Test Bank For Sociology about Art An Introduction to How Sociologists Study the Arts By Sara Malou S
Test Bank For
Sociology about Art An Introduction to How Sociologists Study the Arts By Sara Malou Strandvad, Quirijn Lennert van den Hoogen, Manuel Reyes
Chapter 1-13
MC questions to book manuscript Sociology About Art
Introduction
What does a functionalist definition of art propose?
a. That what counts as art is determined by gatekeepers
b. That what counts as art is determined by how it changes society
c. That what counts as art is determined by whether it generates wellbeing
*d. That what counts as art is determined by whether it affords an aesthetic experience
What does an institutional definition of art propose?
a. That what counts as art derives from aesthetic quality
*b. That what counts as art derives from classifications as ‘art’
c. That what counts as art derives from aesthetic features of an object
d. That what counts as art derives from artists’ intentions
Max Weber coined the term ‘value neutrality’ in sociological research. What does that suggest?
*a. Studying value-laden topics should be done in a manner that avoids partiality
b. Studying value-laden topics should be done by accounting for one’s own positionality
c. Studying value-laden topics should be avoided
d. Studying value-laden topics should be done by taking a side and explaining why you are right
What does it mean to do ‘sociology about art’?
a. Investigating how art is produced and used
b. Investigating how art reflects society
*c. Investigating how social relations are made through art
d. Investigating the inner meaning of art
Chapter 1
The founding father of critical sociology is:
*a. Karl Marx
b. Theodor Adorno
c. Herbert Marcuse
d. Walter Benjamin
Karl Marx is the founder of:
*a. Critical theory
b. Structural functionalism
c. Interpretative sociology
d. Positivism
According to Karl Marx the base of society is composed of:
*a. the economic relationships between people
b. how society is governed
c. the history of society
d. class consciousness
According to Karl Marx to understand society one should study the:
*a. Base
b. Superstructure
c. History
d. The labourers
For Karl Marx the arts are part of the:
a. Base
*b. Superstructure*
c. Both
d. Neither
The Frankfurt School, in particularly Theodor Adorno valued:
*a. High art*
b. The culture industry
c. Mechanically reproduced art
d. Standardisation
According to Adorno and Horkheimer, the cultural industries lead to:
a. Enlightenment
b. emancipation
*c. barbarism
d. all of the above
According to the Frankfurt School art from the cultural industry is:
a. repetitive
b. standardised
c. abundant
d. all of the above *
Chapter 2
Pierre Bourdieu rethinks the model of:
*a. class distinction
b. dialectic of enlightenment
c. social constructivism
d. structuralism
Which research methods did Bourdieu use in Distinction:
a. Observations and interviews
b. Observations and surveys
*c. Interviews, observation and surveys
d. Discourse analysis and interviews
According to Pierre Bourdieu, which form of capital is crucial for understanding the reproduction of social inequality beyond just economic factors?
a. symbolic capital
b. economic capital
*c. cultural capital
d. social capital
What term does Bourdieu use to describe the internalized preferences and dispositions that influence taste?
*a. habitus
b. capital
c. field
d. symbolic violence
According to Bourdieu people do not just own certain capitals, but these capitals also ‘own’ their owner. Why is that?
a. Because capitals can be exchanged for each other.
b. Because capitals are social categories assessed by others.
c. Because, over time, capitals can be accumulated by their owners.
*d. Because capitals create lasting dispositions in their owners.
According to Bourdieu, which type of capital is primarily involved in the formation of tastes?
a. economic capital
b. social capital
*c. cultural capital
d. symbolic capital
Which type of capital is awarded to a person by others (with the power to do so)?
a. cultural capital
*b. symbolic capital
c. economic capital
d. social capital
Bourdieu introduces the concept of "cultural capital." Which of the following is NOT an example of cultural capital?
a. educational qualifications
b. artistic knowledge
*c. social connections
d. tastes in music and art
Bourdieu introduces the concept of "cultural capital." Which of the following is NOT an example of cultural capital?
a. educational qualifications
b. knowledge of history
*c.affluence
d. culinary tastes
What role do educational institutions play in the reproduction of social inequalities, according to Bourdieu?
a. They serve as equalizers of opportunity because diplomas give access to higher pay scales.
b. They help in the dissemination of purely academic knowledge.
