MODERN ART OXFORD CHRISTIAN BOLTANSKI
Boltanski, 2007 In January 1973, Christian Boltanski (b 1944) sent 62 handwritten letters to museums of art, history and If these works serve as ‘inverted
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memory, autobiography, loss, and death, with the goal of soliciting a sentimental response from viewers Boltanski favors photography due to its relationship with time, its ability to serve as a visual representation of memory, and, thus, its power to create emotion He
Dissolutions of the Social: On the Social Theory of Luc
The Social Theory of Boltanski and Thevenot: Axel Honneth´ 377 the individual actor, while not denying, like economic scholarship, that cultural patterns of interpretation have important effects Boltanski and Th´evenot develop the answer to this problem in three steps, which taken together already form the building block of their social theory
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simultaneously serve the power interests of the dominant groups and appear to embody some inherently right order that is universally binding The resultant fissure is both registered and camouflaged in crime fiction by a cast of special, liminal characters Boltanski notes that the special in-between status of elite servants, such as butlers and
Luc Boltanski and Arnaud Esquerre, Paris: Gallimard, 2007
Luc Boltanski and Arnaud Esquerre, Enrichissement: une critique de la merchandise, Paris: Gallimard, 2007 Sociology is at its most instructive and broadly useful when it struggles to make sense of the relation between the large structures that constrain our behavior by defining markets and
How do think tanks qualify their expertise? Exploring the
study draws upon the modes of justification developed by Boltanski and Thévenot [2006] The “orders of worth” [Boltanski and Thévenot,2006] serve as an analytical framework for capturing the different cultural logics in society and within the field of scientific policy advice in France To do so, the ways in which think tanks
The museum as muse : [brochure] artists reflect : March 14
Christian Boltanski recognizes something mournful in the way museums collect and display objects His Vitrine of ReferenceII (1970) presents fragmentary artifacts of the artist's childhood —photographs, a 45 r p m record, a slingshot—in a museum-style vitrine
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