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'Cause We Are Living in a Material World: on Iconic Turn in Cultural

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'Cause We Are Living in a Material World: on Iconic Turn in Cultural ‘Cause we are living in a material world: on iconic turn in cultural sociology A Master’s Thesis written by Bc. Jitka Sklenářová MASARYK UNIVERSITY • FACULTY OF SOCIAL STUDIES • DEPARTMENT OF SOCIOLOGY Supervisor: doc. PhDr. Csaba Szaló, Ph.D. Brno, 2014 2 Declaration I hereby declare that this thesis I submit for assessment is entirely my own work and has not been taken from the work of others save to the extent that such work has been cited and acknowledged within the text of my work. 11th May 2014 Signature 3 4 Acknowledgements “We are not at an airport; we are at a university.” I would like to thank Csaba Szaló for these words, for his inexhaustible support and trust, and for influencing my life in many positive ways. I am also grateful for the international and friendly environment he managed to create at the Department of Sociology. • Special thanks go to Werner Binder who spent many hours answering my questions. His enthusiasm and inspirational comments were of great importance for my work. • I also appreciate attention, support, and suggestions received from Nadya Jaworsky and Dominik Bartmański. 5 Table of Contents Abstract 8 Abstract (in Czech) 9 Introduction: Call for a new sociology 11 1. Human and social sciences & the visual: History of a complicated relationship 17 1.1. Semiotics and the notion of a discursive world 18 1.1.1. Peirce’s triad 19 1.2. Panofsky’s image interpretation 20 1.2.1. Iconology 21 1.2.2. Critique of Panofsky’s method 25 1.3. “Rhetorique of the Image” 27 1.4. Consequences of the linguistic turn 29 1.5. Pictorial turn 30 1.6. Iconic turn 33 1.6.1. Iconic difference 34 2. Iconicity and the strong programme in cultural sociology 39 2.1. Strong programme 40 2.2. Iconic theory 42 2.3. The power of icons 45 2.4. Icons as myths 48 6 2.5. Achievements & benefits of iconic theory 51 2.5.1. Nobody puts images in a corner (anymore) 53 3. The problem of two iconic turns 57 3.1. Boehm’s iconic turn 58 3.1.1. Focus: genuinely pictorial aspects of the image 59 3.2. Iconic turn of the strong programme 61 3.3. Suggestions 62 3.3.1. Surface & depth is not enough 63 3.3.2. Problem of pre-reflexive experience 65 3.3.3. Bohnsack’s documentary method 66 3.3.4. Binder’s secular icon 68 4. Conclusion 71 References 75 Index 82 Number of characters: 149 487 Reproduction on the cover: La trahison des images by René Magritte (fragment) 7 Abstract The strong programme in cultural sociology has recently taken up topics of visuality and materiality and made an effort to include them into one theory. The iconic theory suggested in Iconic Power (2012) pursues two main goals. It aims at overcoming the duality of materialism and idealism, two approaches that have in the sociological theo- ry until now been fully incompatible. The proposed concept of icon combines an aes- thetic surface and a meaningful depth of a cultural object, which are mutually consti- tuted and intertwined. Bringing the elusive experience, the feeling of material objects and their deep cultural meanings together seems to be the right way to go for cultural sociology that has dealt with collective emotions and representations since its birth. The iconic theory also makes possible the emancipation and liberation of images from the textual and discursive dominance typical of the sociological thinking in the 20th century. The source of inspiration for the new theory was the so called iconic turn in art theory. However, there seem to be some fundamental disagreements between these two approaches. My thesis presents the newborn iconic theory and reflects its benefits and pitfalls. Furthermore, drawing on the background of developments within the scholarly approach to images and on the currently used sociological methods of image analysis I offer possible answers to the questions and puzzles raised by the theory of iconic power. 8 Abstract (in Czech) Kulturní sociologie se nedávno začala zabývat otázkami vizuality a materiality, jež se pokusila zahrnout do jedné teorie. Teorie ikonicity formulovaná v knize Iconic Power (2012) sleduje především dva cíle. Prvním z nich je překonání rozporu mezi materia- lismem a idealismem, dvěma nesmiřitelnými myšlenkovými směry, které se doposud v rámci sociologické teorie nepodařilo úspěšně sjednotit. V navrhovaném konceptu iko- ny se vzájemně konstituují a propojují estetický povrch s významovou hloubkou kul- turních objektů. Spojení prchavé zkušenosti a pocitů zakoušených při kontaktu s ma- teriálními objekty a jejich hlubších kulturních významů se zdá být v souladu se směřováním kulturní sociologie, která se již od počátku zabývá kolektivními emocemi a reprezentacemi. Ikonická teorie rovněž umožňuje emancipaci a osvobození obrazů zpod diskurzivní nadvlády typické pro sociologické myšlení 20. století. Zdrojem inspi- race pro novou teorii byl takzvaný ikonický obrat v teorii umění. Mezi těmito