First published in 1982, The Sociology of Art considers all forms of the arts, whether visual arts, literature, film, theatre or music from Bach to the Beatles. The last book to be completed by Arnold Hauser before his death in 1978, it is a total analysis of the spiritual forces of social expression, based upon comprehensive historical experience and documentation. Hauser explores art through the earliest times to the modern era, with fascinating analyses of the mass media and current manifestations of human creativity. An extension and completion of his earlier work, The Social History of Art, this volume represents a summing up of his thought and forms a fitting climax to his life’s work. Translated by Kenneth J. Northcote.

First Published in 1980, Manfred S. Frings’ translation of Problems of a Sociology of Knowledgemakes available Max Scheler’s important work in sociological theory to the English-speaking world. The book presents the thinker’s views on man’s condition in the twentieth-century and places it in a broader context of human history. This book highlights Scheler as a visionary thinker of great intellectual strength who defied the pessimism that many of his peers could not avoid. He comments on the isolated, fragmented nature of man’s existence in society in the twentieth century but suggests that a ‘World-Age of Adjustment’ is on the brink of existence. Scheler argues that the approaching era is a time for the disjointed society of the twentieth-century to heal its fractures and a time for different forms of human knowledge to come together in global understanding.

First published in 1983, Aesthetics and the Sociology of Art provides a lucid account of two divergent tendencies in the study of aesthetics. At the one extreme, traditional aestheticians have assumed that art and literature are wholly independent, following only the laws and inspirations of artists and artistic movements, and that the question of aesthetic value is accordingly unproblematic. At the other extreme, some sociologists have treated works of art as no more than manifestations of the socio-economic circumstances which produce them, arguing that aesthetic value is therefore entirely relative matter. Janet Wolff shows how both the extreme positions are untenable, and argues convincingly that we must accept that the conceptions and criteria of aesthetic value are socially constructed and inevitably ideological, while stopping short of the reductionist alternative which fails to recognise the irreducible questions of pleasure and of aesthetic discourse. This book provides an invaluably clear guide both to old debates and to otherwise obscure modern controversies, which will be welcomed both by students and scholars in the sociology of art, in aesthetics, in art history, and in literary criticism.

Originally published in 1979, Ideology and Cultural Production examines the contribution to the debate surrounding ‘culture’, ‘ideology’, and ‘representation’, in this collection of essays. Originally presented as papers at the 1978 British Sociological Conference on the theme of culture, the collection is tied together under the argument for a definition, which emphasizes the material and ideological conditions of cultural production. The volume discusses key issues, such as the break with ‘super-structural theory’, the question of economism, and the argument between culturalism and structuralism, as well as the central debates of determinism and autonomy.

First published in 1959, this book is concerned with the methodology of art history, and so with questions about historical thinking; it enquires what scientific history of art can accomplish, what are its mean and limitations? It contains philosophical reflections on history and begins with chapters on the scope and limitations of a sociology of art, and the concept of ideology in the history of art. The chapter on the concept of "art history without names" occupies the central position in the book — thoroughly discussing the basic philosophical outlook for the whole work. There are also further chapters on psychoanalysis, folk art and popular art. The chapter on the role of convention in the history of art points the way for further study.

First published in 1982, The Sociology of Art considers all forms of the arts, whether visual arts, literature, film, theatre or music from Bach to the Beatles. The last book to be completed by Arnold Hauser before his death in 1978, it is a total analysis of the spiritual forces of social expression, based upon comprehensive historical experience and documentation. Hauser explores art through the earliest times to the modern era, with fascinating analyses of the mass media and current manifestations of human creativity. An extension and completion of his earlier work, The Social History of Art, this volume represents a summing up of his thought and forms a fitting climax to his life's work. Translated by Kenneth J. Northcote.

The Routledge Handbook of the Sociology of Arts and Culture offers a comprehensive overview of sociology of art and culture, focusing especially – though not exclusively – on the visual arts, literature, music, and digital culture. Extending, and critiquing, Bourdieu’s influential analysis of cultural capital, the distinguished international contributors explore the extent to which cultural omnivorousness has eclipsed highbrow culture, the role of age, gender and class on cultural practices, the character of aesthetic preferences, the contemporary significance of screen culture, and the restructuring of popular culture. The Handbook critiques modes of sociological determinism in which cultural engagement is seen as the simple product of the educated middle classes. The contributions explore the critique of Eurocentrism and the global and cosmopolitan dimensions of cultural life. The book focuses particularly on bringing cutting edge ‘relational’ research methodologies, both qualitative and quantitative, to bear on these debates. This handbook not only describes the field, but also proposes an agenda for its development which will command major international interest.

First published in 1975, this collection of essays expands upon the themes and ideas developed in the editors’ previous work, the visionary and groundbreaking text: The New Criminology. Directed at orthodox criminology, this is a partisan work written by a group of criminologists committed to a social transformation: a transformation to a society that does not criminalize deviance. Included are American contributions, particularly from the School of Criminology at Berkeley, represented by Hermann and Julia Schwendinger and Tony Platt, together with essays by Richard Quinney and William Chambliss. From Britain, Geoff Pearson considers deviancy theory as ‘misfit sociology’ and Paul Hirst attacks deviancy theory from an Althusserian Marxist position. The editors contribute a detailed introductory essay extending the position developed in The New Criminology, and two other pieces which attempt to continue the task of translating criminology from its traditional correctionalist stance to a commitment to socialist diversity and a crime-free set of social arrangements.

This book, written by a philosopher interested in the problems of social science and scientific method, and a sociologist interested in the philosophy of science, presents a novel conception of how we should think about and carry out the scientific study of social life. This book combines an evaluation of different conceptions of the nature of science with an examination of important sociological theorists and frameworks. This second edition of the work was originally published in 1982.

The Routledge Companion to Literary Media examines the fast-moving present and future of a media ecosystem in which the literary continues to play a vital role. The term ‘literary media’ challenges the tendency to hold the two terms distinct and broadens accepted usage of the literary to include popular cultural forms, emerging technologies and taste cultures, genres, and platforms, as well as traditions and audiences all too often excluded from literary histories and canons. Featuring contributions from leading international scholars and practitioners, the Companion provides a comprehensive guide to existing terms and theories that address the alignment of literature and a variety of media forms. It situates the concept in relation to existing theories and histographies; considers emerging genres and forms such as locative narratives and autofiction; and expands discussion beyond the boundaries by which literary authorship is conventionally defined. Contributors also examine specific production and publishing contexts to provide in-depth analysis of the promotion of literary media materials. The volume further considers reading and other aspects of situated audience engagement, such as Indigenous and oral storytelling, prize and review cultures, book clubs, children, and young adults. This authoritative collection is an invaluable resource for scholars and students working at the intersection of literary and media studies.