A cultural sociology of the arts

This article analyses the development of the sociology of culture in Czechia. Its focus is on the sociology of the arts and cultural sociology, which, it is argued, are connected through the notion of the relative autonomy of cultural structures. While the Czech sociology of culture may have been rendered less dynamic by the lack of a critical mass of sociologists specialising in this area and by the country’s frequent political upheavals and its isolation from the international circulation of ideas, it has experienced moments of considerable vitality. Three periods in the development of the field are identified here, each of them marked by a movement toward a stronger and more sociologically adequate conceptualisation of cultural autonomy: (1) from the diffuse culturalism of the field’s founding figures to the functionalist theory of the interwar sociologist Inocenc Arnošt Bláha, whose view of the relationship between art and society was influenced by the work of the Prague School of Structuralism; (2) from the cultural reductionism of Marxist-Leninist theory after 1948 to the eclectic sociology of culture and the arts of the late socialist period; (3) from the demise of this transitional form of a sociology of culture in the 1990s to the increasingly internationalised but also heterogeneous landscape of the 2010s, which is constituted by a semi-institutionalised centre of cultural sociology at Brno and small groups or individuals in Prague and other academic locales. The thread of continuity in an otherwise discontinuous historical development is found in the recurrent motif of the relative autonomy of culture which the Czech sociology of culture absorbed through its exposure to art and literary theory.

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Of Sound and Flavour – Revisiting the Notion of Material for the Cultural Sociological Analysis of Art Domains

Cultural Sociology ◽

10.1177/1749975520969603 ◽

2020 ◽

pp. 174997552096960

Author(s):

Isabelle Darmon

Keyword(s):

Joint Attention ◽

Cultural Sociology ◽

Critical Study ◽

Sociological Analysis ◽

Cultural Dynamics ◽

The Arts ◽

Sociology Of Art ◽

Domains Of Life ◽

Modes Of Engagement

This article proposes a possible path for a materialist cultural sociology of art, focusing on the dynamics of art(s) domains and harnessing Adorno’s dialectical notion of material anew. I seek to establish links between dynamics of the arts domains and the fostering of specific modes of engagement with them – and, potentially, stances in other domains of life. I argue that a return to Adorno’s notion of (musical) material allows for such connections to be made: the ‘material’ is where the dynamics of the specific arts domains are inscribed; but it is also what is engaged with – by composers and artists as well as by interpreters, performers and publics. A dialectical material lens seems well suited for the critical study of the dynamic of arts domains in the 20th and 21st centuries, given the multiple artistic ‘breaks’ proclaimed. Focusing on some well-known movements in music and cuisine which sought to ‘emancipate’, ‘democratise’, and ‘diversify’ sounds and flavours, I analyse the processes through which they produced sound and flavour anew. I suggest that sounds and flavours themselves have become the carriers of logics relevant to music and cuisine, and that they have come to imperiously command modes of commitment (from composers and chefs, performers, listeners and diners alike) that evince specific stances. Through this necessarily sketchy survey, I provide indications that broader, cross-cutting cultural dynamics may be at stake. Overall, I seek to make clear what theoretical steps are afforded by the joint attention to materiality and the dynamic of art domains.

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Moving beyond production: Ron Eyerman and the cultural sociology of the arts

American Journal of Cultural Sociology ◽

10.1057/s41290-019-00072-z ◽

2019 ◽

Vol 7 (2) ◽

pp. 247-259

Author(s):

Lisa McCormick

Keyword(s):

Cultural Sociology ◽

The Arts

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Electron Microscopy in Molecular Biology

Proceedings, annual meeting, Electron Microscopy Society of America ◽

10.1017/s0424820100060027 ◽

1967 ◽

Vol 25 ◽

pp. 2-3

Author(s):

Cecil E. Hall

Keyword(s):

Electron Microscopy ◽

Molecular Biology ◽

Noise Level ◽

Molecular Structures ◽

Material Structure ◽

The Arts ◽

Shadow Casting ◽

Electron Image ◽

High Degree ◽

Very High

The visualization of organic macromolecules such as proteins, nucleic acids, viruses and virus components has reached its high degree of effectiveness owing to refinements and reliability of instruments and to the invention of methods for enhancing the structure of these materials within the electron image. The latter techniques have been most important because what can be seen depends upon the molecular and atomic character of the object as modified which is rarely evident in the pristine material. Structure may thus be displayed by the arts of positive and negative staining, shadow casting, replication and other techniques. Enhancement of contrast, which delineates bounds of isolated macromolecules has been effected progressively over the years as illustrated in Figs. 1, 2, 3 and 4 by these methods. We now look to the future wondering what other visions are waiting to be seen. The instrument designers will need to exact from the arts of fabrication the performance that theory has prescribed as well as methods for phase and interference contrast with explorations of the potentialities of very high and very low voltages. Chemistry must play an increasingly important part in future progress by providing specific stain molecules of high visibility, substrates of vanishing “noise” level and means for preservation of molecular structures that usually exist in a solvated condition.

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