Michel Maffesoli es uno de los sociólogos actuales que más se ha interesado en el estudio de la eficacia socialde lo imaginario en el ámbito de la cotidianidad. En este trabajo se intenta profundizar ...en la dimensión teóricadel imaginario social en este autor. El terreno en el que nos movemos es, pues, el de la teoría sociológica, incidiendoen cuatro aspectos determinantes en su consideración del imaginario social: el significado de la utopía,la problemática en torno a la modernidad, la integración simbólica en el neotribalismo y la legitimidad delorden social.
Starting from Comprehensive or Interpretive Sociology and the Sociology of skyscrapers, this article proposes as basic objectives to verify how the North American economic culture is showed in the ...symbolism of the skyscrapers of Chicago and New York and to verify the parallelism between the formal evolution of these buildings and the main economic transformations that have occurred in North American society in recent decades. In short, we will try to highlight the following symbolic questions: if the skyscrapers of Chicago and New York represent the defense of an American business culture marked by strong competitiveness and individualism; if they express the aesthetic transition from a capitalist rationalist architecture to another aesthetic where fiction, fantasy and spectacularity prevail; if this process is in tune with the transformation from an industrial capitalism to another of consumption and if it manifests itself through the decline of rationalist structural architectural elements towards others marked by glass, lightness, fluidity, liquidity and commodification; if the individualism that characterizes North American capitalism has also mutated in recent decades, that is, if from a primitive exaltation of autonomy as a core value of society, it drifts towards the cult of an individualized, privatized self disconnected from public space. Ultimately, it is about confirming the sociological utility of skyscrapers, understood as symbolic, economic, social and cultural objects.
This paper aims to show two questions. First, the reason for the vicissitudes followed by the theoretical development of the notion of social imaginary from its origins to the present day. Second, ...the reason for the difficulties of this notion in its methodological use. For this purpose, firstly, it investigates the evolution followed by this notion in the last two decades, emphasizing the epistemological problematic nature of this theoretical notion. Secondly, it addresses the explanatory reasons for its lack of definition in terms of methodological applicability. Then, it breaks down a series of clarifying clues in order to give operational shape to the aforementioned notion and to face the challenge of elucidating the performance of the different theoretical-methodological registers involved in the study of social imaginaries.
Este trabajo pretende mostrar dos cuestiones. Primero, el porqué de las vicisitudes seguidas por el desarrollo teórico de la noción de imaginario social desde sus orígenes hasta nuestros días. Segundo, el porqué de las dificultades de dicha noción en su empleo metodológico. Para este cometido indaga, en primer lugar, en la evolución seguida por esta noción en las dos últimas décadas, haciendo hincapié en la problematicidad epistemológica encerrada en sí misma en dicha noción teórica. En segundo lugar, aborda las razones explicativas de su indefinición en términos de aplicabilidad metodológica. A continuación desglosa una serie de pistas aclaratorias a fin de dar forma operativa a la antedicha noción y de afrontar el reto de dilucidar la actuación de los diferentes registros teórico-metodológicos implicados en el estudio de los imaginarios sociales
En este trabajo se aborda cómo la creatividad se habría tornado en consigna apegada al marco ideológico de las sociedades de la modernidad avanzada, suponiendo la desaparición de su genuina ...autenticidad. Comienza aclarando que el sello ontológico diferencial encerrado en la creatividad designaría un acto de poiesis colectiva de una entidad hasta entonces inexistente. Luego, sopesa el porqué de las dificultades para su encaje en los marcos institucionales, así como las deficiencias de una hipótesis analítica desentendida de un enfoque dialéctico que pusiese de relieve las determinaciones en donde la creatividad se encuadra. Finalmente, se examina el marchamo fundamentalista adoptado por ésta en un doble escenario. Primero, constatando su elevación a un dogma de fe inductor de dinámicas institucionales y organizacionales configuradoras de nuevas subjetividades sociales. Segundo, haciendo ver la fetichización de la subjetividad resultante del carácter performativo asociado al encumbramiento de una singularidad y originalidad creativa.
The purpose of this paper is to address the vicissitudes in which the modern universalist imaginary is immersed. It chooses to explore the evolutionary keys of how it came to be configured in a ...double plane: at the level of a legitimizing story of the social order and at the level of an instance occupying the symbolic centrality in modern society. It addresses the reasons that account for its demise, examining the sociological implications arising from an irreversible descentering of the world. The work intends to probe the possibilities and contradictions carried in the aforementioned imaginary, as well as the motivations driving the temptations to go beyond it. It dismantles the globalizing sign of the consumer universe in order to rise as an integrating narrative of the late-modern collective fabric. This contribution facilitates a recognition of the core where the universalist imaginary, identity sign of modern collec-tive integration, is entangled. It reveals the underlying incentive that catalyzes the stubborn inclinations to discredit it, as well as the reason for the triumph of the specter of consumption as a formula that, profiting from the void in the production of meaning evidenced in late-modernity, univocally takes pos-session of the integrating attribution of the social.
