This is our backup site. Click here to visit our main site at MellenPress.com
Formal and Historical Sociology of Western Picture-Making with Special Reference to J. M. W. Turner Power, Space and Light
| Author: | Parker, John | |
| Year: | 1998 | |
| Pages: | 476 | |
| ISBN: | 0-7734-8483-3 978-0-7734-8483-2 | |
| Price: | $279.95 | |
This study of innovation in the Western European practice of picture-making using framed pictorial space offers a fresh approach to the sociology of the arts. It integrates Wollheim's substantive aesthetics with Durkheimian and Pragmatic social theory to theorise arts as embodied and fully sociable practices, while avoiding sociological reductionism. It examines the emergence of framed picture-making itself, showing the framed picture-space emerging in 13th century Italy, before accounting for the changing output of Turner.
Table of Contents
Table of Contents
INTRODUCTION: The Sociology of Art and the Two Reductions: Reducing the autonomy of art; Reducing the creative artist; The complementarity of Durkheim and Mead
PART ONE: THE NECESSITY OF ARTS AND ARTISTS
1. From Painting to the Ritual of Picture-Making: Durkheim Wollheim's substantivist aesthetics; Acknowledging concrete frames; Cultural objects; Pictures as interaction ritual; Implications for the sociology of arts; Pictures and modernisation
2. The Pragmatic Critique of Creative Individualism: Mead
PART TWO: A PRAXIOLOGY OF PICTORIAL COMPOSITION
3. The Discipline of Pictorial Composition
4. Organising Pictorial Work: Methods and Methodology
5. Organising Pictorial work: Performing and Finishing
6. Producing the Producer
7. Developing a Corpus and avoiding Self-Destruction
PART THREE: THE ORIGINS OF THE PRACTICE
Preamble
8. The Structural emergence of Pictures: Lighting the Transition; The Space of Transition; Gothic and Renaissance space and time - from inside out; The Horizon
9. Central Italy at the end of the 13th Century: Towards a Pragmatic historical Sociology; 13th Century Illusionism as a solution to a problem; Non-local and Long-term conditions conducive to Illusionism; the Uniqueness of Tuscany
Appendix: The macroscopic approach; Historical approaches (microscopic)
PART FOUR: TURNER AS SOCIAL PRODUCER
10. England and Pictures: Towards landscape: Introduction; The English Exception; England, painting and internal security; Landscape
11. The defence of Universality: Wilson and the Picturesque; The Hierarchy of art a
INTRODUCTION: The Sociology of Art and the Two Reductions: Reducing the autonomy of art; Reducing the creative artist; The complementarity of Durkheim and Mead
PART ONE: THE NECESSITY OF ARTS AND ARTISTS
1. From Painting to the Ritual of Picture-Making: Durkheim Wollheim's substantivist aesthetics; Acknowledging concrete frames; Cultural objects; Pictures as interaction ritual; Implications for the sociology of arts; Pictures and modernisation
2. The Pragmatic Critique of Creative Individualism: Mead
PART TWO: A PRAXIOLOGY OF PICTORIAL COMPOSITION
3. The Discipline of Pictorial Composition
4. Organising Pictorial Work: Methods and Methodology
5. Organising Pictorial work: Performing and Finishing
6. Producing the Producer
7. Developing a Corpus and avoiding Self-Destruction
PART THREE: THE ORIGINS OF THE PRACTICE
Preamble
8. The Structural emergence of Pictures: Lighting the Transition; The Space of Transition; Gothic and Renaissance space and time - from inside out; The Horizon
9. Central Italy at the end of the 13th Century: Towards a Pragmatic historical Sociology; 13th Century Illusionism as a solution to a problem; Non-local and Long-term conditions conducive to Illusionism; the Uniqueness of Tuscany
Appendix: The macroscopic approach; Historical approaches (microscopic)
PART FOUR: TURNER AS SOCIAL PRODUCER
10. England and Pictures: Towards landscape: Introduction; The English Exception; England, painting and internal security; Landscape
11. The defence of Universality: Wilson and the Picturesque; The Hierarchy of art a