*c. They reproduce existing social structures by legitimizing certain forms of cultural capital.
d. They have no significant impact on social mobility.
According to Bourdieu, which social class is most likely to adopt "pure taste," characterized by an appreciation for abstract and highbrow cultural forms?
a. The working class
b. The middle class
*c. The upper class
d. The proletariat
In Distinction, how does Bourdieu describe the working-class taste?
a. It is characterized by a preference for abstract art.
b. It is marked by an aesthetic disposition towards high culture.
*c. It favors practical and functional forms of cultural expression.
d. It is indistinguishable from middle-class taste.
In Distinction, how does Bourdieu describe the taste of the elite?
*a. It is characterized by a preference for abstract art.
b. It is marked by an aesthetic disposition towards high culture.
c. It favors practical and functional forms of cultural expression.
d. It is indistinguishable from middle-class taste.
In Distinction, which (part of a) social class does Bourdieu associate with a luxury lifestyle?
a. the cultural fraction of the elite
*b. the economic fraction of the elite
c. the cultural fraction of the middle class
d. the lower class
In Distinction, how does Bourdieu describe the lifestyle of the cultural fraction of the elite?
a. luxury lifestyle
*b. asceticism
c. a high level of asceticism
d. bourgeois taste
In Distinction, how does Bourdieu describe the lifestyle of the cultural fraction of the middle class?
a. luxury lifestyle
b. realistic taste
*c. a high level of asceticism
d. bourgeois taste
In Distinction, how does Bourdieu describe the lifestyle of the cultural lower class?
a. luxury lifestyle
*b. realistic taste
c. a high level of asceticism
d. bourgeois taste
Which is a form of cultural capital:
a. embodied
b. objectified
c. institutionalised
*d. all of the above
Which of the following is an example of embodied cultural capital?
a. A university degree
*b. The manner in which you talk
c. Ownership of a valuable painting
d. A network of influential friends
Which of the following is an example of embodied cultural capital?
a. A university degree
*b. A visit to a music festival
c. Ownership of a valuable painting
d. A network of influential friends
Which of the following is an example of cultural capital in the state of objects?
a. A university degree
b. The manner in which you talk
*c. Ownership of books and paintings
d. A network of influential friends
What is institutionalized cultural capital?
a. The physical possessions that have cultural value
b. The social connections that provide cultural advantages
*c. The diploma’s of a university
d. The personal skills and dispositions acquired over time
Which form of cultural capital is represented by the cultural goods and artefacts one owns?
a. embodied cultural capital
*b. cultural capital in the state of objects
c. objectified (or institutionalized) cultural capital
d. symbolic capital
Which of the following best illustrates institutionalized cultural capital?
a. Speaking multiple languages fluently
b. Owning a collection of rare books
* c. A BA in Art Sociology
d. Frequent attendance at art galleries
What is symbolic violence according to Pierre Bourdieu?
a. Physical force used to control others
*b. The validation of elite tastes
c. Economic exploitation of the working class
d. Legal sanctions against cultural practices
Which of the following is an example of symbolic violence?
a. A government using police force to suppress protests
*b. A school curriculum that marginalizes the history and culture of minority groups
c. A company laying off low-skilled workers to cut costs
d. A court ruling that enforces strict laws
According to Bourdieu, which institutions are primarily involved in the perpetuation of symbolic violence?
a. Economic institutions
b. Legal institutions
*c. Educational institutions
d. Military institutions
According to Bourdieu, which form of socialization is habitus NOT acquired through :
a. Primary socialization
b. Secondary socialization
c. Tertiary socialization
*d. Symbolic socialization
Going to school is a form of which type of socialization according to Bourdieu:
a. Primary socialization
*b. Secondary socialization
c. Tertiary socialization
d. Symbolic socialization
Upbringing is a form of which type of socialization according to Bourdieu:
*a. Primary socialization
b. Secondary socialization
c. Tertiary socialization
d. Symbolic socialization
What is a "cultural omnivore"?
