By Alexander Riley, W. S. F. Pickering, William Watts Miller
Utilizing a large definition of the Durkheimian culture, this e-book deals the 1st systematic try and discover the Durkheimians' engagement with artwork. It makes a speciality of either Durkheim and his contemporaries in addition to later thinkers stimulated by way of his paintings. the 1st 5 chapters examine Durkheim's personal exploration of artwork; the rest six examine different Durkheimian thinkers, together with Marcel Mauss, Henri Hubert, Maurice Halbwachs, Claude Levi-Strauss, Michel Leiris, and Georges Bataille. The individuals - students from various theoretical orientations and disciplinary views - are identified for having already produced major contributions to the learn of Durkheim. This ebook will curiosity not just students of Durkheim and his culture but additionally these inquisitive about aesthetic conception and the sociology and background of artwork.
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Additional info for Durkheim, the Durkheimians, and the Arts
This is in the sense that, whether associated with the secular or the religious, or with everyday or special times, or with folk or high culture, central cases of art are constituted by “sacred art” in the energies of a live event and as collective, participatory, performative art. Repro art The modern world involves forms of communication that go far beyond anything in Durkheim’s Australia. 6 Yet this only helps to underline the importance of asking about an issue that arises from his work, although never explicitly addressed in it.
Or again, even if the storytelling and live arts of ordinary times seldom generate “tumult,” they are not only interactive and participatory but have their own forms of organized spontaneity, all of which are ways to connect times of everyday social groupings with times of assembly. In sum, the fundamental unity is how, in an intrinsic link between aesthetic and social forms, and whether in storytelling, sacred drama, a jazz session or grand opera, the power of live art is the power of collective, participatory, performative art.
These events can be held anywhere whatever the location of an original score, if, indeed, any such thing exists. It is in any case simplistic just to equate a score with a work, or to see it as a set of instructions comprehensively dictating how the music is to be played. It is merely a basic guiding model, to be fleshed out in the different detailed renderings of actual performances—in a studio, a recording of a live performance, a live performance itself, but also in an 38 William Watts Miller interaction between these forms of enactment.