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This paper discusses Eastern European Marxists' consideration of science and technology concerning aesthetic dimensions. Different from most of Western Marxists who take negative or dystopian attitudes towards modern science and technology from the aesthetic utopian perspective, those Marxists who come from countries such as Hungary, Yugoslav, Poland, Czechoslovakia, East Germany, Bulgaria or Romania, which once belonged to the socialist camp, under the influence of Soviet and Western culture, pay attention to the complicated tension between science-technology and aesthetics. In this paper, I probe into these notions by reading György Lukács, Budapest School, Romanian theorists and the Yugoslav Praxis Group, which are divided into four key points: basic nature of science in contrast with arts; modern tension of culture between science and arts; the possibility of scientific aesthetics; and development of arts in the world of technology. There is a dialectical understanding of science and technology here which contributes to contemporary recognition of science and technology from the point of view of neo-humanism, not only in aesthetics but also human existence. This is relevant to theoretical reflection on the present and future Chinese socialist aesthetics. [ABSTRACT FROM AUTHOR]

Theories of a new phase of earth history, the Anthropocene, position human world-making activity as a bio-geological force. Social interventions into earth systems have been extensive and malignant, altering the earth's surface, atmosphere, oceans, and systems of nutrient cycling. To adapt and respond to emerging planetary dangers requires the collaboration of scholars from many different disciplines. In this paper, I argue that a coalition of the arts and sciences might draw upon György Márkus's extensive studies of the topography of 'high' culture. I reconstruct Márkus's conceptual map of the arts and sciences as regions of 'high' cultural activity, each with their own criteria of value yet subject to an integral unity and shared ambition. Both regions of 'high' culture aim to create original works of significance for an engaged public. I then examine the implications of Márkus's claim that the classical vocation of robust, public-oriented culture has run aground. The field of problems that this paper traverses are not the ecological crises of the Anthropocene per se. I attend rather to Márkus's account of the neoliberal erosion of cultural infrastructure where democratic publics might engage with such problems. [ABSTRACT FROM AUTHOR]

Zygmunt Bauman said of 1968 that he could not empathize with the enthusiasm of the Western Left, that this was some kind of party. In Eastern Europe 1968 stood for an end, not a hope. Soon Bauman would be forced into exile, opening a new and brilliant phase of his intellectual trajectory. Sketches in the Theory of Culture was his last Polish book. It was suppressed in 1968, the contract cancelled in retaliation against his support for reforming politics. Now it has been rediscovered, originally in galley proofs, and translated by Dariusz Brzezinski for Polity Press. Like much of Bauman's work, it is sprawling and inclusive, taking in anthropology, sociology of culture, ethnology and semiotics. It anticipates his life-long enthusiasm for Lévi-Strauss; and it also foreshadows some of the themes much later to be identified as liquid modern, though it may be the case that the theme of continuity is rather social turbulence from postwar reconstruction to the travails of socialist Poland. In this paper I review some of its themes and its status in the body of his work, and offer some introductory remarks on its importance to the study of culture. [ABSTRACT FROM AUTHOR]

This paper calls attention to some basic problems and inner contradictions in the German sociologist Ulrich Beck’s theory of the ‘(world) risk society’ or reflexive (second) modernity. A main thread in the critique is that of addressing the theoretical ambiguities that seem to characterize Beck’s at the same time ‘social constructivist’ and ‘realist’ notion of risk – ambiguities that seem to be repeated on the one hand in Beck’s view on the relation between knowledge and unawareness in reflexive modernity and on the other hand in his view on the role of the mass media in the ‘(world) risk society’. Moreover, Beck’s notions of second modernity, reflexivity, rationality and critique are critically examined. With the alternative positions discussed in the paper – represented by Jeffrey C. Alexander, Niklas Luhmann and Mitchell Dean – some indications are given as to how one might fruitfully elaborate on the problem of risk. Thus, rather than a mainly technology-driven new type of social reality, the ‘(world) risk society’ could perhaps better be seen as indicating a changing cultural self-understanding of late modern society, a new ‘semantics of crisis', or the emergence of new forms of governmentality in the contemporary welfare state. In conclusion, some indications are given as to how an analysis of more specific ‘risk logics' or ‘rationalities' could be elaborated on, and a terminology that reflects this more differentiated approach to risk in late modern society is suggested. [ABSTRACT FROM PUBLISHER]

