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| Volume VIII • Issue 18 • 2002 (Already published) |
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| Around Art and Arts |
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| Title : |
Introduction. Around art and the arts |
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| Author(s) : |
Florence, Giust-Desprairies ; Jean, Maisonneuve ; Jean-Claude, Filloux |
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| Pages : |
5 - 8 |
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| DOI : |
10.3917/rips.018.0005 |
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| Type : |
Introduction |
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| URL Cairn: |
https://www.cairn.info/revue-internationale-de-psychosociologie-2002-18-page-5.htm |
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| Title : |
Hundertwasser, labyrinth painter and architect's doctor |
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| Author(s) : |
Eugène, Enriquez ; Gilles, Amado |
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| Abstract : |
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| Keywords: |
Hundertwasser, labyrinth, painter, architect |
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| Pages : |
9 - 14 |
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| DOI : |
10.3917/rips.018.0009 |
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| Type : |
Research paper |
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| URL Cairn: |
https://www.cairn.info/revue-internationale-de-psychosociologie-2002-18-page-9.htm |
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| Title : |
Freud’s two left hands or the poetic time of psychoanalysis |
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| Author(s) : |
Florence, Giust-Desprairies |
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| Abstract : |
This article is about poetic art. The author tries to grasp again the origins of Freudian thought at the moment of the break that founds a science of the unconscious, by following a thought which makes its way towards another scene and renews the intimate relationship between thing, icon and word. By taking up the original movement of Freudian thought and its consequences on psychoanalysis, the author then re-examines the question of correspondence between analytical experience and poetic experience. The practice of free association, in the framework established by analysis, leads to the moment named by the author “umbilicus”, the helpless instant discovering something hitherto undiscovered which confronts with a radical otherness. In the poet, this movement of irruption opens at the same time as the text seeks to be written in a renewed attempt to give shape to the unshaped. |
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| Keywords: |
Freud, poetic, poetry, psychoanalysis |
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| Pages : |
15 - 32 |
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| DOI : |
10.3917/rips.018.0015 |
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| Type : |
Research paper |
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| URL Cairn: |
https://www.cairn.info/revue-internationale-de-psychosociologie-2002-18-page-15.htm |
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| Title : |
How art theories can contribute to sociology – The esthetics of perception, by H.R. Jauss |
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| Author(s) : |
Jean-Philippe, Bouilloud |
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| Abstract : |
Sociology and art have not always got along. Historically, academic sociology has built itself up against literature. Since the 19th century, sociologists who have been considering art through literature have come to see it either like a problematic reference (social novel), a model to fight against, or like an object of study. During the 20th century, as Sociology of Art developed, art moved on from its status of ambiguous reference to become an object of study worth a sociological approach. We believe, though, that sociologists, and in particular science sociologists, could make good use of a large number of approaches developed in esthetics. This is the issue that we are going to develop in the present article. We start with a short introduction of the complex and – often conflicting – relations between sociological tradition and the artistic world. In the second part, we try to demonstrate how the different approaches to perceiving art works, developed by Jauss, can be used to analyze social sciences. Finally, we consider how theories on interpretation can bring a positive contribution to sociologists’ reflection. |
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| Keywords: |
art, sociology, esthetics of perception, by H.R. Jauss, Jauss |
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| Pages : |
33 - 40 |
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| DOI : |
10.3917/rips.018.0033 |
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| Type : |
Research paper |
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| URL Cairn: |
https://www.cairn.info/revue-internationale-de-psychosociologie-2002-18-page-33.htm |
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| Title : |
Victor Basch: towards esthetics of perception? |
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| Author(s) : |
Jean-Claude, Filloux |
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| Abstract : |
Victor Basch is known mainly for his position during the Affaire Dreyfus, as a militant for human rights, assassinated in 1944 by the Vichy Militia. But it must not be forgotten that he was professor of esthetics and science of art from 1914 to 1933 at the Sorbonne, that the books and articles he wrote after his thesis on the esthetics of Kant in 1896 allow him to be considered as a precursor of what we today call “esthetics of perception”. This text evokes the essential points of the analysis proposed by Victor Basch of “creative contemplation”, as well as his comments on the Venus d’Urbin by Titian, and the Fantasia for piano op. 17 by Schumann. Implicit in this writing is the hope that art might be an instrument of “reconciliation” between humans... |
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| Keywords: |
Victor Basch, esthetics of perception, aesthetics,perception, Basch |
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| Pages : |
41 - 54 |
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| DOI : |
10.3917/rips.018.0041 |
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| Type : |
Research paper |
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| URL Cairn: |
