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Since the first edition of Sociology of the Arts, the literature in the field has grown vibrantly, as more sociologists recognize the value of studying the fine and popular arts.
For the point of departure, we took four generations of the sociology of art as defined by Nathalie Heinich as well as the identification of the following four elements: an artwork and its reception, an artist and a creative process, an audience, and a social-institutional framework.
For the point of departure, we took four generations of the sociology of art as defined by Nathalie Heinich as well as the identification of the following four elements: an artwork and its reception, an artist and a creative process, an audience, and a social-institutional framework.
For the point of departure, we took four generations of the sociology of art as defined by Nathalie Heinich as well as the identification of the following four elements: an artwork and its reception, an artist and a creative process, an audience, and a social-institutional framework.
Classical sociological theories of art devel-oped in parallel with esthetic modernism. Across the arts, modernism characteristically involved a sophisticated rejection or transgression of established rules and practices, and sought to invent a new artistic past.
This edited collection carries out an extensive coverage of the sociology of arts’ most characteristic thematic areas (production, creation, the artwork, and reception) across an important range of artistic fields, from the most traditional to the more unusual.
During a long period, sociology of art has been divided mainly between two major directions. Both show art as a social reality but they do so from quite different points of view: one is frontally critical and aims at revealing the social determination of art behind any pretended autonomy (be it the autonomy of the works, following the