This paper considers and evaluates Jeffrey Alexander's strong program in cultural sociology, which represents an exercise in paradigm formation and an ambitious attempt to refound American sociology along interpretive lines. Cultural sociology is assessed according to four axes, namely its social constructivist epistemology, culturalizing methodology, analytical realism, and internal and external positioning. In addition to discussing the accomplishments and limitations of cultural sociology in all these areas, the paper indicates ways to strengthen it by setting it in conversation with other and more explicitly critical currents of thought. [ABSTRACT FROM AUTHOR]

It is a central claim of György Márkus’s philosophy of (modern) culture that the Enlightenment project ended up in deep, apparently irresolvable antinomies. But, unlike the majority of ‘postmodern’ thinkers, Márkus insists that the commitments of the Enlightenment cannot and should not be given up. This tension between the failure of the Enlightenment to produce a society of free and equal persons, each leading their lives autonomously, drawing on the resources of rational high culture, and the impossibility and undesirability of the abandonment of the commitments of the Enlightenment finds an expression in what Márkus calls ‘the antinomies of late modernity’. This paper offers an interpretation of Márkus’s conception; it identifies a certain ambiguity in Márkus’s use of the term ‘antinomies’ (a wobbling among three different senses as ‘pairs of opposites’, ‘conflicts of values’ and ‘conceptual incoherence’), and suggests that Márkus’s ambition is compatible with maintaining the first two but is failed by the third one which should, therefore, be abandoned. [ABSTRACT FROM PUBLISHER]

Daniel Bell’s writings are often cast as offering a contemporary jeremiad regarding the corrosive effects of culture upon the modern economic and social order. In this paper, I take the opposite approach and argue that Bell is a sensitive cultural analyst who is claiming that human experience ought not to be deprived of culture – understood as symbol and myth that tap into the felt need for human transcendence. Bell could therefore be seen as a strong advocate for the concept of culture, and for a cultural sociology. It is only that the modern (and postmodern) versions of culture do not realize the full potential of culture to move and inspire human actors. The conclusion is reached that what ails modern culture is neither rationalization nor secularization, but rather what Bell termed the ‘Great Profanization’. Rendering culture profane is much more serious, and deleterious, than any of the other specific dynamics sociologists have diagnosed regarding modern culture. [ABSTRACT FROM PUBLISHER]

This article follows the recurrent theme in Friedrich Kittler’s 40 years of prolific academic writing, which is of course the media-related production of discourse. Five heuristic principles are identified in his work: enabling, reduction, historization, the abolishment of the ‘two cultures', and post-hermeneutics. The paper closes with criticism of the intrinsic limits of Kittler’s point of view. [ABSTRACT FROM PUBLISHER]

This article examines the idioms of ‘modernity’ with specific focus on indigenous peoples and their engagement with larger society in respect of culture, development and jurisprudence. This engagement in the past 50 years has largely been within the terms of the nation-state system, and related international fora. It is argued that these indigeneous communities, in all their great diversity across the world, have nevertheless been largely successful in carving out adequate political spaces to stake their claims as distinct ‘peoples’ rather than simply being recognized as one among the several ethnic groups or minorities of a nation-state polity. This distinction is crucial and this paper shows why and how. This is not to say that the indigenous communities the world over have similar terms of engagement as their own heterogeneity defies any neat typological schema. At the same time, the multiple idioms of the current indigenous discourse, however, should not be treated as cacophonic but as embodying consciously crafted tools for boundary negotiations and voicing indigenous identities. This article reflects on this achievement by providing a survey of these developments even as it critically explores the terms of the discourses themselves. [ABSTRACT FROM PUBLISHER]