https://www.cairn.info/revue-internationale-de-psychosociologie-2002-18-page-41.htm |
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| Title : |
Esthetic experience: can we talk of a difference between naives and experts? |
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| Author(s) : |
Hana, Gottesdiener ; Jean-Christophe, Vilatte |
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| Abstract : |
When studying naive and experienced viewers’ aesthetic perception and preferences, it is important to take into account the influence of education, arts instruction and abilities. From the results of the different studies one can conclude that education plays a role but that has less impact than the family environment and arts instruction influences. All the subjects perceive complexity and are more interested by high complexity stimuli but preferences differ according to the arousal potential, the degree of familiarity with arts and the importance given to certain criteria of judgment. Naives and experts have different perceptive and cognitive skills. In the conclusion we suggest new perspectives for the study of aesthetic experience. |
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| Keywords: |
Esthetic experience, experience, experts, education, instruction |
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| Pages : |
55 - 70 |
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| DOI : |
10.3917/rips.018.0055 |
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| Type : |
Research paper |
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| URL Cairn: |
https://www.cairn.info/revue-internationale-de-psychosociologie-2002-18-page-55.htm |
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| Title : |
The mischief done to Philippe Sollers
Contribution to a sociology of recognition |
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| Author(s) : |
Nathalie, Heinich |
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This paper is grounded on an interview of Philippe Sollers, addressing the way he reacted to his Medicis prize. It tries to evidence the conditions of a particular kind of author identity: the one consisting in constructing and maintaining, in one’s person as well as in one’s work, an “avant-gardist” position, both decentered and (more and more) central. In this perspective, being recognized through a prize is a very problematic experience, as it goes against the writer’s necessary marginality. Beyond this paradox, proper to the modern condition of authors and artists, we meet the very issue of recognition, and the reasons why it remained so little addressed by the sociology of art and, more generally, by the social sciences. |
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| Keywords: |
Philippe Sollers,sociology of recognition, sociology |
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| Pages : |
71 - 86 |
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| DOI : |
10.3917/rips.018.0071 |
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| Type : |
Research paper |
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| URL Cairn: |
https://www.cairn.info/revue-internationale-de-psychosociologie-2002-18-page-71.htm |
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| Title : |
Problematic art and the risk of beauty |
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| Author(s) : |
Jean, Maisonneuve |
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| Abstract : |
First of all we examine certain characteristics peculiar to contemporary art, starting from the triad linking the artist (in particular the visual artist), the work (called work of art) and the public (the “lookers”); with their more or less filtered interactions. Deconstruction, minimalism, provocation on the one hand; disappointment or rejection on the other. All approaches which have to be deciphered.
Parallel to this, a virulent proscription was being asserted of all desire for beauty, taxed with being academic then arbitrary by a series of avant-gardists and art critics. However, the word and the value have just reappeared here and there in exhibitions and texts. Regression, outdatedness? Signs of lack or of quest? We wonder about the meaning of a negation and a resurgence, about a magnified or controversial term linked to an indisputable experience. Will coming art be open to the risk of beauty... |
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| Keywords: |
Problematic art, risk of beauty, art, beauty |
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| Pages : |
87 - 100 |
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| DOI : |
10.3917/rips.018.0087 |
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| Type : |
Research paper |
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| URL Cairn: |
https://www.cairn.info/revue-internationale-de-psychosociologie-2002-18-page-87.htm |
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| Title : |
A psychologist’s approximate answers to persistent questions about art |
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| Author(s) : |
Jacqueline, Barus-Michel |
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| Abstract : |
Attempts at answering naive questions such as:
What is art, its relations with esthetics?
Is art a representation of reality... or a capture of the real?
What are art’s relations with the sacred?
Violence? Time? |
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| Keywords: |
psychologist persistent, art |
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| Pages : |
101 - 114 |
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| DOI : |
10.3917/rips.018.0101 |
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| Type : |
Research paper |
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| URL Cairn: |
https://www.cairn.info/revue-internationale-de-psychosociologie-2002-18-page-101.htm |
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| Title : |
A movement of social art in the late 19th century |
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| Author(s) : |
Anne, Vincent-Buffault |
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| Abstract : |
In the 1890s, groups of young artists with no official place in the literary field managed to make themselves heard. They wanted to produce social art, art for the people, to give them a taste for revolt and incite them to emancipation. This active minority published a review, organised theatrical shows, readings and conferences to carry out their plan in a didactic way. The décor of the daily life of the people was one of their preoccupations as was the fate of the craftsmen with whom they identified.