a. Someone who exclusively consumes highbrow culture
b. Someone who has a narrow and specialized taste in culture
*c. Someone who enjoys a wide range of cultural forms, including both highbrow and lowbrow
d. Someone who consumes a wide variety of popular cultural forms
Which of the following characteristics is most associated with cultural omnivores?
a. Exclusivity in cultural tastes
b. A strong preference for traditional forms of culture
*c. A diverse and eclectic taste in cultural consumption
d. Avoidance of popular culture
Cultural omnivores are typically characterized by which of the following social traits?
a. Low levels of education and income
*b. Higher levels of education
c. A focus on traditional, high-status cultural forms
d. Narrow cultural preferences
Chapter 3. Fields of Cultural Production
Which of the following is correct about the relationship between field theory and distinction theory?
*a. The audience connected to the field position orthodoxy is the cultural fraction of the elite.
b. The audience connected to the field position of heterodoxy is the cultural fraction of the elite.
c. The audience connected to the field position of industrial art is the economic fraction of the elite.
d. The audience connected to the field position of bourgeois art is the cultural fraction of the elite.
How are field theory and distinction theory related?
a. Through the notion of class position, one’s social class determines one’s position in a field.
b. Through the notion of power, people from different classes hold different positions of power in a field.
*c. Through the notion of habitus, a person’s habitus determines which position she sees available in a field.
d. Through the notion of structure, a society’s class structure is reflected in the structure of social fields.
What does the term ‘objective positions in a field’ imply?
a. That field positions change over time.
*b. That field positions exist irrespective of a person occupying them.
c. That field positions are only manifest to researchers.
d. That moving around in a field is impossible.
What does the term ‘objective positions in a field’ NOT imply?
a. That agents in social fields can change position over time.
b. That field positions exist irrespective of a person occupying them.
c. That field positions provide the underlying structure of a field.
*d. That moving around in a field is impossible.
What does the term ‘sense pratique’ imply?
a. Only practically oriented people can take up positions in a field.
*b. Social agents develop a ‘feel for the game’ while acting in a social field.
c. The rules of conduct in a social field are transgressed by practically oriented people.
d. Social agents learn how to behave in a social field before entering it.
How can we see the ‘sense pratique’ as a ‘structuring structure’?
*a. Social agents learn how to behave in a social field by behaving in the social field.
b. The sense pratique is structured by agents with high symbolic capital.
c. Over time, agents in social fields acquire symbolic capital and then economic capital.
d. The division of capitals between agents in the field is structured by their habitus.
What does Bourdieu’s genetic structuralism entail?
a. That the personal make up of social agents determines social structure.
b. That social structure determines the personal make up of individuals.
*c. That scientists should uncover the underlying structure of power that shapes the behaviour they are observing.
d. That the true reasons for why people do what they do cannot be understood by social scientists.
Why does Bourdieu typify a habitus as a “structuring structure”?
*a. Because by acting in a certain way in the field, a person reconfirms the structure of the field.
b. Because their habitus endows an actor with a certain ‘sense pratique’ that allows acting in the field.
c. Because by moving around in the field, an actor gains more power.
d. Because of the opposition between cultural and economic capital that provides the basic structure of a field.
In field theory, which form of capital is distributed in the process of consecration?
a. economic capital.
b. social capital.
*c. symbolic capital.
d. cultural capital.
In field theory, which capital distinguishes the ‘old’ agents from the ‘new’ in a social field?
a. economic capital.
b. social capital.
*c. symbolic capital.
d. cultural capital.
Which field positions, and in which order, does the short-term production cycle include?
*a. avant-garde and then industrial art.
b. avant-garde, bourgeoisie, orthodoxy.
c. heterodoxy, orthodoxy, bourgeoisie.
d. heterodoxy, industrial art, bourgeoisie.
Which field positions, and in which order, does the long-term production cycle include?
a. avant-garde and then industrial art.
b. avant-garde, bourgeoisie, orthodoxy.
*c. heterodoxy, orthodoxy, bourgeoisie.
d. heterodoxy, industrial art, bourgeoisie.
The heteronomous pole of the field of cultural production is defined by…
a. Its avant-garde production of art.
b. Its small-scale production of art.
c. Its prestigious production of art.
