Course detail
Sociology and Art
FaVU-1SU-2Acad. year: 2024/2025
The course introduces fundamental sociological reflections of art as well as key concepts and personalities. In the introductory chapters, the course outlines a plurality of perspectives ranging from the concepts of "art as a social act" through an emphasis on the institutional dimension of the art world to Luhmann's understanding of art as a "generalized system of communication." The course is based on a combination of lectures and seminars. The seminar form assumes the preparation of students in the form of reading a short text in Czech, which will then be discussed.
Language of instruction
Czech
Number of ECTS credits
2
Mode of study
Not applicable.
Guarantor
Entry knowledge
Basic knowledge of theory of art, a lively interest in contemprary art and art world.
Rules for evaluation and completion of the course
Credit is granted on the basis of completed attendance (70%), active participation in seminars and submission of essay.
Compulsory attendance (at least 70 %).
Compulsory attendance (at least 70 %).
Aims
The aim of the course is to make students acquainted with key topics and concepts of sociological reflections on art. It is based on reading and discussion of primary texts. The seminar form will allow students to test a level of their understanding ability to analyze given problems.
Students will gain a basic overview of the sociological approach to art. They will be able to illustrate partial themes through the examples of art thematically related art projects. They will be able to use the acquired terminology and concepts adequately in spoken and written language, as well as to read with the understanding the texts of art provenance.
Students will gain a basic overview of the sociological approach to art. They will be able to illustrate partial themes through the examples of art thematically related art projects. They will be able to use the acquired terminology and concepts adequately in spoken and written language, as well as to read with the understanding the texts of art provenance.
Study aids
Not applicable.
Prerequisites and corequisites
Not applicable.
Basic literature
Adorno: Estetická teorie. Panglos, Praha, 1997. (CS)
Adorno, T. W.: Úvod do sociologie hudby. Filosofia, Praha, 2015. (CS)
Alan, J., Petrusek, M.: Sociologie, literatura a politika, Karolinum, Praha 1996. (CS)
Becker, S. H. Artworlds. University of California Press, 1982. (CS)
Belting, H.: Konec dějin umění, Mladá Fronta, Praha, 2000. (CS)
Berger, John, Způsoby vidění, Labyrint, Praha, 2016. (CS)
Bourdieu, P.: Pravidla umění. Vznik a struktura literárního pole. Host, Brno, 2010. (CS)
Bürger, Peter, Teorie Avantgard. Stárnutí moderny. Stati o umění. VVP AVU, Praha, 2015. (CS)
Clark, Timothy J.: Image of the People: Gustave Courbert and the 1848 Revolution. University of California Press, 1999. (CS)
Eco, U.: Skeptikové a těšitelé. Svoboda, Praha, 1995. (CS)
Fischerová, M.: Obraz a moc. Rozhovory s francouzskými mysliteli. Karolinum, Praha, 2015. (CS)
Goldfarb, J. C.: Reinventing Political Culture: The Power Of Culture Versus The Culture Of Power. Polity Press, 2011. (CS)
Harrington, A.: Art and Social Theory: Sociological Arguments in Aesthetics. Polity, 2004. (CS)
Kessner, Ladislav.: Vizuální teorie. Současné angloamerické myšlení o výtvarných dílech. H&H, Jinočany, 1997. (CS)
Mc Robbie, Angela: Aktuální témata kulturálních studií. Portál, Praha, 2006. (CS)
Paulíček, M.: Nikdo se neodváží říci, že je to nudné. Sociologie vysokého a nízkého umění. SLON, Praha, 2012. (CS)
Petrusek, M.: Sociologie a literatura, Československý spisovatel, Praha 1990. (CS)
Stallabrass, J.: Art Incorporated. The Story of Contemporary Art. Oxford University Press, 2004. (CS)
Wolff, J.: The Social Production of Art. NYU Press, 1998. (CS)
Adorno, T. W.: Úvod do sociologie hudby. Filosofia, Praha, 2015. (CS)
Alan, J., Petrusek, M.: Sociologie, literatura a politika, Karolinum, Praha 1996. (CS)
Becker, S. H. Artworlds. University of California Press, 1982. (CS)
Belting, H.: Konec dějin umění, Mladá Fronta, Praha, 2000. (CS)
Berger, John, Způsoby vidění, Labyrint, Praha, 2016. (CS)