Aesthetic experience has been relativized and marginalized by recent social and cultural theory. As less attention has been paid to understanding the nature of aesthetic experience than mapping the distributed social correlates of tastes, its transformative potential and capacity to animate actors’ imaginations and actions goes unexplored. In this paper we draw upon a large number of in-depth interviews with performing arts audiences around Australia to investigate the language and discourse used to describe aesthetic experiences. In particular, we begin with theorizations of the subject-object nexus within object-relations theory to consider the transformative potential of aesthetic experience. Using these literatures, and extending them to others within sociology of the arts and materiality, our focus is on the way aesthetic experience can fuse human subjects with aesthetic objects. We examine how viewers take an aesthetic object into themselves and in turn project themselves into the aesthetic object by various visual and imaginative techniques. Our theoretical and empirical analysis bears out the constructive and productive capacity of aesthetic experience. [ABSTRACT FROM PUBLISHER]

Alexander's invitation to a sociology of evil begins from the premise that the social sciences have long neglected direct analyses of evil. They have focused instead on questions of the good and treated its other as an absence or residual category. His most direct foray into this field must be read against his strong program in cultural sociology and his more concrete analysis of the development of narratives of the Holocaust as a moral 'trauma drama'. I argue that the analytic frame Alexander constructs in 'Towards a Sociology of Evil' is too narrow to achieve the ambitions declared in 'The Strong Program in Cultural Sociology'. A multi-dimensional social theoretical approach to evil must recognize that while its significations are clearly culturally variable, they also refer to something beyond the limits of discourse. [ABSTRACT FROM AUTHOR]

The practice of social theory is too often given to celebrity hunting, the polemical vulgarizing of one's putative enemies, or the precocious production of totalizing and redemptive theories purporting to rescue social theory from its perennial crises of meaning, naming and explanation. The constructive task of social theory, however, can be both more modest and productive when attention is given to its substantive concern to provide codes, narratives and explanations of modernity, in all its pluralist and democratic dimensions. This is in effect the self-description of Jeffrey Alexander's own work. This paper provides an empathetic account of Alexander's approach to the practice of social theory via a synopsis of his collected essays in Fin de Siècle Social Theory (1995). In particular, it claims that Alexander's critique of the reductionist propensities of Pierre Bourdieu's macro-sociological theory is exemplary in its constructive cast as a systematic analysis of the universalizing contents of the conceptual and methodological claims themselves. Herein lies the use of reason itself. [ABSTRACT FROM AUTHOR]

This paper traces developments in Jeffrey Alexander's cultural sociology. The aim is to introduce the reader to the key components of this theory as it developed from a functionalist focus on societal values through semiotics and linguistic structuralism to a theory of cultural trauma and collective performance. [ABSTRACT FROM AUTHOR]

This paper retraces the conceptual development of Jeffrey Alexander's cultural sociology. It centres on three major conceptual achievements: first, the distinction between inside and outside and its more peculiar variants (like system and environment or friend and foe); second, the elaboration of the temporal axis as a distinct dimension of cultural analysis; and finally, the close focus on performativity that took centre-stage in cultural analysis during the last years. [ABSTRACT FROM AUTHOR]

Georg Simmel has long been appreciated as a major theorist of the arts in society, as well as of aesthetic phenomena in general in social life. Yet Simmel's essays in the area have remained dispersed for many years across the disparate parts of his corpus and have not been easy to survey in their full thematic cohesion and interconnection. This symposium article reflects on Austin Harrington's comprehensive anthology of these writings in English, published in 2020, which assembles virtually all the relevant titles – many of them appearing in English for the first time. Among the central topics of discussion are Simmel's fluid style of theorizing, his thinking about representation, reality and modernity in art, his relationships to philosophers and artistic personalities, and his legacy for the present. [ABSTRACT FROM AUTHOR]

The article offers information on several activities which involved the Thesis Eleven Centre for Cultural Sociology in Australia from 2010 to 2011 including an annual lecture on sociology, a seminar on cultural intermediaries and economy and a writers' festival.

Presents an introduction to academic papers clustered around sociologist Jeffrey Alexander's work and the project of American cultural sociology and published in the scholarly "Thesis Eleven" periodical. Consistent energy towards renewal; European current in American sociology; Youthful engagement with Marxism at Harvard University; Horizon of culture as the unifying theme; Premise of the intelligence of everyday action.

