Object, genre, and Buddhist sculpture

Dauber, Kenneth

doi:10.1007/bf00993491

Cited by 4 publications

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“…In addition, anchors are not dead because students might reinterpret them as markers during a future role transition, as the student who used to collect baseball cards indicated he might d o when he has children. The distinction between genres and particular objects is borrowed from a theoretical analysis by Dauber (1992).…”

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Role Transitions, Objects, and Identity

Silver¹

1996

Symbolic Interaction

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Most research on role transitions, following a tradition pioneered by van Gennep, regards these major turning points in the life course primarily as times when people move between different sets of social networks. While these studies acknowledge that rites of passage occur within particular physical spaces in which material objects are present, the importance of such objects has received little attention. I explore one particular role transition—moving away to college—and illustrate that objects play a central role in how students construct their identities. Students at “Midwestern” University make strategic choices about which objects to leave at home as anchors of prior identities and which ones to bring to school as markers of new identities. Moreover, I suggest that the meanings of these two categories of objects differ by gender. I argue that this case opens up the possibility that objects play a much more central part in role transitions than social scientists have acknowledged. This study also challenges existing assumptions about different processes of identity formation. Therefore, it engenders the need for additional research about how people reinterpret objects during role transitions, and about the different meanings that objects may have for the constructions of masculinity and femininity.

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confidence: 99%

Role Transitions, Objects, and Identity

Silver¹

1996

Symbolic Interaction

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“…1 Note also Kenneth Dauber's (1992) use of Baxandall as the basis of his use of art (sculpture) to explore social contexts (the relationship between religion and social structure in Kamakura Japan). 2 To be fair, Alexander later (2003: 308) notes that Baxandall does also look at issues of production and reception, but she suggests that he is unable to integrate these different approaches, treating each in separate chapters, and thus separating the sociological from the artistic.…”

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Michael Baxandall and the Sociological Interpretation of Art

Tanner

2010

Cultural Sociology

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Art historian Michael Baxandall’s writings have played a key role in defining the major paradigms in the sociology of art: the production of culture perspective, Bourdieu’s critical sociology of art, Hennion and DeNora’s ‘new sociology of art’. Although making fruitful use of Baxandall’s focus on markets, material visual practices and the concept of the period eye, these appropriations have overlooked the centrality to Baxandall’s work of the concept of art as an institution. This institutional focus permits Baxandall to integrate social, cultural and visual analysis in a way which shows not only how visual art is socially constructed, but also how it plays an active role in the construction of social orders on a variety of levels of emergence, from the interaction order to larger social structures.

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Identity Construction: New Issues, New Directions

1997

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The study of identity forms a critical cornerstone within modern sociological thought. Introduced by the works of Cooley and Mead, identity studies have evolved and grown central to current sociological discourse. Microsociological perspectives dominated work published through the 1970s. Sociologists focused primarily on the formation of the “me,” exploring the ways in which interpersonal interactions mold an individual's sense of self. Recent literature constitutes an antithesis to such concerns. Many works refocus attention from the individual to the collective; others prioritize discourse over the systematic scrutiny of behavior; some researchers approach identity as a source of mobilization rather than a product of it; and the analysis of virtual identities now competes with research on identities established in the copresent world. This essay explores all such agenda as raised in key works published since 1980. I close with a look toward the future, suggesting trajectories aimed at synthesizing traditional and current concerns.

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Object, genre, and Buddhist sculpture

Cited by 4 publications

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Role Transitions, Objects, and Identity

Role Transitions, Objects, and Identity

Michael Baxandall and the Sociological Interpretation of Art

Identity Construction: New Issues, New Directions

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