Bourdieu, P.: Pravidla umění. Vznik a struktura literárního pole. Host, Brno, 2010. (CS)
Bürger, Peter, Teorie Avantgard. Stárnutí moderny. Stati o umění. VVP AVU, Praha, 2015. (CS)
Clark, Timothy J.: Image of the People: Gustave Courbert and the 1848 Revolution. University of California Press, 1999. (CS)
Eco, U.: Skeptikové a těšitelé. Svoboda, Praha, 1995. (CS)
Fischerová, M.: Obraz a moc. Rozhovory s francouzskými mysliteli. Karolinum, Praha, 2015. (CS)
Goldfarb, J. C.: Reinventing Political Culture: The Power Of Culture Versus The Culture Of Power. Polity Press, 2011. (CS)
Harrington, A.: Art and Social Theory: Sociological Arguments in Aesthetics. Polity, 2004. (CS)
Kessner, Ladislav.: Vizuální teorie. Současné angloamerické myšlení o výtvarných dílech. H&H, Jinočany, 1997. (CS)
Mc Robbie, Angela: Aktuální témata kulturálních studií. Portál, Praha, 2006. (CS)
Paulíček, M.: Nikdo se neodváží říci, že je to nudné. Sociologie vysokého a nízkého umění. SLON, Praha, 2012. (CS)
Petrusek, M.: Sociologie a literatura, Československý spisovatel, Praha 1990. (CS)
Stallabrass, J.: Art Incorporated. The Story of Contemporary Art. Oxford University Press, 2004. (CS)
Wolff, J.: The Social Production of Art. NYU Press, 1998. (CS)
Recommended reading
Not applicable.
Classification of course in study plans
- Programme VUM_B Bachelor's 2 year of study, summer semester, compulsory-optional
4 year of study, summer semester, elective
2 year of study, summer semester, compulsory-optional
4 year of study, summer semester, elective
2 year of study, summer semester, compulsory-optional
4 year of study, summer semester, elective
2 year of study, summer semester, compulsory-optional
4 year of study, summer semester, elective
2 year of study, summer semester, compulsory-optional
4 year of study, summer semester, elective
2 year of study, summer semester, compulsory-optional
4 year of study, summer semester, elective
2 year of study, summer semester, compulsory-optional
4 year of study, summer semester, elective
2 year of study, summer semester, compulsory-optional
4 year of study, summer semester, elective
2 year of study, summer semester, compulsory-optional
4 year of study, summer semester, elective
2 year of study, summer semester, compulsory-optional
4 year of study, summer semester, elective
2 year of study, summer semester, compulsory-optional
4 year of study, summer semester, elective
2 year of study, summer semester, compulsory-optional
4 year of study, summer semester, elective
2 year of study, summer semester, compulsory-optional
4 year of study, summer semester, elective - Programme DES_B Bachelor's 1 year of study, summer semester, elective
1 year of study, summer semester, elective
1 year of study, summer semester, elective
1 year of study, summer semester, elective
Type of course unit
Lecture
13 hod., optionally
Teacher / Lecturer
Syllabus
1. Explanation of basic sociological approaches to art; protosociology (Burckhardt, Schucking, Guyau, Taine); differentiation of approaches and paradigms (socio-gnoseological and institutional); contradictions of art historical internalism and externalism (text vs. context).
2. The social history of art (Francastel, Hauser); Hauser and Clark; sociological turn in Aesthetics (G. Dickie) and history of art (Moxey, Baxandall); social dilemmas of the art world (Gablik, Bell).
3. The functions of art in change (Bürger, Benjamin) and in relation to different segments of society; varying approaches of critical and liberal theories (Harrington); the question of autonomy and heteronomy (subversion and affirmation).
4. Author as a product of the art world – "desacralization of creation" (concepts of Berufung, contraction, contagion), forms of "enchantment" (Bourdieu, Zolberg); role and status of the artist in history (Burke, Haynes) and in the present; status inconsistency (elite or hyperactivity?).
5. Creation or production? The sociological dilemma (how to reconcile the pattern of production with its innovations) and its solution in Bourdieu’s application of the notion game (concepts of batch and illusio), typology of traditions and innovation (Zolberg, Becker), role of convention in pragmatics of work (Becker).
