The word/image dualism revisited: Towards an iconic conception of visual culture

Bartmański, Dominik

doi:10.1177/1440783312444804

Cited by 13 publications

(7 citation statements)

References 40 publications

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“…Deacon, 1997). The constitutive and reproductive importance of the symbolic element in material reality is at the center of recent studies in materiality or what Jeffrey Alexander calls (in a most Durkheimian manner) "iconic consciousness" (2008; 2010; 2012; see also Bartmanski, 2012Bartmanski, , 2014Bartmanski & Alexander, 2012;Malczewski, 2016). The implications for studies of nations and nationalism appear clear (Rose-Greenland, 2013;Verdery, 1999;Zubrzycki, 2011).…”

Section: Discussionmentioning

confidence: 99%

Durkheim and the Nation

Malczewski¹

2019

iusd

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This article elucidates key elements of the Durkheimian framework that bear specifically on studies of nations and nationalism. Durkheim's theory of collective representations and his general theoretical view of the nature of human experience and the constitutive forces of social life are shown to offer leverage on problems of contemporary general interest to sociology. A Durkheimian approach to the study of nations and nationalism centers on three key elements: i) the definition of the form of collective consciousness characterizing the putative national unit; ii) a focus on the historical or genealogical development of the national unit; and, iii) the analysis of this unit in its theoretical aspect as a set of collective representations. Seeing nations and nationalism from a Durkheimian standpoint affords an understanding of these phenomena in terms of what they suggest about the nature of human social order as such. The contributions of Anthony Smith and Liah Greenfeld are discussed in light of this framework so as to make manifest the enduring significance of Durkheim's thought.

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Section: Discussionmentioning

confidence: 99%

Durkheim and the Nation

Malczewski¹

2019

iusd

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“…One of the many contributions such a performative approach to culture for humor studies is that, rather than treating cultural artifacts as reflections of meanings, it brings cultural artifacts such as jokes or other humorous expressions (regardless of their form) to “center stage” of the meaning‐making process (Johnston, 2016, p. 423). In a similar vein, the concepts of iconicity, social icons, and iconic experience (Alexander, 2008; Bartmanski, 2014) could deepen, for example, our understanding of political cartoons and the feelings they generate. These concepts allow us to understand how visual representations become collective ones through their materiality (i.e., visuality), how the visual and verbal elements work together, simultaneously constituting the meaning of those representations, and to recognize the central place such an aesthetic experience has in the overall experience of our social reality.…”

Section: A Call For a Cultural Sociological Approachmentioning

confidence: 99%

Humor and satire in politics: Introducing cultural sociology to the field

Tesnohlidkova

2020

Sociology Compass

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The landscape of political humor and satire is changing rapidly, and it is becoming an increasingly relevant aspect of our culture. Although scholars have been actively trying to capture this change, majority of the existing frameworks for understanding humor and satire in politics still reduce these phenomena to mere genres or rhetoric tools. In addition, they provide insufficient accounts concerning the reception of humor and satire, and neglect to interpret and explain what they communicate. In the article, a general understanding of humor and satire outside of a political context, followed by an overview of studies discussing humor and satire in politics through their applications in social movements, as leadership tools, and through their manifestations in mass media has been presented. Lastly, a cultural sociological perspective to the field has been introduced. It has been argued that approaching humor and satire in politics through a structural hermeneutic method of the Strong Program will enable us to recognize and treat political humor and satire as autonomous and complex cultural systems which carry an internal power to move people.

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“…Hence, the division of scientific labour has been organised so that the visual only acted as cosmetic and a supplementary domain, with the purpose of integrating or complementing the linguistic/textual element rather than an autonomous tool to study social life. Things have taken a different twist with post-modernist thinking, but many still remain reluctant to define the new interest on images as an actual visual turn, because images have not yet reached their full potential but have remained secluded to a few disciplines and still secondary to other methods (Bartmanski 2014). Regardless of the epistemological debate about whether we are witnessing a real 'visual turn' in social science, surely attention on the visual has increased and images -either still or moving -have become objects of more rigorous analysis.…”

Section: The Visual In Social Science Researchmentioning

confidence: 99%

The use of film documentary in social science research: audio-visual accounts of the ‘migration crisis’ from the Italian island of Lampedusa

Franceschelli¹,

Galipo

2020

Visual Studies

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The importance of visual evidence -and particularly films and videos-has become more prominent with the fast pace of technological development that has made filming more easily accessible. Since the early 20 th century, films have been used as a data collection method in social science research, but less attention has been given to their potential for research dissemination. It is well documented that visual representations are powerful means to broadcast public discourses. The Arab Spring in 2011 and the increasing movement of people across the Mediterranean Sea are a case in point. Images and videos of people trying to reach Europe have contributed to the construction of what is often referred to as the 'Mediterranean migration crisis'. In this article, we explore the process of making a film documentary about the people in the Italian island of Lampedusa, a key transitory site for migrants, and how they deal with the challenges of this 'crisis' while trying to respond to the local struggles of their isolated community. Drawing on the analysis of 'audio-visual accounts' -as the filmed verbal elaborations that broadcast themes emerging from social science research -we reflect on the potential and drawbacks of film documentaries for both knowledge production and research dissemination.

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The word/image dualism revisited: Towards an iconic conception of visual culture

Cited by 13 publications

References 40 publications

Durkheim and the Nation

Durkheim and the Nation

Humor and satire in politics: Introducing cultural sociology to the field

The use of film documentary in social science research: audio-visual accounts of the ‘migration crisis’ from the Italian island of Lampedusa

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