Their speaking out in the name of the people incited them to be sociologists in opposition to the criminal anthropology of Lombroso but also in order better to explain what legitimised them. They practised agitation, direct artistic and trade union action by refusing the violence of the bombs which at the same time were the other manifestation of anarchism. |
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| Keywords: |
movement, social art, late 19th century, 19th century |
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| Pages : |
115 - 126 |
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| DOI : |
10.3917/rips.018.0115 |
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| Type : |
Research paper |
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| URL Cairn: |
https://www.cairn.info/revue-internationale-de-psychosociologie-2002-18-page-115.htm |
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| Title : |
Goethe’s tree |
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| Author(s) : |
Jean-Marc, Huguet |
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| Abstract : |
Buchenwald is eight kilometres from Weimar. Weimar-the-Beautiful, cradle of German culture symbolises, by Goethe, German unity. Weimar-the-Black, Hitler parading at the Elephant Hotel, Thuringia was his. In the Buchenwald camp, Faust can cry “Even Hell has its own laws”. Boris Taslitzky paints Halbwachs in the Revier de Buchenwald, Zoran Music draws Dachau. Another war at another time, in 1912, at the Neulengbach prison, Egon Schiele “lives a life of profound misery”. Five years later, in the Weimar Republic, the Bauhaus School inaugurated total architectural creativity. Wassily Kandinsky and Paul Klee invented Modern Art. The Bauhaus was shut in 1933. Art was to be devoted to the glorification of Volksgemeinschaft, the Nazi national community.
The imbrication of good and evil, by the proximity of these places, renders what art can suggest of the unspeakable when the artist rubs shoulders with horror. |
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| Keywords: |
Goethe, German, Germany, art, Nazism, Nazi, Hitler, |
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| Pages : |
127 - 137 |
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| DOI : |
10.3917/rips.018.0127 |
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| Type : |
Research paper |
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| URL Cairn: |
https://www.cairn.info/revue-internationale-de-psychosociologie-2002-18-page-127.htm |
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| Title : |
Ephemeral art (or the ephemeral in art) |
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| Author(s) : |
André, Lévy |
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Referring to the bullfight festival, it is shown that this ephemeral art (once accomplished, nothing is left, but memories) sums up what is essential in aesthetic emotion, reinforced here by the simultaneity and the interdependence between the artist’s gesture and what it gives rise to in others. In this moment of shared, or missed, pleasure or jubilation, when the life and death struggle against matter, natural elements, delivers its meaning, no cheating is possible. |
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| Keywords: |
ephemeral, art, |
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| Pages : |
139 - 148 |
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| DOI : |
10.3917/rips.018.0139 |
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| Type : |
Research paper |
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| URL Cairn: |
https://www.cairn.info/revue-internationale-de-psychosociologie-2002-18-page-139.htm |
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| Title : |
Breaches opened on to the between-world |
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| Author(s) : |
René, Kaës |
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Raw art, the art of singular people, of the self-taught and of irregulars renews questions about the relations between art and its sources, its boundaries, its drifting, its creators. In this breach opened by madness, rebellion and poetry, only the figuration of the unusual is able to grasp the enigma of the origin, desire and its emotion, the insistance of lost traces and dreams, and what Klee called the “between-world”. For these artists are familiar with the unknown. Their vital relationship is not with the Beautiful but with the Strange, the stranger and intimate strangeness, with the violence of the inner world and the “crudeness” of the outer world. This art resonates deeply with the spirit of the times, just as cubism did at the beginning of last century. |
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| Keywords: |
art, boundaries, creation, madness, poetry, |
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| Pages : |
149 - 158 |
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| DOI : |
10.3917/rips.018.0149 |
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| Type : |
Research paper |
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| URL Cairn: |
https://www.cairn.info/revue-internationale-de-psychosociologie-2002-18-page-149.htm |
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| Title : |
Photographs, readings and meanings. At the Pompidou Center |
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| Author(s) : |
Claude, Chabrol |
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This paper tries both to propose hypotheses to analyze semantic and pragmatic meanings of icons and to illustrate them with famous photographs of the first part of the 20th century, taken from the Georges Pompidou Center.
The Icon in modernity is currently experienced as polyvalent and polysemic.
Only the contextual frame and the communication contract can determine a steady meaning of the photograph.
Eventually we stress the importance of physical interactions that is the part of feelings when faced with icons which implies a psycho-semiotic approach using both neuro-psychology or psycho-physiology and clinical psychology. |
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| Keywords: |
photograph, photographs, Centre Pompidou, art, meaning |
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| Pages : |
159 - 169 |
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| DOI : |
10.3917/rips.018.0159 |
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| Type : |
Research paper |
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| URL Cairn: |
https://www.cairn.info/revue-internationale-de-psychosociologie-2002-18-page-159.htm |
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| Title : |
Can the psychosociologist be a “Dichter”? |
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| Author(s) : |
Eugène, Enriquez |
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Reading a text by the English polyglott essayist George Steiner “Une lecture contre Shakespeare” included in his collection “Passions impunies” (1997), which explores the term Dichter, gives the writer the opportunity to wonder whether, by comparing this reflection with other authors, there is not something of the “Dichter” in the thinking and activity of the psychosociologist.