The section presents the annual report of the Thesis Eleven Centre for Cultural Sociology for 2016 and 2017. Topics discussed include the objectives of the Centre, the four kinds of events organized by the Centre, Honorary Research Fellows recipients for 2016 and 2017, articles published such as "Sook and Tired: A conversation about race and the media," by Sisonke Msimang, and conventions held by the Centre.

This article focuses on urban space and heritage. Our aim is to understand how ordinary streets in Perth respond to urban change and how much these urban streets represent Western Australia’s heritage. The intention is to eschew the dominant branding of WA as Australia’s mining state and shift the spotlight so that in addition to the economic and material, light is also shed on the socio-cultural in the everyday and the vernacular. This project uses Henri Lefebvre’s rhythmanalysis approach to explore a contrapuntal reading of heritage that disrupts the deserving, dominant and fixed histories of High Road in Willetton and High Street in Fremantle. Amid the tides of migration, commerce, and cultures, heritage facades on High Street Fremantle appear singular and fixed, whereas multiple cultures have been extracted for sale on High Road. Superficially High Road seems diverse, but the overarching impulse across both sites is commerce – ‘Business as usual’ reigns. [ABSTRACT FROM AUTHOR]

The article presents the 10th annual report of the Thesis Eleven Centre for Cultural Sociology. Topics discussed include aims of the centre including development of political and social theory, exchanges of scholars in social theory and encouraging postgraduate research, events of the centre such as public lectures and conferences on social science, its different types of members, its dependence on the School of Social Sciences and books edited by it.

The article presents the 11th annual report of the Thesis Eleven Centre for Cultural Sociology. Topics discussed include aims of the centre including development of political and social theory, exchanges of scholars in social theory and encouraging postgraduate research, events of the centre such as public lectures and conferences on social science, its different types of members, its dependence on the School of Social Sciences and various publications by the center and other associations.

The works of György Márkus and Hannah Arendt represent two irreconcilable tendencies of contemporary radical philosophy. Whereas Márkus’s critical theory of culture actively refrains from attributing metaphysical significance to its heuristic concepts and the mutable practices they contingently designate, Arendt’s phenomenological methodology attempts to elucidate the constitution of the modern world in order to evince the ontological significance of the political. Due to the inimical nature of their respective projects, Márkus’s writings largely consign its references to Arendt to marginalia. In this article, I consider the exception by taking as my point of departure Márkus’s only substantive comments about Arendt in ‘Beyond the Dichotomy: Poiesis and Praxis’. From a culturological perspective, I then reconstruct the ambivalent conceptions tacitly inhering in Arendt’s principal accounts of culture. In doing so, I reaffirm that Arendt denigrates poiesis, but also show that she regards culture and cultural reception as derivative to the political and praxis. The purpose of this exposition is not to resolve the dispute in one or the other direction, but to render perspicuous the fundamental choice evident in their opposition. [ABSTRACT FROM PUBLISHER]

Daniel Bell was one of the leading American sociologists in the 20th century, widely read both inside and outside the universities. He produced influential theses about the rise of post-industrial society and about the cultural contradictions of modern capitalism that saw it torn between restraint and hedonism. Bell was also notable for another reason. He was, most certainly on cultural matters, a conservative, and on a number of policy matters he was closely associated with the first generation of American neo-conservative thinkers. Bell’s conservative inclinations were rare in the American academy of his time, and this essay explores the nature and significance of those conservative views. [ABSTRACT FROM PUBLISHER]

Scholars have traditionally explained away torture as an act of monstrosity. Hannah Arendt has proposed instead a socio-cultural explanation of the phenomenon. Modern rationality, she suggests, constitutes the legitimacy principle that grounds the bureaucracy of repression and that perpetrators can ultimately tap into for the purpose of justifying their deeds. I will suggest, instead, that modern technical rationality is per se not sufficient to justify torture. Rather, to do so, it must undergo a profound transformation as a result of its being linked to deeper moral logics. Linkage, in turn, is a matter of cultural performance. To tackle the question of legitimacy in torture, it is therefore necessary to address its cultural pragmatics. Jeffrey Alexander’s latest work on social performance can help in this respect. [ABSTRACT FROM PUBLISHER]

