{"id":3682,"date":"2024-07-30T17:10:44","date_gmt":"2024-07-30T15:10:44","guid":{"rendered":"https:\/\/www.mdw.ac.at\/mdwpress\/?p=3682"},"modified":"2024-11-27T18:09:43","modified_gmt":"2024-11-27T17:09:43","slug":"mdwp011-toc","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp011-toc\/","title":{"rendered":"The Social Organization of Arts \u2013 A Theoretical Compendium"},"content":{"rendered":"

Volker Kirchberg and Tasos Zembylas<\/em><\/h2>\n
\n

Preface<\/a><\/h4>\n

Chapter 1 | Introduction<\/a><\/h4>\n

1<\/strong> Some general notes on sociological models and metaphors<\/a>
\n2<\/strong> What organizes arts? Some cornerstones of this compendium<\/a>
\n3<\/strong> Limits and pitfalls of studying the social organization of arts<\/a>
\n4<\/strong> Overview<\/a><\/p>\n

PART I<\/h3>\n
\n

Chapter 2 | Art Worlds as Collectives<\/a><\/h4>\n

1<\/strong> An introduction to Becker\u2019s thinking<\/a>
\n2<\/strong> The condition of cooperation in the creation of art<\/a>
\n3<\/strong> Conventions as outcomes of collective actions<\/a>
\n4<\/strong> Division of labor in art worlds<\/a>
\n5<\/strong> Art worlds as a holistic approach<\/a>
\n6<\/strong> Extension of the art worlds perspective: the sociological focus on artworks<\/a>
\n7<\/strong> Critique of Becker\u2019s art worlds<\/a><\/p>\n

Chapter 3 | Fields of Cultural Production<\/a><\/h4>\n

1<\/strong> The concept of field as a structural approach for analyzing cultural production<\/a>
\n2<\/strong> The historical development of the artistic field: the antagonistic structure of art and money<\/a>
\n3<\/strong> A general model of the structure of the field of cultural production<\/a>
\n4<\/strong> Acting in the artistic field: Bourdieu\u2019s view of practice<\/a>
\n5<\/strong> Changes in the field of cultural production: struggles, conversions and the dialectic of distinction<\/a>
\n6<\/strong> Critique of Bourdieu\u2019s field theory<\/a><\/p>\n

Chapter 4 | The Organization of Art as a Social System<\/a><\/h4>\n

1<\/strong> General introduction to Luhmann\u2019s systems theory<\/a>
\n2<\/strong> Central concepts: complexity, functional differentiation, autopoiesis and contingency<\/a>
\n3<\/strong> Specific characteristics of the art system<\/a>
\n4<\/strong> Critique of Luhmann\u2019s systems theory<\/a>
\n5<\/strong> Extending Luhmann\u2019s art systems theory<\/a><\/p>\n

Chapter 5 | A Comparative Discussion of the Theories of Becker, Bourdieu and Luhmann<\/a><\/h4>\n

1<\/strong> Sociological models<\/a>
\n2<\/strong> Understandings of art<\/a>
\n3<\/strong> Understandings of social relations in organizational arrangements<\/a>
\n4<\/strong> Conceptions of autonomy<\/a>
\n5<\/strong> Conceptions of change<\/a>
\n6<\/strong> Epistemic potentials and inherent limitations of the three theories<\/a><\/p>\n

PART II<\/h3>\n
\n

Chapter 6 | The Production of Culture Perspective<\/a><\/h4>\n

1<\/strong> Key terms of the Production of Culture Perspective<\/a>
\n2<\/strong> Main focuses in the Production of Culture Perspective<\/a>
\n3<\/strong> Critique of the Production of Culture Perspective<\/a><\/p>\n

Chapter 7 | Sociological Neo-Institutionalism: Organization of Arts as a Social Construction<\/a><\/h4>\n

1<\/strong> Roots: old institutionalism<\/a>
\n2<\/strong> The emergence of Neo-Institutionalism<\/a>
\n3<\/strong> Central concepts of Neo-Institutionalism<\/a>
\n4<\/strong> Critique of Neo-Institutionalism<\/a><\/p>\n

Chapter 8 | Cultural Institutions Studies<\/a><\/h4>\n

1<\/strong> Theoretical foundations and basic concepts<\/a>
\n2<\/strong> Main research topics of Cultural Institutions Studies<\/a>
\n3<\/strong> Critique of Cultural Institutions Studies<\/a><\/p>\n

Chapter 9 | Comparing the Production of Culture Perspective, the Sociological Neo-Institutionalism and the Cultural Institutions Studies<\/a><\/h4>\n

1<\/strong> Context as a major concept for comparing the three middle-range theories<\/a>
\n2<\/strong> The Cultural Diamond template of comparing the middle-range theories<\/a>
\n3<\/strong> Conclusion: Comparing the three middle-range theories<\/a><\/p>\n

Chapter 10 | Networking the Arts \u2013 Going Beyond the Discussed Theories<\/a><\/h4>\n

1<\/strong> Social network analysis as a tool to analyze liquid organizing in arts<\/a>
\n2<\/strong> The network principle as a condition for the \u201cnew spirit\u201d of capitalism<\/a>
\n3<\/strong> Connecting relational network analysis with semantic network analysis<\/a>
\n4<\/strong> Outlook: advancing the study of dynamics in organizing arts<\/a><\/p>\n

Appendix<\/h3>\n
\n

References<\/a>
\nList of Figures<\/a>
\nAbout mdwPress<\/a>
\n <\/p>\n

\n

\"CC<\/a><\/p>\n

 <\/p>\n

This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License<\/a>.<\/p>\n

\n

   \"Leuphana<\/p>\n

This publication received financial support from the Open Access Fund of mdw \u2013 University of Music and Performing Arts Vienna, the publication fund NiedersachsenOPEN, funded by zukunft.niedersachsen, and Leuphana University of L\u00fcneburg.<\/p>\n","protected":false},"excerpt":{"rendered":"

Volker Kirchberg and Tasos Zembylas Preface Chapter 1 | Introduction 1 Some general notes on sociological models and metaphors 2 What organizes arts? 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