Читать книгу Sociology of the Arts - Victoria D. Alexander - Страница 37

1 1 This image can be found by searching on “vigee le brun self portrait with daughter.” Vigée Le Brun painted two of these, one dated 1786 (the one Jones, 2000, spoke about, exhibited in 1987) and another, similar one dated 1789.

2 2 The reflection approach is often termed reflection theory. This is a misnomer, however, as the approach is neither a formal theory nor a single, unified way of viewing the relationship between art and society.

3 3 We will discuss Adorno, as part of the Frankfurt School, in more detail in Chapter 3.

4 4 Note, I have removed some emphasis from the original quotation.

5 5 Entman and Rojecki also consider the portrayal of race on television news. This makes up an important component of their study, but as it is outside the scope of this book, I leave it aside.

6 6 The portrayal of blacks in television news is the most dismal still, with black people commonly shown as welfare recipients, single parents, or criminals.

7 7 The term “liminal” was originally coined to refer to the intermediate stage in a ritual whereby the initiates no longer exist in their previous status, but have not been fully integrated into the status the ritual confers. As Entman and Rojecki put it, “Liminal people are by their nature potentially polluting, disruptive, but not necessarily destructive of the natural order since they are ‘no longer classified and not yet classified’” (p. 51).

8 8 Goffman poses still another mechanism: the technical requirements of the form. Advertisements must, he argues, make their scenarios understandable on quick inspection and so they rely on hyper‐ritualized depictions of common behavioral displays. Goffman’s mechanism, based on advertising conventions, is applicable to the type of advertising he studied. Today’s advertisements, however, often use different tropes—they are often purposefully provocative or darkly ambiguous, not instantly clear. Cortese (1999) discusses these tropes in detail.

9 9 Ferguson, Desan, and Griswold focus on the sociology of literature, rather than on the sociology of art, but their conclusions (which are cleverly, as well as clearly, put) may easily be extended to our broader concerns.