scientist Alfred Schutz, the developer of phenomenologically oriented sociology. It will appeal to researchers, scholars, and students in phenomenology, social sciences, art theory, and the arts.. (shrink)

Noël Carroll proposes a generalist theory of art criticism, which essentially involves evaluations of artworks on the basis of their success value, at the cost of rendering evaluations of reception value irrelevant to criticism. In this article, I argue for a hybrid account of art criticism, which incorporates Carroll's objective model but puts Carroll-type evaluations in the service of evaluations of reception value. I argue that this hybrid model is supported by Kant's theory of taste. Hence, I not (...) only present an alternative theory of metacriticism, which has the merit of reinstating the centrality of reception value in art critics’ evaluations, but also show that, contrary to a common conception, Kant's aesthetic theory can house a fruitful account of art criticism. The benefit of this hybrid account is that, despite being essentially particularist, it should be appealing even to generalists, including Carroll. (shrink)

Annotation. In this volume, the third in his classic series of texts surveying the history of art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from Impressionism to Abstract Art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the (...) critical review; and the interrelation of new modes of scientific inquiry with artistic theory and praxis. The consequent changes in the ways in which critics as well as artists conceptualized paintings and sculptures were radical, marked by an obsession with intense, immediate sensory experiences, psychological reflection on the effects of art, and a magnetic pull to the exotic and alien, making for the most exciting and fertile period in the history of art criticism. (shrink)