This edited collection carries out an extensive coverage of the sociology of arts most characteristic thematic areas (production, creation, the artwork, and reception) across an important range of artistic fields, from the most traditional to the more unusual. It makes an argument for the theoretical creativity and empirical expansion that characterizes the study of contemporary sociology of the arts. Such creativity is present in the increasingly predominant approach to a sociology of the arts in action, in all areas of inquiry within the discipline. The range of theoretical paradigms evoked is rich, analysing several of the most important theoretical frameworks currently handled in the discipline (Bourdieu, Becker, Peterson, ANT), and combining them with the works of many other influential contemporary specialists (De Nora, Hennion, Lamont, Menger and Born et al.). The book also establishes links to less known theoretical frameworks and some from different fields including economic sociology,microsociology, ethnomethodology, semiotics, and cultural history. The volume argues that Spanish-speaking scholars are now at the forefront of new developments in the field of the sociology of the arts, and is the first effort to gather research by these influential Spanish-language scholars in a single volume for an English-language audience.
Introduction: New Perspectives for the Sociology of the Arts.- Part I:
Reconsidering the Frames of Artistic Production.
Chapter 1: Heteronomy and
Necessity: Assembling Projects for Architectural Competitions, Ignacio
Farķas.
Chapter 2: Creative Settings: The Incidence of Place on Urban
Cultural Creativity Processes, Matķas I. Zarlenga.
Chapter 3: Cultural
Creation in Culinary Fields: The Cases of New York and San Francisco, Vanina
Leschziner.- Part II: New Perspectives on Creative Practices and Artistic
Outputs.
Chapter 4: Rock and Creativity: The Beatles and the Rock Album
Generative Formula, Cristiįn Martķn Pérez Colman.
Chapter 5: The Jolie Mōme
Theatre Company: Sociology of Artistic Work in the Militant Theatre, Marisol
Facuse.
Chapter 6: The Habitus of Dance: A Video-Aided Ethnography of
Artistic Skills in Rehearsal, Dafne Muntanyola-Saura.
Chapter 7:
Representations of the Uncertain: Art, Astronomy, and Dark Matter, Paola
Castańo.- Part III: The Artwork: Expanding the Analysis of Its Materiality
and Meaning(s).
Chapter 8: Learning to Love Concrete: On the
Socio-Materialities of Brutalism, Eduardo de la Fuente.
Chapter 10: The
Literary Classic and the Underappreciated Significance of Indexical
Expressions, Alvaro Santana-Acuńa.- Part IV: Deepening Reception Analysis:
Aesthetic Experience, Evaluation and Critique.
Chapter 11: Objects, Emotion,
and Biography or How to Get back to Love Opera and Football Shirts, Claudio
E. Benzecry.
Chapter 12: How Contemporary Art Is Evaluated: The Council of
Arts and Letters of Québecs Artistic Quality Criteria, Mariįn Misdrahi.-
Chapter 13: Undoing the market: Corporate sponsorship and activist protests
at Tate Galleries, Marta Herrero.
Arturo Rodrķguez Morató is Professor of Sociology and current Director of the CECUPS (Center for the Study of Culture, Politics and Society) at the University of Barcelona, Spain. He is the Former Vice President for Research of the International Sociological Association (2006-2010) and Former President of its Research Committee on Sociology of the Arts (1998-2002). He currently coordinates UNCHARTED (Understanding, Capturing and Fostering the Societal Value of Culture), a research project funded by the European Commission. Įlvaro Santana-Acuńa is Associate Professor of Sociology at Whitman College, USA. He is the author of Ascent to Glory: How One Hundred Years of Solitude Was Written and Became a Global Classic (Columbia University Press, 2020). His next book is entitled The Nation of Triangles.
