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 with art? Is sociology needed to know and understand art? And which art—or rather, which arts? What relationships can sociology maintain with other fields of knowledge regarding art without losing its own identity? These are the questions the course will attempt to answer by proposing a journey through histories, concepts, and images—spanning arts, artists, disciplines, intellectual traditions, works, and authors—with examples drawn from the history of painting, music, cinema, and literature. As we approach it here, the sociology of the arts will also be a sociology of the disciplines that study the arts (a sociology of aesthetics, art history, musicology, film criticism, literary criticism, the psychology of art, etc.).

We will begin with Marx and Marxist art theory, then critically seek answers to our questions by engaging with Max Weber, Georg Simmel, Theodor Adorno, and Lucien Goldmann, ultimately arriving at Pierre Bourdieu and Howard Becker—specifically examining their theories of "art worlds" and the "art field." After briefly exploring conceptual art—a contemporary art form that has adopted motifs, ideas, and even techniques from sociology—we will conclude the course provocatively with a final, symmetrical question: no longer just what sociology can do with art, but what can art do with sociology? Is sociology needed to create art? We will find the answer together.

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

REFERENCE TEXTS

- N. Heinich, La sociologia dell'arte, Bologna, il Mulino 2004.

- G. Simmel, Stile moderno, a cura di B. Carnevali e M. Pinotti, Einaudi 2020 (parts I e II).

- M. Weber, Sociologia della musica, Milano, Saggiatore 2018.

- E. Altenloh, Verso una sociologia del cinema. Industria e pubblico, a cura di M. Santoro e B. Grüning, Milano, Mimesis 2018.

- W. Benjamin, L'opera d'arte nell'epoca della sua riproducibilità tecnica, Einaudi o Donzelli o Feltrinelli

- T.W. Adorno, Sulla popular music, Roma, Armando 2004.

- T.W. Adorno, Variazioni sul jazz. Critica della musica come merce, Milano, Mimesis 2018

- P. Bourdieu, Il mercato dei beni simbolici e altri scritti sull'arte, a cura di M. Santoro e C. Tartarini, Roma, Meltemi 2023.

- H.S. Becker, I mondi dell’arte, Bologna, il Mulino 2006.

During the course, reference will be made to certain texts that, while not strictly sociological, invite the reader to engage in a sociological (and even critical) reading:

A. Warburg. Arte del ritratto e borghesia fiorentina, seguito da Le ultime volontà di Francesco Sassetti, Milano, Abscondita 2019.

S. Kracauer, Da Caligari a Hitler. Una storia psicologica del cinema tedesco, Lindau 2005.

E. Panofsky, Architettura gotica e filosofia scolastica, Milano, Abscondita 2010.

M. Baxandall, Pittura e esperienza sociale nell'Italia del Quattrocento, Torino, Einaudi 2000.

E. Castelnuovo e C. Ginzburg, Centro e periferia nella storia dell'arte italiana, Milano Officinalibraria 2019.

L. Nochlin, Perché non ci sono state grandi artiste? Roma, Castelvecchi 2010.

A. Alberro, Arte concettuale e strategie pubblicitarie, Milano, Johan & Levi 2011.

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

The exam consists of preparing a paper (essay) of at least 4,500 words on a topic agreed upon with the teacher, designed to explore, develop, or supplement the course syllabus. Assessment is based on the following criteria:
- quality of writing
- depth of argumentation
- breadth and relevance of the use of sociological categories.
Papers that do not employ sociological concepts (which must be specified and illustrated, including how they are applied) will not be considered relevant to the exam and will therefore receive a negative evaluation.

The use of AI as an AID is permitted, provided the prompts used are included in the paper; these prompts will also be subject to evaluation.

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