dvěma přístupy se nicméně projevily zásadní neshody. Ve své práci představuji nově vytvoře- nou ikonickou teorii a reflektuji její přínosy a problematické aspekty. Na pozadí vývoje vědeckého přístupu k obrazům a na základě v současnosti používaných metod obrazo- vé analýzy v sociologii navrhuji možné odpovědi na otázky a problémy vyvstávající z teorie ikonické moci. 9 “A book is changed by the fact that it does not change even when the world changes.” Pierre Bourdieu quoted in Chartier, 1989 10 Introduction: Call for a new sociology Fourteen years ago, Howard Becker was asked by the Contemporary Sociology Maga- zine, what sociology should look like in the (near) future. In his answer, Becker (2000: 333) took the question literally; by that move he managed to point out the fact that visual materials were neglected by social sciences for a long time and that it was time for us to change such an attitude1. In fact, the ignorance made explicit by Becker does not exclusively relate to the visual, but applies also to the material in general. Sensual experience never used to be taken into account for the explanation of mean- ing-making processes, since meaning was thought of as emerging in text, language and discourse. Obviously, this is not enough—there is more to life than discourses. Such a realization could explain why the relevance of sensual experience, gained by encounter with material things and its importance for how we make sense of the world, has nev- ertheless won further discussion in the last two decades, especially among those advo- cating the strong programme in cultural sociology. The effort to grasp the sensual and 1 As soon as I have engaged in the problem of image interpretation, which stood at the very beginning of my work presented here, I also encountered opinions stating that the topic was not “sociological enough”. During disputes with professors, colleagues and in interaction with scholarly texts I indeed discovered comments questioning the very idea of the relation between sociology and the visual. I had to conclude that there was a broad range of understandings and conceptions of the role of the visual in sociology, ranging from using it as a mere data-collection or data-presenting method, to qualitative ap- proaches and interpretation of images, to the theoretical stance of cultural sociology. 11 material side of social life has resulted in an attempt to establish a theory of iconic power. Dealing with such elusive entities as sensuality or emotionality has without any doubt been always a tricky issue for sociologists. The founding fathers of social sciences strived to avoid everything that had to do with emotions in order to gain an unbiased view of reality. Even the most necessary (in our culture, at least) sense of sight was ex- cluded from inquiring about society. “Real scientists were objective and unsentimental, and photographs seemed to make people sympathetic,” criticizes Becker sociologists’ reluctance to use images in their journals (2000: 333). However, the 21st century has brought about significant changes in sociological research; most notably the strong programme has re-focused sociological attention from analyzing the effects of objec- tive social structures on actors and culture to considerations about autonomous cul- ture itself. The new reading (or re-reading, as the protagonists call it2) of Durkheim’s Elementary forms of religious life has provided the new cultural movement with an in- spiring notion of society. “Durkheim’s vision in the Elementary Forms was of a shared cul- tural system that is internalized within each individual. It trumps the material base by superimposing upon it a universe of arbitrary but deeply meaningful signs, myths and determinations of action. He wrote: ‘(...) Collective representations very often attribute to the things to which they are attached properties which do not exist in any form or degree. Out of the commonest object they can make a very powerful and very sacred being. Yet, although purely ideal, the powers which have been conferred in this way work as if hey were real. They determine the conduct of men with the same inevi- tability as physical forces’” (Alexander and Smith 2005: 8–9) It was thus Elementary Forms that furnished cultural sociology with a toolbox contain- ing concepts such as collective representations, meanings, symbolism, morality, totem, rituals, dichotomy of sacred and profane etc. But even after establishing the research of 2 “Readings proliferate that are unintended and unpredictable, with determinations that go far beyond those that could have been consciously anticipated by the maker of the original text. Time reverses the direction of influence. New contexts of interpretation come to rewrite texts as authors and theories are re-narrated for present relevance.” (Alexander and Smith 2005:1) 12 collective discourses based on narratives and introducing the concept of performativi- ty, there still was a wish “to extend this new understanding one step further” (Alexan- der 2008: 9).
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