This article returns to the question of the foundations of Western culture. Many have trod this path before, notably Nietzsche. At issue is a theory of culture, and the classical Greek preoccupation with how humans can make sense of their lives, find direction and some sort of vindication - for that is what culture is, and does. Travelling Greece today, what surprises is the vitality of the ancient sites. Alive with their own cast of timeless enchantment, it is as if they haven't changed over the millennia. Has this miraculous, enduring vitality something to do with the fact that the Western tree that Greece seeded continues to flourish? Or, is this just romantic illusion, a way to redeem the prosaic orders of modern everyday life; or, a fantasy aesthetico-religious culture to populate the disenchanted ruins of the Christian churchyard? [ABSTRACT FROM AUTHOR]

For most of the 20th century literature and criticism of literature functioned as central engines of cultural change across the western world. This was especially the case in ex-colonial societies like New Zealand where writers and intellectuals frequently expressed a desire in create sophisticated local cultures which could compete with the foundation societies in Europe. Between 1940 and 1984 New Zealand writers and intellectuals developed a mode of literary criticism which this essay refers to as 'Literary Critique' for this very reason. In the absence of well established cultural traditions and a sense that they had a duty to import and indigenise western intellectual thought in order to further the evolution of New Zealand culture, a series of writers wrote often scathing critiques of their culture, using literature as their point of entry. Post-War New Zealand Literary Critique stands as evidence of a provincial masculine, and angry intellectual culture. [ABSTRACT FROM AUTHOR]

The upsurge in cultural nationalism in New Zealand has failed to produce a good case that New Zealand is an exceptional society. The reason for this is that New Zealand has not had a chance to develop a culture that is autochthonous in significant respects New Zealand's domination by the cultures of Britain, Australia and America in the 19th and 20th centuries prevented its history from taking a significantly different path. The lack of autochthony is attributed to the structural effects of physical isolation. Remoteness made its human history unusually short, led it to be exceptionally exposed to the global revolution in transport and communication from the mid-19th century, and severely constrained its population size. [ABSTRACT FROM AUTHOR]

This text focuses from a philological perspective on media theories and their impact on traditional text-based disciplines. Therefore it looks at the problems that have emerged for Media Studies as well as for traditional studies in philology when reflecting on the concept of self-reference, since their subjects can seemingly no longer rely on the purity of the written word. If research work in the field of humanities is still mainly documented by texts, how does the advance of images as a challenging research subject affect the text that is referring to that subject? Speaking in media terms: how is the medium 'text', which still remains text when it is concerned with the medium 'image', affected by the 'other' medium? This question deals with the problem of self-reference, hence the construction of disciplinary limitations in various academic fields. Beginning with this question, I try to find out how the difference between self-reference (text) and reference (image) has been and still is being organized in texts. How can we compare different types of theorizing images in texts? These abstract problems will be exemplified by situating the word-image bias in a wider historical context. The text concludes by developing some possibilities for future research within this area of visual culture and academic writing. [ABSTRACT FROM AUTHOR]

Much has been made of the 'Southern difference' in cultural and sociological images of the North American landscape. Everything is different there: the cuisine, the music, the religion, and the politics. Moreover, the South was the crucible in which two of the definitive North American experiences were formed: the Civil War (1861-5) and the Civil Rights Movement a century later. This article poses another important category, in addition to 'race and space' — namely, the concept of tragedy, and the correlative rendering of the South as 'America's tragic landscape'. [ABSTRACT FROM AUTHOR]

Although California is often regarded as a regional civilization within the United States of America, this article argues that California justifies being considered a major civilization in itself, indeed the only genuinely 21st-century civilization, if only because of its top ranking among world economies. The article traces the varied facets of California natural and social history to show the overriding importance of biodiversity as a perennially unifying theme for an understanding of that civilization, and it confronts the varied challenges to this biodiversity that constitute more recent California history and politics. [ABSTRACT FROM AUTHOR]

