Some Contributions to the History of Sociology. Section II. The Thibaut-Savigny Controversy: Continuity as a Phase of Human Experience

1923 ◽  
Vol 28 (6) ◽  
pp. 711-734 ◽  
Author(s):  
Albion W. Small
2018 ◽  
Vol 13 (4) ◽  
pp. 496-517
Author(s):  
Ned Hercock

This essay examines the objects in George Oppen's Discrete Series (1934). It considers their primary property to be their hardness – many of them have distinctively uniform and impenetrable surfaces. This hardness and uniformity is contrasted with 19th century organicism (Gerard Manley Hopkins and John Ruskin). Taking my cue from Kirsten Blythe Painter I show how in their work with hard objects these poems participate within a wider cultural and philosophical turn towards hardness in the early twentieth century (Marcel Duchamp, Adolf Loos, Ludwig Wittgenstein and others). I describe the thinking these poems do with regard to industrialization and to human experience of a resolutely object world – I argue that the presentation of these objects bears witness to the production history of the type of objects which in this era are becoming preponderant in parts of the world. Finally, I suggest that the objects’ impenetrability offers a kind of anti-aesthetic relief: perception without conception. If ‘philosophy recognizes the Concept in everything’ it is still possible, these poems show, to experience resistance to this imperious process of conceptualization. Within thinking objects (poems) these are objects which do not think.


1951 ◽  
Vol 18 (2) ◽  
pp. 170-171
Author(s):  
Harold Sheppard

1964 ◽  
Vol 36 (1) ◽  
pp. 86-86
Author(s):  
Eugen Weber

Paragraph ◽  
2009 ◽  
Vol 32 (3) ◽  
pp. 313-330 ◽  
Author(s):  
Michael W. Jennings

Key sections of Walter Benjamin's montage-text Berlin Childhood around 1900 figure the relationship between human experience and modern media, with the sections that frame the text, ‘Loggias’ and ‘The Moon’, structured around metaphors of photography. Drawing on the work of Siegfried Kracauer, and especially his seminal essay ‘Photography’, Benjamin develops, in the course of his book, a theory of photography's relationship to experience that runs counter to the better-known theories developed in such essays as ‘Little History of Photography’ and ‘The Work of Art in the Age of its Technological Reproducibility’, theories that are part of the broad currents of technological utopianism and, as such, emphasize photography's transformative potentials. In the Berlin Childhood, Benjamin instead emphasizes photography's role in the mortification and annihilation of meaningful human experience. Photography emerges here as the mausoleum of youth and hope.


2007 ◽  
Vol 12 (1) ◽  
pp. 85-94
Author(s):  
Vernon J. Williams

2018 ◽  
Vol 17 (5) ◽  
pp. 519-556 ◽  
Author(s):  
Wei Luo ◽  
Julia Adams ◽  
Hannah Brueckner

AbstractMany notable female sociologists have vanished from the canonical history of American sociology. As the most influential crowd-sourced encyclopedia, Wikipedia promises – but does not necessarily deliver – a democratic corrective to the generation of knowledge, including academic knowledge. This article explores multiple mechanisms by which women either enter or disappear from the disciplinary record by analyzing the unfolding interaction between the canonical disciplinary history of sociology and Wikipedia. We argue that the uneven representation of women sociologists as (1) remembered, (2) neglected, (3) erased or, finally, (4) recovered is shaped by the emerging interactional space of knowledge production.


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