This paper draws a parallel between two contemporary French conceptions of sociology. Each is first considered in terms of the principles and strategies of its sociological method. Through an analogy with Marx's philosophy of social science, critical sociology is shown to make an heuristic use for the analysis of cultures and social structures of the resistance to sociology that the sociologist encounters in the social objects, whereas pragmatic sociology adopts a pluralistic and descriptive strategy towards actions, actors and things. The (...) paper then tries to show how common interests or trading zones could allow both critical and pragmatic sociology to profit from their competitive relation by taking each other as objects of sociological analysis. (shrink)

In this article I undertake an analysis of erotic sexual intercourse - commonly, and more accurately, designated as love-making - in the spirit of Durkheim's social analysis of religion. Thus, based on a phenomenological semiotic analysis of the peculiar things we do and feel in the course of making love, I propose, first, to uncover the implicit `logic' that generates and governs these distinctly sociable doings and sociable feelings. Second, I proceed to suggest that the sameself logic, albeit in an (...) attenuated version, also generates and governs the broad class of `social occasions proper', and that this homology calls for gathering erotic and social occasions under one and the same rubric, which I propose to call the `socio-erotic' (since the term `social' has been denatured through overuse). Third, I conclude with a discussion of how socio-erotic domains fit into a larger world structured and governed mainly by interest-driven and power-driven conflictual fields. (shrink)

This article presents the moral and political sociology developed by the research group around Luc Boltanski and Laurent Thévenot from its gradual dissociation from the tradition of critical sociology during the 1980s to the present. Taking the major presentation of this approach, De la justification, as the point of departure, the key items of criticism to which this book was exposed are discussed, both in terms of their intellectual merit and in light of the ongoing debates in French social and (...) political theory. The work of this group was often rather erroneously taken to have provided both a new theory of society and a new normative political philosophy. What it aimed at achieving in the first place, in contrast, was a questioning of the assumptions on which reasonings in social theory and political philosophy are based and how those reasonings relate to social actors' own engagement with the world. Not least in response to the criticism received, however, the approach has been further elaborated in recent years, and it works now towards a new representation of the contemporary state of social relations and towards a comprehensive analysis of the practical political philosophies employed in political disputes. (shrink)

The Archive is a central but paradoxical image in the work of the con temporary French artist Christian Boltanski (born 1944). Because Boltanski is obsessively concerned with the death-like rupture and loss by which experience is continuously reduced to fragmentary and inac curate memories of the past, especially regarding the adult's perception of childhood, archives represent for him a potential means of regaining access to what has been lost and is being mourned. However, Boltan ski's installation and performance works that (...) investigate the powers of archives set out ironically the absurdly limited and misleading processes of an archive. Photography in particular is shown to be unreliable, more icon than document, challenging rather than asserting notions of cat egory and coherence. The notion of the icon, moreover, underlines the spiritual dimension that accompanies this absurdist relationship with the past. Our faulty but much-desired awareness of a past gives complex value to our present, often in a touching, pathetic way, however arbitrary the means involved. The trail of the archive leads to an uncertainty that is nonetheless precious. The many subjects that Boltanski treats in this light vary disarmingly and controversially from the trivia and detritus of everyday living to the supreme seriousness of the Holocaust. He also transforms himself and his family into a labyrinthine and playful archive. Here a curious relationship emerges with the reputation and books of his brother, the sociologist Luc Boltanski. Christian borrows with no explicit acknowledgement the archive resources of Luc's sociological research as a sub-text in his visual works. Even more surprisingly, Luc Boltanski published in 1993 HISTORY OF THE HUMAN SCIENCES Vol. 11 No. 4 © 1998 SAGE Publications (London, Thousand Oaks and New Delhi) [0952-6951(199811)11:4;121-140; 006612]Poème, a collection of highly emotive and personal poetry about the past and the Holocaust. The problems raised by Christian Boltanski and by Luc conflate the personal and historical dimensions of the Archive. (shrink)