*d. Its large-scale production of art.
The autonomous pole of the field of cultural production is defined by…
*a. Its small-scale production of art.
b. Its mass production of art.
c. Its elitist production of art.
d. Its high economic capital production of art.
What does Bourdieu mean by making a difference between material and symbolic production of art?
*a. That art sociology should study both how works are made and how they come to be recognized as important.
b. That art sociology can ignore studying the material circumstances of art production, the focus should be on symbolic circumstances of art production.
c. That the symbolic value of art works corresponds to the material circumstances of their production
d. That the economic value of art works is commensurate to their symbolic value.
What is the role of cultural intermediaries in the field of cultural production?
a. They award prestige to agents in the field.
*b. They allow for the exchange of cultural capital into economic capital.
c. They allow for the exchange of economic capital into prestige.
d. They have all the above roles.
What is the role of cultural intermediaries in the field of cultural production?
a. They mediate between production and consumption.
b. They allow for the exchange of cultural into economic capital.
c. They allow for the exchange of prestige into economic capital.
*d. They have all the above roles.
What is the role of cultural bankers in the field of cultural production?
a. They award prestige to agents in the field.
*b. They allow for the exchange of cultural into economic capital.
c. They allow for the exchange of economic capital into prestige.
d. They have all the above roles.
Is artistic freedom possible in Bourdieu’s field of cultural production?
a. Yes, it occurs because of the consecration of established artists.
*b. Yes, but it is bounded by the structure of the field and the habitus of the artist.
c. Yes, but it requires cultural capital of the artist.
d. No, it does not occur in field theory.
How does Bourdieu conceptualise the freedom of artists?
a. Through the notion of habitus, artists are accustomed to risk taking.
*b. Artists can choose from the space of possibles, i.e., the options they see available in the field.
c. He argues artistic freedom does not exist as the fate of the work of art is determined by the power struggles around it.
d. Through the notion of position-taking: artists can choose to become avant-gardists or not.
In which ways are Bourdieu’s Field Theory and Becker’s Art Worlds comparable?
a. Both approaches are critical of artistic production under capitalism.
d. Both approaches take a macro-perspective.
*c. Both approaches see art as a collective construct.
d. Both approaches aim to understand the perspective of social agents.
In which ways are Bourdieu’s Field Theory and Becker’s Art Worlds different?
*a. Field theory focuses on the macro-level, art world theory on the micro-level.
b. Field theory focuses on the micro-level, art world theory on the macro-level.
c. Art world theory looks at historical developments, field theory only at the present.
d. Art world theory is compatible with the digitalization of cultural production. Field theory is not.
Chapter 4. The Legacy of Bourdieu’s Field Perspective
Section 4.1
Sapiro conceptualises the relationship between the field of cultural production and the political field as …
a. one of dominance because the state controls the art
b. one of dependence as the state relies on the arts as a means of education
*c. a double one because of the state’s limiting role (censorship) and enabling role (funding)
d. a one-directional as the arts communicate political ideas
The borders of the field of cultural production are defined by
a. The history of a nation.
b. The national borders.
c. The cultural industries.
*d. The operations of the field.
Fields of cultural production are usually organised around national institutions. According to Sapiro this implies: …
a. that these fields have national borders
b. that international agents cannot award symbolic capital
c. that international agents can never be part of the field
*d. that consecration may still include international agents
Sapiro argues that in the fields of cultural production of large, dominant nations …
a. agents tend to focus on international institutions to earn symbolic capital
b. agents tend to ignore international institutions entirely
*c. agents tend to focus on national institutions mostly
d. agents of smaller nations/cultures are dominated
Sapiro argues that in the fields of cultural production of smaller nations …
*a. international institutions for consecration hold a lot of sway
b. national institutions for consecration hold a lot of sway
c. national institutions can no longer exist because of globalisation
d. international institutions are not relevant for consecration
International touring of artists may earn them:
a. symbolic capital in their national field
b. symbolic capital in an international field
c. economic capital that is used for restricted production
*d. all of the above
According to Sapiro, why is there no global market for cultural goods?
