In defence of theoretical and methodological pluralism in the sociology of art: A critique of georgina born's programmatic essay

Cultural Sociology

Volumn 4, Issue 2, 2010, Pages 217-230

  de la Fuente, Eduardo ^a  

^a MONASH UNIVERSITY   (Australia)

Author keywords

Alfred Gell; Art and agency; Cultural production; Mediators; New sociology of art; Sociology of art

Indexed keywords

EID: 77954439258     PISSN: 17499755     EISSN: None     Source Type: Journal    
DOI: 10.1177/1749975510368473     Document Type: Article

References (43)

1. Albertsen, N. and Diken, B. (2004) Artworks Networks: Field, System or Mediators?, Theory, Culture and Society 21(3): 35-58.
2. Alpers, S. (1988) Rembrandt's Enterprise: The Studio and the Market. Chicago, IL: University of Chicago Press.
3. Arnold, D. (2006) Series Editor's Preface, in J. Tanner and R. Osborne (eds), Art's Agency and Art History, pp. vii-viii. Oxford: Blackwell.
4. Becker, H.S. (1982) Art Worlds. Berkeley, CA and Los Angeles, CA: University of California Press.
5. Becker, H.S. (1999) The Chicago School, So-Called, Qualitative Sociology 22(1): 3-12.
6. Becker, H.S., Faulkner, R.R. and Kirshenblatt-Gimblett, B. (2006) Editors' Introduction, in H.S. Beckeret al.(eds), Art from Start to Finish: Jazz, Painting, and Other Improvisations, pp. 1-20. Chicago, IL and London: University of Chicago Press.
7. Born, G. (1995) Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde. Berkeley, CA: University of California Press.
8. Born, G. (2005) Uncertain Vision: Birt, Dyke and the Reinvention of the BBC. London: Vintage.
9. Born, G. (2010) The Social and the Aesthetic: For a Post-Bourdieuian Theory of Cultural Production, Cultural Sociology 4(2).
10. Bourdieu, P. (1984) Distinction: A Social Critique of the Judgment of Taste. Translated by R. Nice. Cambridge, MA: Harvard University Press.
11. Bourdieu, P. (1996) The Rules of Art. Cambridge: Polity.
12. Braun, C. (1994) The Science of Reality of Music History: On the Historical Background to Max Weber's Study of Music, in S. Whimster (ed.), Max Weber and the Culture of Anarchy, pp. 176-95. London: Palgrave Macmillan.
13. Caves, R. (2002) Creative Industries: Contracts between Art and Commerce. Cambridge, MA: Harvard University Press.
14. De La Fuente, E. (2007a) The Place of Culture in Sociology: Romanticism and Debates about the Cultural Turn, Journal of Sociology 43(2): 115-30.
15. De La Fuente, E. (2007b) The New Sociology of Art: Putting Art Back into Social Science Approaches to the Arts, Cultural Sociology 1(3): 409-25.
16. DeNora, T. (1995) Beethoven and the Construction of Genius. Berkeley, CA and Los Angeles, CA: University of California Press.
17. DeNora, T. (2000) Music and Everyday Life. Cambridge: Cambridge University Press.
18. DeNora, T. (2003) After Adorno: Rethinking Music Sociology. Cambridge: Cambridge University Press.
19. Freedberg, D. (1989) The Power of Images. Chicago, IL: University of Chicago Press.
20. Gell, A. (1998) Art and Agency: An Anthropological Theory. Oxford: Clarendon Press.
21. Gilmore, S. (1988) Schools of Activity and Innovation, Sociological Quarterly 29(2): 203-19.
22. Gombart, E. and Hennion, A. (1999) A Sociology of Attachment: Music Amateurs, Drug Users, in J. Law and J. Hazzard (eds), Actor-Network Theory and After, pp. 220-47. Oxford: Blackwell.
23. Hennion, A. (1993) La Passion Musicale. Paris: Métailié.
24. Latour, B. (2007) Reassembling the Social: An Introduction to Actor-Network Theory. Oxford: Clarendon Press.
25. Miller, D. (2005) Materiality: An Introduction, in D. Miller (ed.), Materiality, pp. 1-50. London: Duke University Press.
26. Mitchell, W.J.T. (1996) What Do Pictures Really Want?, October 77: 71-82.
27. Molotch, H. (2003) Where Stuff Comes From: How Toasters, Toilets, Computers, and Many Other Things Come to Be as They Are. New York, NY: Routledge.
28. Molotch, H. (2004) How Art Works: Form and Function in the Stuff of Life, in R. Friedland and J. Mohr (eds), Matters of Culture: Cultural Sociology in Practice, pp. 341-77. Cambridge: Cambridge University Press.
29. Myers, F. (2002) Painting Culture: The Making of an Aboriginal High Art. London: Duke University Press.
30. Tanner, J. (2003) Introduction: Sociology and Art History, in J. Tanner (ed.), The Sociology of Art: A Reader, pp. 1-26. London and New York, NY: Routledge.
31. Tanner, J. and Osborne, R. (2006) Introduction: Art and Agency and Art History, in J. Tanner and R. Osborne (eds), Art's Agency and Art History, pp. 1-27. Oxford: Blackwell.
32. Thomas, N. (1998) Foreword, in A. Gell, Art and Agency: An Anthropological Theory of Art, pp. vii-xiii. Oxford: Clarendon Press.
33. Throsby, D. (2000) Economics and Culture. Cambridge: Cambridge University Press.
34. Weber, M. (1958) The Rational and Social Foundations of Music. Translated by D. Martindale, G. Neuwirth and J. Riedel. Carbondale, IL: Southern Illinois University Press.
35. Weber, M. (1978) Value-Judgments in Social Science, in W.G. Runciman (ed.), Weber: Selections in Translation, pp. 69-98. Cambridge: Cambridge University Press.
36. Witkin, R.W. (1992) Van Eyck through the Looking Glass, Journal for the Theory of Social Behaviour 22(3): 329-50.
37. Witkin, R.W. (1997) Constructing a Sociology for an Icon of Aesthetic Modernity: Olympia Revisited, Sociological Theory 15(2): 101-25.
38. Witkin, R.W. (1998) Adorno on Music. London and New York, NY: Routledge.
39. Witkin, R.W. (2009) The Aesthetic Imperative of a Rational-Technical Mastery: A Study in Organizational Control through the Design of Artifacts, Music and Arts in Action 2(1): 56-68.
40. Wolff, J. (1981) The Social Production of Art. London: Macmillan.
41. Wolff, J. (1983) Aesthetics and the Sociology of Art. London: George Allen and Unwin.
42. Wolff, J. (2003) AngloModern: Painting and Modernity in Britain and the United States. Ithaca, NY: Cornell University Press.
43. Wolff, J. (2008) The Aesthetics of Uncertainty. New York, NY: Columbia University Press.