Este trabajo tiene como propósito abordar las vicisitudes en las que se halla inmerso el imaginario universalista moderno. Opta por explorar las claves evolutivas de cómo este llegó a configurarse en un doble plano: a nivel de relato legitimador del orden social y a nivel de instancia ocupante de la centralidad simbólica. Encara las razones que dan cuenta de su desfallecimiento, examinando las implicaciones sociológicas desprendidas de un irreversible descentramiento del mundo. El trabajo pretende sondear las posibilidades y contradicciones portadas en antedicho imaginario, así como las motivaciones impulsoras de las tentaciones por rebasarlo. Facilita un reconocimiento del meollo donde se ve enredado el imaginario universalista como seña identitaria de integración colectiva moderna. Devela el incentivo de fondo que cataliza las inclinaciones empecinadas en su descrédito, así como el porqué del triunfo del espectro del consumo como fórmula que, rentabilizando el vacío en la producción de sentido evidenciado en la tardo-modernidad, se adueña unívocamente de la atribución integradora de lo social.
The article follows Max Weber's Comprehensive Sociology and uses the hermeneutic and iconological analysis sociological methods applied to plastic works (painting and sculpture), significant and ...representative of modern and late modern art. Starting from these theoretical and methodological bases, it pursues three specific objectives: to analyze the construction of space in plastic art, to verify how this theme has evolved in artistic practices from the first modernity to the second and to verify the way in which the complementary visual language the conceptual of contemporary sociological theory. In this regard, the analysis and interpretation of the eleven selected works reveals three important consequences of the modern influence on space, gradually emptied of meaning and replaced by non-places: its conversion into merchandise, its loss of solidity and stability and the confusion that occurs in it between reality and its representation. Consequently, the implicit content converges with the essential postulates of the sociologists who have approached the subject of space, although it goes further because the foray into the iconographic hermeneutics of these works puts an image to the conceptual theoretical discourses of the sociologists, in a way that visual language complements and enriches, with more emotional and sensitive nuances. Therefore, our discipline begins to overcome a traditional deficit, in that it moves from the essential rationality that structures its origin and turns towards a greater coupling of the emotional and sensitive social plane.
The instituted imaginary has been a fundamental piece in the theoretical framework of Cornelius
Castoriadis. This notion served to make him see that the intelligibility of the totality of the real ...obeys the
role attributed to a central meaning on which the joint meaning of things is articulated. For him modern
society will be characterized by the institutionalization of two great meanings: the objectification /
rationalization of the social world and the emergence of an autonomy of the individual with respect to the
ties of tradition. At present, however, it is urgent to update the functional profile of these two meanings
taking into account the most relevant changes that have taken place in advanced modernity.
El imaginario instituido ha constituido una pieza fundamental en el entramado teórico de Cornelius
Castoriadis. Esta noción le sirvió para hacer ver que la inteligilibilidad de la totalidad de lo real obedece al
papel atribuido a una significación central sobre la que se articula el sentido conjunto de las cosas. Para él
la sociedad moderna se caracterizará por la institucionalización de dos grandes significaciones: la
objetivación / racionalización del mundo social y el surgimiento de una autonomía del individuo con
respecto a los lazos de la tradición. En la actualidad urge, no obstante, reactualizar el perfil funcional de
estas dos significaciones teniendo en cuenta los cambios más relevantes acaecidos en la modernidad
avanzada.
Evanescence: Time in Modern Plastic Art Roche Cárcel, Juan Antonio; Carretero Pasín, Ángel Enrique
Fudan journal of the humanities and social sciences,
12/2020, Letnik:
13, Številka:
4
Journal Article
The Article follows the trail of Max Weber’s comprehensive sociology and uses the hermeneutic and iconological analysis methods applied to significant contemporary plastic art works (painting and ...sculpture) which are representative of modern and late modern art. Starting from these theoretical and methodological bases, it pursues three specific objectives: (a) to analyze the construction of Time in plastic art, (b) to verify how this theme has evolved in artistic practices from the first modernity to the second and (c) to verify the way in which the complementary visual language the conceptual of contemporary sociological theory. In this regard, our paper provides evidence that the selected works prioritize a kind of temporality determined by the logic of capitalist industrial modernity. It likewise becomes obvious that time—focused on an accelerated and instantaneous omnipresent—lacks both an origin and a
telos
; it has neither a past nor a future and, in parallel, a gap has opened between the time of natural life and the artificial one, as well as between space and time, which is only transiently bridged at the imaginary level of art. Finally, the experience of time has been emptied, in such a way that the latter has lost some of its solidity and its sense of permanence, while the contingent, the fleeting and the ephemeral now occupy in its place.
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