*a. Global trade treaties exempt cultural goods from being traded across borders.
b. There is no global demand for cultural goods.
c. UNESCO only includes Western cultural goods with high amounts of cultural capital.
d. The US-American cultural industries dominate the global production of cultural goods.
Cultural exemptions to international free trade agreements …
*a. allow for national fields of cultural production to exist
b. have no impact on national fields of cultural production
c. are not relevant to the field of large scale production
d. are only relevant to the field of large scale production
According to Sapiro, an international field of cultural production is different from a global field because
a. It is not possible to create art that transcends national identities.
b. Artists still make art that is about their own country.
*c. Individual nations still need to ratify international conventions.
d. National authorities are needed to award symbolic capital.
According to Sapiro, in transnational fields of cultural production, most of the time
a. All artists have the same chances of being consecrated.
*b. Prestige is handed out by institutions in the center of power.
c. Prestige is gained by artists in the periphery who oppose the center of power.
d. Only very local cultures can transcend national identities.
Globalisation of art fields has posed a challenge to field theory because …
a. it makes it impossible for national institutions to consecrate artists.
b. international success may be regarded as a marker of economic capital.
*c. researchers need to take international agents into account as well when national agents deem them relevant to define the borders of the field.
d. it makes it impossible to define the borders of national art fields.
The development of a global market for cultural products does NOT imply that …
*a. National fields of cultural production have lost their autonomy.
b. National institutions automatically operate on an international market.
c. Consecration of artists has become irrelevant.
d. Consecration of artists occurs through international agents with the power to do so.
According to Sapiro, globalisation has …
*a. impacted the sub-field of large scale production in a particular way
b. impact the sub-field of small scale production in a particular way
c. impacted the whole field of cultural production
d. not impacted the field of cultural production
Section 4.2
Hesmondalgh’s notion of mainstream art corresponds to Bourdieu’s concept of:
a. the autonomous pole of the field of cultural production.
*b. the heteronomous pole of the field of cultural production.
c. the field position of bourgeois art.
d. the field position of the avant-garde.
Hesmondalgh’s notion of alternative art scenes corresponds to Bourdieu’s concept of:
*a. the autonomous pole of the field of cultural production.
b. the heteronomous pole of the field of cultural production.
c. the field position of industrial art.
d. the field position of the orthodoxy.
Horizontal integration implies …
*a. the acquisition of, or merger with, competitors
b. the acquisition of, or merger with, firms ‘down’ the chain of cultural production
c. the move from the orthodox position to the position of industrial art
d. the integration of various sub-fields of cultural production
Vertical integration implies …
a. the acquisition of, or merger with, competitors
*b. the acquisition of, or merger with, firms ‘down’ the chain of cultural production
c. the move from the orthodox position to the position of industrial art
d. the integration of various sub-fields of cultural production
The merger of producers of consumer electronics (such as EMI) with film and music studios is an example of:
a. monopolistic competition
b. horizontal integration
*c. vertical integration
d. globalisation (of cultural production)
The merger of IT companies (such as Apple) with film and music studios is an example of:
a. monopolistic competition
b. horizontal integration
*c. vertical integration
d. globalisation (of cultural production)
The individualisation of cultural consumption (e.g. through iPhones) has …
a. not impacted fields of cultural production
*b. intensified the corporatisation of cultural production
c. shifted the power balance from producers to consumers of cultural products
d. put a stop to the corporatisation of cultural production
According to Hesmondhalgh, the TV landscape in the late 20th century
a. showed exclusively mass-market targeted shows.
*b. featured occasional shows targeted to the intellectual elite.
c. focused on experimental, avant-garde shows.
d. a and c.
According to Hesmondhalgh, one of the major limitations to applying Bourdieu’s field theory today is that …
a. It is too much focused on US-American culture.
b. It is too focused on literature and cannot explain the importance of prestige in mainstream cinema.
*c. It has very little to say about the structure of the heteronomous side of the field of cultural production.
d. It is too deterministic and cannot account for individual artistic choices.
Hesmondhalgh argues that the contemporary big labels in the popular music industry manage highrisk, high-profit productions by
*a. Buying out smaller niche labels or establishing subsidiaries operating in the sub-field of restricted production.
b. Forcing smaller labels to use their production and distribution infrastructures.
c. Scouting for promising acts through talent shows and battle of the bands concerts.
d. Until today, big labels have not been able to sign artists with a large amount of symbolic capital.
