The general objective of the course is to understand the basic concepts and methods of qualitative research in the sociology of culture. We start from everyday contexts, and talk about institutions that work as agents of socialization and social control. We approach the mechanisms of communication, production and consumption that we find in cultural and artistic environments. It will be:

1) Master some of the fundamental concepts and theories for the study of current societies, focusing on European and American societies, thus facilitating comprehensive analysis. The compulsory bibliography includes classical authors of sociology, but also contemporary authors and other disciplines, which also follow a sociological perspective.
										
											
										
											2) Discuss, dissect and criticize texts, videos, images and other media products about practices, tastes and trials that cultural agents carry out in their daily lives. The look of sociology is critical, demystifying and revolutionary.
										
											
										
											3) Know how to construct an ethnographic project based on the analysis of cultural scenarios. Ask a question of research beyond the prejudices given by all means of common knowledge. Identify the dominant discourses in culture and contrast them with observed practices, based on mandatory and recommended bibliography.
										
											
										
											4) To put into practice various methodological abilities typical of sociology, among which is the taking of good field notes, the design of an interview script, and the creation of an observation file. You will learn a key competence in the sociological gaze: maintaining a reflective attitude in observing real social scenarios.
										
											.

										
											5) Teamwork is a constant search: In a grouped and supervised way you will develop the project on cultural scenarios by applying another methodological ability, that of intersubjectivity, which consists in sharing and discussing ways of thinking and experiencing the reality that you are analyzing
										
											
										
											6) Knowing how to interpret empirical data is a need not to fall victim to ideological manipulation. You will work qualitative and quantitative data in class to get used to this language and thus understand the real content of the data that appears in scientific and informative documents

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 This subject has no final exam. Because it is a continuous assessment subject, constant assistance is required. Regular and active participation in class sessions and work done with readings will be evaluated (min. 9 of 10). In relation to the latter, you will have to present two questions about the readings in each seminar session.

• In case of not being able to attend the classes for an exceptional reason as an illness it is necessary to speak with the teacher the first two weeks of the course. If these do not reach a minimum of 4, the subject will be considered suspended.
										
											
										
											• Seminar questions must be submitted on the marked day in the program. 
										
											
										
											•You dedicate time and money to come to class. Therefore, the use of the mobile, the computer, the tablet and other electronic devices in the chat room is not allowed.

Those students who wnat to take a single grade will turn in all the assignments on the oficial day of the exam. 

Bibliography

COMPULSORY REFERENCES

 

1. LA MIRADA SOCIOLÒGICA  Muntanyola-Saura, D., & del Val Ripollés, F. (2024). La mirada desconfiada: el arte en la sociología. Encrucijadas. Revista Crítica De Ciencias Sociales, 24(1), p2401. Recuperat a partir de https://recyt.fecyt.es/index.php/encrucijadas/article/view/108048
2. LES CONDICIONS SOCIALS DE LA CULTURA Rosenblum, Barbara. (1978). A sociology of photographic styles. In Photographers at Work. New York: Holmes & Meiers.
3. SOCIOLOGIA DE L'ART  Varela, Julia y Alvarez-Uria, Fernando. (2008). Reflexiones finales, Materiales de sociología del arte. Madrid: Siglo XXI.
4. LA FORMA DE LA INTERACCIÓ COM A CULTURA  Simmel, George. (1908/2001) Sociología de la comida y El individuo y la libertad. El Individuo y la libertad : ensayos de crítica de la cultura. Barcelona : Península.
5. ART I CANVI SOCIAL Manifestos avantguardistes

a) Manifest del futurisme de Marinetti (1909) http://www.xtec.cat/~malons22/personal/manifestos.htm

b) Manifesto della Donna futurista. Risposta a F. T. Marinetti Manifest de les dones futuristes de Valentine de St Point (1912)

c) Contra els poetes amb minúscula: primer manifest català futurista de Joan Salvat Papasseït (1920) Bancroft Library, UCBerkeley https://catalog.hathitrust.org/Record/101845377

d) Manifest Groc de Dalí et al. (1928) http://filcat.uab.cat/gelcc/modern/textos/mod106.pdf

 

6. CULTURA DE MASSES I ALTA CULTURA   Eco, Umberto (1968/ 2006). Introducció.Apocalípticos e integrados. Barcelona: Tusquets.

 Woolf, Virginia. (October 1932, Unsent) "Letter to the editor of the "New Statesman".

7. BOURDIEU I EL CAMP CULTURAL   Heinich, Nathalie (2017). Bourdieu's culture. Bourdieu in Question: New Directions in French Sociology of Art, 130: 41-70. https://ebookcentral.proquest.com/lib/uab/detail.action?docID=5570597

8. LA PRODUCCIÓ ARTÍSTICA   Moulin, Raymonde (2017) "The Museum and the Marketplace: The Constitution of Value in Contemporary Art." Bourdieu in Question. 130: 41-70 https://ebookcentral.proquest.com/lib/uab/detail.action?docID=5570597

9. LES INDUSTRIES CREATIVES McRobbie, Angela (2015). A Good Job Well Done? Richard Sennett and the New Work Regime. Be Creative. London: Polity.