6. The path of the work to the recipient; modeling (distribution and commodification) of aesthetic experience; establishing a high culture; canon-producing institutions.
7. Other changes in the distribution of art (from patronage and custom work to exhibition forms), distribution institutions and their influence; the current boom of art and alignment with the corporate sphere (Stallabrass, Abbing), market distribution (Thurn, Velthius, Thompson).
8. Forms of consumption; the critique of "pure vision" (Bourdieu); visual sociology and visual studies (+ image anthropology: Belting, Summers); instruments (Chaplin, Elkins, Sturkenwright); vision instruments – gaze (Jay and skopic modes).
9. Art and its social use (communicative functions); the question of values (anti-essentialist concepts) and the communication (to what extent is the art of communication), experience and understanding (user typology - Adorno); active conception of the viewer (Constrictive receptionist school, cultural and media studies).
10. The problem of high and low culture (Zahradek, Gans, Bourdieu versus Peterson); criticism of social use of high culture and deviance to low culture (CCCS and cultural studies); the question of kitsch and carnevalization of culture (Kulka, Featherstone); conservative criticism (Bell, Scruton).
11. Ideology (utopia) in the artwork from Marxists and structuralists (Lukács, Goldmann, Alhusser) after the CCCS in Birmingham and contemporary visual studies; coding concept, and connotation (S. Hall); symbolic power and self-concept (J. B. Thompson); symbolic violence, naturalization and field fracture (Bourdieu); disagreements of ideological reading (Berger).
12. The power of artwork – subversion and utopian art potential. Innovation as social deviation (Merton), pluralist (artistic fiction as a social alternative, Zuska).
2. The social history of art (Francastel, Hauser); Hauser and Clark; sociological turn in Aesthetics (G. Dickie) and history of art (Moxey, Baxandall); social dilemmas of the art world (Gablik, Bell).
3. The functions of art in change (Bürger, Benjamin) and in relation to different segments of society; varying approaches of critical and liberal theories (Harrington); the question of autonomy and heteronomy (subversion and affirmation).
4. Author as a product of the art world – "desacralization of creation" (concepts of Berufung, contraction, contagion), forms of "enchantment" (Bourdieu, Zolberg); role and status of the artist in history (Burke, Haynes) and in the present; status inconsistency (elite or hyperactivity?).
5. Creation or production? The sociological dilemma (how to reconcile the pattern of production with its innovations) and its solution in Bourdieu’s application of the notion game (concepts of batch and illusio), typology of traditions and innovation (Zolberg, Becker), role of convention in pragmatics of work (Becker).
6. The path of the work to the recipient; modeling (distribution and commodification) of aesthetic experience; establishing a high culture; canon-producing institutions.
7. Other changes in the distribution of art (from patronage and custom work to exhibition forms), distribution institutions and their influence; the current boom of art and alignment with the corporate sphere (Stallabrass, Abbing), market distribution (Thurn, Velthius, Thompson).
8. Forms of consumption; the critique of "pure vision" (Bourdieu); visual sociology and visual studies (+ image anthropology: Belting, Summers); instruments (Chaplin, Elkins, Sturkenwright); vision instruments – gaze (Jay and skopic modes).
9. Art and its social use (communicative functions); the question of values (anti-essentialist concepts) and the communication (to what extent is the art of communication), experience and understanding (user typology - Adorno); active conception of the viewer (Constrictive receptionist school, cultural and media studies).
10. The problem of high and low culture (Zahradek, Gans, Bourdieu versus Peterson); criticism of social use of high culture and deviance to low culture (CCCS and cultural studies); the question of kitsch and carnevalization of culture (Kulka, Featherstone); conservative criticism (Bell, Scruton).
11. Ideology (utopia) in the artwork from Marxists and structuralists (Lukács, Goldmann, Alhusser) after the CCCS in Birmingham and contemporary visual studies; coding concept, and connotation (S. Hall); symbolic power and self-concept (J. B. Thompson); symbolic violence, naturalization and field fracture (Bourdieu); disagreements of ideological reading (Berger).
12. The power of artwork – subversion and utopian art potential. Innovation as social deviation (Merton), pluralist (artistic fiction as a social alternative, Zuska).