What is the term used by Morris for organisational entities that monitor, mine and mediate the use of digital cultural products as well as audience responses to those products via social and new media technologies?
a. algorithms
*b. infomediaries
c. mediators
d. corporations
According to Morris, infomediaries exercise power by
a. Recommending art and culture of the dominant class.
b. Selling user information to highest bidders.
*c. Imposing scarcity through organizing access to information.
d. Censoring undesired content.
According to Morris, what is the source of legitimacy for the traditional, human intermediaries?
a. Connections to field-insiders and size of network.
*b. Knowledge of good taste and field-specific trustworthiness.
c. Economic profitability.
d. Social capital.
According to Morris, what is the source of legitimacy for cultural infomediaries?
a. Ability to recognize good quality content and curate it for prestigious streaming platforms.
b. Capacity to maximize ads-generated revenue for a given platform.
*c. Efficacy of algorithms and databases to know what is essential about a user and their tastes.
d. Efficiency in generating results for search queries.
According to Hesmondalgh, the production of high quality TV shows and their dissemination through mass media is a consequence of …
a. corporatisation of cultural production
b. mediatisation of cultural production
*c. market segmentation
d. horizontal integration
Section 4.3
According to Boltanski, Thévenot and Chiapello, social conflict should be understood as:
a. differences in class positions and interests
b. disagreement with conventions that govern certain social situations
*c. opposition of evaluative criteria
d. all of the above
If a sociologist conceptualises social change as a change in the dominance of value regimes over time, this is a …
a. pragmatic sociologist
b. critical sociologist
*c. interpretative value sociologist
d. social systems theorist
In Boltanski & Thévenot’s value regimes, gossiping is frowned upon in the:
a. the fame regime
b. the civic regime
c. the inspirational regime
*d. the domestic regime
In Boltanski & Thévenot’s value regimes, gossiping is a worthy strategy in the:
*a. the fame regime
b. the civic regime
c. the inspirational regime
d. the domestic regime.
Children are valuable persons in the:
a. the fame regime
b. the civic regime
*c. the inspirational regime
d. the domestic regime.
Lunatics are valuable persons in the:
a. the fame regime
b. the civic regime
*c. the inspirational regime
d. the domestic regime
Which of the following value regimes (Boltanski & Thévenot) may be connected to the heteronomous pole of a field of cultural production (Bourdieu)?
*a. market regime
b. inspired regime
c. domestic regime
d. inspired and domestic regimes
Which combination of (or compromise between) value regimes is emblematic of public cultural policies?
a. the market and inspired regimes
b. the civic and domestic regimes
*c. the civic and inspired regimes
d. the domestic and inspired regimes
Which of the following values may be connected to the autonomous pole of a field of cultural production?
a. market values
b. civic values
c. fame values
*d. industrial values
Which of the following value regimes may be connected to the heteronomous pole of a field of cultural production?
a. fame regime
b. civic regime
c. industrial regime
*d. all of the above
Section 4.4.
According to Nathalie Heinich, field theory has some important ‘blind spots’. These include:
a. the agency of art works themselves.
b. the adoration of art.
*c. both a and b.
d. neither a, nor b.
What does the singular regime of Heinich imply:
a. The value of art is based on conventional ways of working.
b. The value of art is the result of power struggles.
c. The work’s position in the field determines its value.
*d. The work’s particular features determine its value.
What was of interest to Heinich when studying the life and work of Vincent van Gogh?
*a. His wide recognition despite the fact that his particular style of painting did not conform to the doxa of the field.
b. His wide recognition because of the fact that his particular style of painting did not conform to the doxa of the field.
c. The early recognition of the value of his work.
d. His tragic death by suicide.
Who are part of the circles of recognition as identified by Nathalie Heinich in The Glory of Van Gogh?
a. peers and art critics
b. art critics, dealers and collectors
c. dealers and collectors, and the audience
*d. peers, art critics, dealers, collectors, and the audience
What is most important in modern art worlds (as of the end of the 19th century), according to Heinich?