The “Dichter’s” knowledge is the opposite of the encyclopedic spirit. The true Dichtung involves testimony. It is the “knowledge of the object” in the correct sense. The Dichter names what is his act of denomination, defines, embodies its true being. The objective of the “psychosociologist-dichter” is to promote, in all the people with whom he works, the emergence of a really human individual, that is to say at the same time living, inventive, capable of setting new standards and taking risks, able to ask questions and to establish links with others. He must be the “guarantor” of the experience, of the being always in movement, of the existing. |
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| Keywords: |
psychoanalyst, art, poetry |
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| Pages : |
171 - 176 |
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| DOI : |
10.3917/rips.018.0171 |
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| Type : |
Research paper |
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| URL Cairn: |
https://www.cairn.info/revue-internationale-de-psychosociologie-2002-18-page-171.htm |
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| Title : |
The obsession with vocation in underground musicians |
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| Author(s) : |
Jean-Marie, Seca |
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| Abstract : |
The psychosociological approach of the alternative popular musical practices, here presented, synthetizes a part of the results of detailed empirical inquiry (by the methods of the questionnaire, the interview and the participating observation) with 110 groups (approximately four hundred and ten individuals belonging to the pop currents rock, punk, new wave, rap and caribbean styles), carried out in 1981-87 and 2000, whose complete statements appear in other publications (Seca, 2001a). After having described the theoretical model (acid state) from which were treated the data of observation and once indicated which is the specificity of the approach of this type of musician, the question of the place of the women in these practices, very mainly masculinized, is examined more particularly. We are starting from the presupposition that the conflicts of feminine/male roles appear in a more explicit way in the manner in which women have to display or to claim a “place” in the social field of musical recognition. Some ways of interpreting the ostracism, met by the female musicians and of their provocative and paradoxical behaviors, are proposed. The androgynic structure of role (valid for the two sexes in the case of artistic activity) is called like a process of completion in the artistic professionalisation and as a “solution” to the excesses and to the possible drifts of the identity in underground musical creative research. |
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| Keywords: |
vocation, calling, underground, music |
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| Pages : |
177 - 188 |
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| DOI : |
10.3917/rips.018.0177 |
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| Type : |
Research paper |
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| URL Cairn: |
https://www.cairn.info/revue-internationale-de-psychosociologie-2002-18-page-177.htm |
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| Title : |
The flesh of our memories, voice and popular song |
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| Author(s) : |
Catherine, Dutheil |
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| Abstract : |
Between body and language, between materiality and immateriality, the singing voice opens up an imaginary space, a space of musical affect. It springs from a complete anthropological gesture, linked to the origin of dance and to the rituals of magic. Popular song conserves the trace of its origins, ever ready to mingle with the movement of body and voice; always creating archetypes and popular myths.
The ritornello, the basic form of the song, circular, alternate, repetitive, belongs to this primordial oral style; it is a stubborn vestige remaining in our culture placed under the regime of the imperialism of the written word. In its contemporary forms, the song outlines a polemical space, where aesthetic, social and political tensions express themselves simultaneously involving the sharing out of forms of visibility, always placing it between truth and illusion. |
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| Keywords: |
body, language, music, memories, voice, song, singing |
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| Pages : |
189 - 200 |
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| DOI : |
10.3917/rips.018.0189 |
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| Type : |
Research paper |
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| URL Cairn: |
https://www.cairn.info/revue-internationale-de-psychosociologie-2002-18-page-189.htm |
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| Title : |
Comptes rendus d'ouvrages. Patrick DECLERCK, LES NAUFRAGÉS – AVEC LES CLOCHARDS DE PARIS, Plon, coll. Terre Humaine, 2001, 458 p. |
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| Author(s) : |
Dominique, Lhuilier |
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| Pages : |
201 - 205 |
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| DOI : |
10.3917/rips.018.0201 |
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| Type : |
Book review |
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| URL Cairn: |
https://www.cairn.info/revue-internationale-de-psychosociologie-2002-18-page-201.htm |
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| Title : |
Amado, G., & Ambrose, A. (Eds.). (2001). The transitional approach to change. Karnac Books. |
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| Author(s) : |
André, Lévy |
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| Pages : |
203 - 206 |
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| Type : |
Book review |
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