References for the project

 

TEXTOS TEÒRICS

Ariño, A. (1997). La sociología de la cultura. Barcelona: Ariel.  (Capítols Las teorías de la cultura de masas  i Las audiencias activas) a Moodle

Buscatto, M. (2007). Women in Artistic Professions. An emblematic paradigm for gender studies, Social Cohesion and Development, 2(1): 69-77.  a Moodle

Rodriguez Morató, A. (2017) "Introducción" a Rodríguez Morato y Santa-Acuña, A. (2017). La nueva sociología de las artes. Barcelona: Gedisa.  a Moodle

 

TEXTOS EMPÍRICS

Ariño, A. y Llopis, R. (2017). "Asociacionismo, Amateurismo y Socialización cultural" a Culturas en Tránsito. Las prácticas culturales en España en el comienzo del siglo XXI. Madrid: Fundación SGAE.  Moodle

Herrera-Usagre, M. (2011). La transmisión intergeneracional de aptitudes y actitudes culturales. Revista Internacional de Sociología  (RIS) 71(1): 143-167. http://revintsociologia.revistas.csic.es/index.php/revintsociologia/article/view/473/0

Martínez, R. (2013). Gust musical, inautenticitat i classe social. Sobre com es signifiquen les jerarquies socials malgrat l’aparent fluïdesa de la cultura popular contemporània, Quaderns de l'Institut Català d'Antropologia, 29: 25-45.https://dialnet.unirioja.es/servlet/articulo?codigo=4762977

Muntanyola Saura, D. (2012). La decisió artística i les seves condicions de producció: parlant amb un equip de rodatge, Athenea Digital, 12(2): 89-109. http://psicologiasocial.uab.es/athenea/index.php/atheneaDigital/article/view/Muntanyola

 

 

COMPLEMENTARY REFERENCES

 

Adorno, T. 1967.La industria cultural y sociedad de masas, Monte Avila, Caracas,

Baudrillard, J. (1978) Cultura y simulacro, Kairós, Barcelona.

Bauman, Z. (2002) La cultura como praxis, Paidós, Barcelona.

Bourdieu, P. (1979).  La distinction. Seuil, Paris.

Burke, P. (1991). La cultura popular en la Europa moderna, Alianza, Madrid.

Becker, H. (2002).”Studying the New Media”. Qualitative Sociology, 25-3, 337-343.

Durkheim, E. (1912) Les formes élémentaire de la vie religieuse. Paris: PUF.

Eagleton, T. (2000) The ideal of culture. Blackwell Publishing.

Elias, N. (1988) El proceso de la civilización, F.C.E., México.

Foucault, M. (2006) Historia de la sexualidad, Siglo XXI, México.

Freud, S. (1930/2008) El malestar de la civilització. Girona: Accent Editorial.

Goffman, E. (1988) “La ritualización de la feminidad”, en Los momentos y sus hombres. La reinvención de la naturaleza, Paidós, Barcelona.

Haraway, D. (1995) Ciencia, “ciborgs” y mujeres, Cátedra, Madrid.

Harris, M. (1985)El desarrollo de la teoría antropológica: historias de las teorías de la cultura, Siglo XXI, Madrid.

Hoggart, R. (1957) The Uses of Literacy. New York: Chatto and Windus.

Horkheimer, M.(1966) La función de las ideologías, Taurus, Madrid.

Mcluhan, M. (1998) La galaxia Gutemberg: génesis del “Homo Tipographicus”, Círculo de Lectores, Barcelona.

Manheim, K. (1987) Ideología y Utopía, F.C.E., México.

Marcuse, H. (1999)Eros y civilización, ed. Ariel, Barcelona.

Marx, K., La ideología alemana, Grijalbo.

Morin, E. (1966). El espíritu del tiempo. Ensayo sobre la Cultura de Masas, Taurus, Madrid.

Menand, L. (2011) Browbeaten: Dwight Macdonald’s war on Midcult. The New Yorker, Sept 5 2011.

Molotch, H. (2002). “Place in Product”, International Journal of Urban and Regional Research, 26: 665–88.

Muntanyola-Saura, D. (2017). "El habitus en la danza: las habilidades sociales y artísticas de un ensayo", en Morató y Santana-Acuña. La nuevasociología de las artes. Barcelona: Gedisa

Peterson R. A. and Kern, R. (1996) Changing highbrow taste: from snob to omnivore’, American Sociological Review, 61, 900-909.

Savage, M & Silva, E. B. (2013). Field analysis in cultural sociology Cultural sociology, 7 (2). 111-126.

Varela, J. y Alvarez-Uria, F.  (2008). Materiales de sociología del arte, Siglo XXI, Madrid.

Veblen, T. (1899) Teoria de la clase ociosa. Madrid: Alianza.

Warde, A. Wright, D. & Gayo-Cal, M. (2007). Understanding Cultural Omnivorousness: Or, the Myth of the Cultural Omnivore, Cultural Sociology, July, 1. 2: 143-164.