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SOCIOLOGY OF ART AND THE SCIENCES ON CULTURE (Socjologia sztuki wsród nauk o kulturze)

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Kisiel P.
Zagadnienia Naukoznawstwa
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2009
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vol. 45
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issue 2(180)
207-218
EN
The goal of the paper is discussion of sociology of art situation among the sciences dealing with problems of culture. It is made in context of Florian Znaniecki's works, particularly his idea of the sciences on culture. In the first part of the paper, the specific character of sociological perspective towards art is noted. Then, appealing to Znaniecki's ideas of the specific character of social sciences and of sciences on culture, the place and tasks of the sociology of art are described. In the last part of the paper, three ways of dealing with relationships between sociology of art and the sciences on culture are presented, depending on understanding of the science on culture. In traditional, disciplinary division of the sciences, sociology of art is an auxiliary discipline. In an account recalling divisions into systems of cultural values, sociology of art becomes a science on culture. In an account based on a typology of cultural phenomena and processes, sociology of art is a science on culture as well, but disciplinary divisions cease to play any important role.
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THE JUDGEMENT OF TASTE AND THE CONTEMPORARYRELIGIOUS ART (Sad smaku a sztuka sakralna)

100%
Klekot E.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
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2009
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vol. 2
31-37
EN
Pierre Bourdieu argues that in modern times, every aesthetic choice is a factor of social classification. His theory demonstrates that the judgment of taste is socially constructed and at the same time itself serves to establish social distance and hierarchy. In his analysis of kitsch, however, Tomaš Kulka posits that kitsch cannot come under the judgment of taste since, by its very definition, it is devoid of 'artistic value', which is the basis of any aesthetic judgment. From the structural point of view, argues Kulka, kitsch is not art at all. Since most miraculous images worshipped by Christians are quite different from those worshipped in museums, the applicability of the judgment of taste to so-called 'religious art' should clearly be called into question. The article quotes examples from field research to argue that the factors deemed essential for judging religious images by people who use them in their religious practice suggest that their evaluation should be based on concepts such as the Gadamerian indistinguishability or Michael Taussig's mimesis rather than on modern aesthetic values.
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