87334 - Sociology of Arts (1)

Learning outcomes

By the end of the course the student: moving from a critical review of classical and contemporary studies, is provided with a set of tools (concepts, models, theories and paradigms) useful for thinking sociologically the arts (visual, musical, performative ones); knows and is able to discuss art production and consumption, the social phenomenology of taste, art classifications, art evaluation, artistic movements, and the relationships between arts and social movements.

Course contents

 

Why a "sociology" of art (or rather, of the arts) and what can sociology do for and with art? And which art, or rather, which artists? These are the questions the course aims to answer, focusing this year on the theme of male dominance in the arts, i.e., the question of the artist's gender identity.

This will be an opportunity to investigate, on the one hand, how the image of the artist as a special, anomalous, atypical, irregular human being has been constructed, and on the other hand, to reflect on those cases where abnormality, extraordinariness, and sometimes "madness" become an integral part of the artist's image and the very value or meaning of their art.

But it will also be an opportunity to highlight how similar discourse on art and the status of the artist is gender-coded. The question we will start from to address the theme of artist identity will therefore be the now classic one provocatively posed by art historian Linda Nochlin over half a century ago in her seminal essay: "Why Have There Been No Great Women Artists?"

We will analyze that question in detail, showing its conditions of possibility and sociological implications, and we will do so by re-reading the text with that title in light of the research on the social construction of gender and male dominance that anticipated and accompanied it.

Through several case studies drawn from the history of visual arts, music, cinema, and literature, the course will then try to develop a model for the sociological analysis of gender inequalities in the arts, exploring its uses and possible extensions to other case studies, including those chosen by students. The course will also be an opportunity to consider convergences and differences between the sociology, history, and psychology of art.

Students with SLD or temporary or permanent disabilities. It is suggested that they get in touch as soon as possible with the relevant University office (https://site.unibo.it/studenti-con-disabilita-e-dsa/en) and with the lecturer in order to seek together the most effective strategies for following the lessons and/or preparing for the examination.

 

Readings/Bibliography

COMPULSORY:

• L. Nochlin, Perché non ci sono state grandi artiste? Roma, Castelvecchi 2014 (this edition, with introduction by M.A. Trasforini)

• P. Bourdieu, Il dominio maschile, Milano, Feltrinelli 2011.

• Materiali storico-sociologici sull'arte e l'identità dell’artista, texts by P. Bourdieu, H. Becker, E. Kris and O. Kurz, T. de Nora, M.A. Trasforini and others (available in Virtuale)

During the course, reference will be made to some texts which, while not strictly sociological, invite the reader to a sociological (and critical) interpretation.

K. Hessel, La storia dell’arte senza gli uomini, Torino, Einaudi 2023.

C. Lonzi, Autoritratto, Milano, La Nave di Teseo 2024.

A. Ernaux e R.-M. Lagrave, Una conversazione, Mantova, Oligo 2024.

 

 

 

Teaching methods

Lectures with moments of seminar discussion on topics of the course starting from the reading of selected texts

Assessment methods

Oral exam (usually 3 questions on topics of the course and in any case on the texts in the program) with an opportunity to discuss a research paper on a topic agreed upon with the lecturer (see course contents).

Students with SLD or temporary or permanent disabilities. It is necessary to contact the relevant University office (https://site.unibo.it/studenti-con-disabilita-e-dsa/en) with ample time in advance: the office will propose some adjustments, which must in any case be submitted 15 days in advance to the lecturer, who will assess the appropriateness of these in relation to the teaching objectives.

Teaching tools

Texts in pdf format uploaded on the online platform of the course; teaching support videos; course slides (available at the end of the lessons)

Office hours

See the website of Marco Santoro