What is the nature of modernity in Australia, or in the Antipodes? This article presents the view that Australia is an unhappy country because its modernity is caught between at least two different images of pasts and futures possible. There are at least two Australias, one closer to the image of modern tradition or settler capitalism, the other heading in the direction of globalism via its world cities. On contemplation, the image of doubling or pluralization spreads. For there are also at least two distinct little narratives of national foundation, one dystopic, as the halfway modern society begot by penal origins in 1788, the other utopian, as the field of the transtasman social laboratory mooted into the 20th century. These divisions resonate with the theme of the two nations, from Disraeli through to Bauman, but the logical implication of the argument for the discourse about multiple modernities suggests the pluralization rather than dualization of lifeworlds and social forms. [ABSTRACT FROM AUTHOR]

Alexander's call for a cultural sociology that goes beyond hermeneutic reading to an understanding of how cultural texts are instantiated in action is considered in relation to earlier attempts to establish a tradition of symbolic analysis in American sociology. The sociological provenance of the dramaturgical model that Alexander appropriates from performance studies serves to underline the precariousness of cultural sociology as a project within the American academy. Alexander's thesis on the critical importance of 'refusion' to the life of societies is endorsed, as is his argument that the specificity of 'post-traditional' societies cannot be elided by drawing directly on conceptual tools developed in analysis of ritual in 'traditional' societies. His argument for sociological agnosticism in relation to the moral qualities of symbolic action, on the other hand, is called into question. [ABSTRACT FROM AUTHOR]

Focuses on the two main domains of high culture namely arts and sciences. Similarity between the two domains; Role played by these two domains.

Focuses on the antinomies of modern culture in the work of researchers Agnes Heller and György Markus. Comparison of the analysis of the antinomies of modern culture in the work of both the researchers; Exploration of the normative concept of Heller; Link to the weaknesses in Heller's account.

There is a clearly discernible thread running through Johann P. Arnason's whole work. Starting with a highly sophisticated discussion of the Marxian term ‘praxis’ in the 1970s he was increasingly able to link his insights to macro-sociological questions. In the 1980s, focusing particularly on the notions of ‘power’ and ‘culture’, he formulated a theory of modernity which challenges the diagnoses of other major contemporary social theorists such as Habermas, Giddens, Castoriadis and others. [ABSTRACT FROM AUTHOR]

Comparative analysis of civilizations has recently revived and has led into a debate about varieties of modernity. This connection between an empirically defined area of study, ‘civilizations’, and a theme that is predominantly seen as conceptual, ‘modernity’, is a peculiar one and raises crucial questions for any social theory. Can ‘modernity’ be located spatio-temporally among the civilizations? Is it itself a civilization (or the successor to all civilizations), or does it not rather refer to a human condition? This article takes its starting point from the observation that civilizational comparison is always some form of cultural analysis and asks if and how a cultural theory of modernity is possible and fruitful under current theoretical and historical conditions. [ABSTRACT FROM AUTHOR]

While universalistic assumptions have been undermined by experiences of cultural difference, the notion of culture has been universalized. But it seems that the notion of culture, the way it has prevailed in public discourse as well as in social and cultural studies, has to be seen as the main stumbling block to intercultural dialogue. The article argues for an interactional concept of culture, or interpretation, as also of research and representation. Emphasis has to be put on modes of linkage between social action and discourses and on social reflexivity. While attempting to avoid the logic of identity, epistemologically, identity has to be understood as a social project. Thus universalism, which ‘as such’ is underdetermined and shows only contextually, has to be seen not as something achieved and secured, but as an objective. Universalism has to prove itself within difference, it cannot be imposed by one side. [ABSTRACT FROM AUTHOR]

The article inquires into the uneasiness of sociological systems theory about culture. Culture alternatively is called the solution to the problem of double contingency (Parsons) and removed from this solution (Luhmann). It is shown that meaning is the more basic term whose description reveals a form rule of social systems which is only patterned, yet not understood by culture. Culture is a memory and control device of society. It may be conceived of as providing the distinction of correct versus incorrect behaviour. But who decides on the correctness or incorrectness of this distinction? Sociological thinking takes off where the cultural and the social are distinguished. [ABSTRACT FROM PUBLISHER]