*a. the singular regime of admiration
b. the collective regime of conventions
c. how the singular and collective regimes stand in relation to each other
d. the autonomy of the arts
Section 4.5
According to Strandvad, Van den Hoogen and Reyes (Sociology About Art), there is no essential difference between the empirical programmes of field theory and theorists such as Boltanksi and Thévenot, as:
*a. looking at the value perspectives of agents implies looking at the act of position taking rather than at the objective structure of a field.
b. looking at the value perspectives of agents in the field implies looking at which capitals they possess.
c. the value perspective of agents in fields of cultural production, nowadays, are conscious rather than unconscious.
d. the doxa of fields of cultural production, nowadays, no longer apply to all agents in the field, only to the agents in the autonomous pole.
Heinich presents a fundamental criticism of Bourdieu’s field theory because she argues that …
a. Bourdieu does not pay due attention to commercial forms of art.
*b. Bourdieu’s focus on collective logics makes him blind to what is particular about works of art.
c. Bourdieu cannot explain how artists gain recognition after their death.
d. Bourdieu ignores collective logics.
Chapter 5. Introduction to Interpretative Sociology
Symbolic interactionists, such as Howard Becker, typically: …
*a. theorise from empirical observation.
b. study power relations in society.
c. study society from a macro perspective.
d. study the development of aesthetic symbols.
What is the basic premise of symbolic interactionism?
a. The actions of agents are restricted by the social structures around them.
b. Acting in social situations is unconscious.
c. Actions in social situations should be regarded as isolated incidents.
*d. Acting is intertwined with interaction, and forms the basis for social structure.
How do symbolic interactionists typically carry out sociological research?
a. Prescriptively, on a macro-level.
*b. Descriptively, on a micro-level.
c. Descriptively, on a macro-level.
d. Prescriptively, on a micro-level.
Chapter 6. Art Worlds
What is the starting point of Howard Becker’s analysis of art worlds?
a. That art is creative expression.
b. That art reflects society.
*c. That art is collective action.
d. That art is produced by genius.
What does Becker imply when he argues that art is collective action?
a. Individual traits, motivations, and capabilities of artists are key in understanding artistic production.
b. That there is a clear distinction between those who are artists and those who are not.
c. That artists actually do not exist.
*d. That art works cannot be understood as the creative product of single individuals.
Which of the following statements is WRONG according to Becker’s Art World theory?
*a. Classifying art is solely a subjective matter.
b. Classifying art is a job carried out by critics.
c. Classifying art is a collective activity.
d. Classifying art takes place in museums.
What type of art does Becker analyse as the outcome of single creators?
a. Literature, as books are (conventionally) written by individual authors.
b. Music, as music pieces are composed by individual composers.
c. Paintings, as pictures are (conventionally) made by individual artists in their studio.
*d. None of the above, all art forms require co-operation with others.
With the term “core” personnel, Becker describes…
a. Those with a permanent employment at a cultural institution.
b. Those with a strong social network, embedded in a creative circle.
*c. Those with decision-making power about production of artworks.
d. Those without decision-making power about production of artworks.
With the term “support” personnel, Becker describes…
*a. Those without decision-making power but who assist and influence production.
b. Those who are on the margins of social networks in the arts.
c. Those who uphold, test, and challenge conventions.
d. Those with temporary employment at a cultural institution.
What is typical of ‘mavericks’, according to Becker?
a. They are lacking formal art training.
b. They rigorously conform to and sustain deep-rooted artistic traditions
c. They are not aware of the conventions of the art world.
*d. They are aware of the conventions of the art world but choose to no longer follow them.
What is typical of ‘integrated professionals’, according to Becker?
*a. They are easy to work with as they know the conventions of the art world and follow them.
b. They rigorously conform to and sustain deep-rooted artistic traditions.
c. They are not aware of the conventions of the art world.
d. They are aware of the conventions of the art world but choose not to follow them.
According to Becker, artists…
a. Cannot change their position once they have entered the art world.
*b. Need to be aware of conventions in the art world to be recognized by the art world.
c. Do not abide by core/support personnel distinctions.
d. Invent the aesthetic system themselves.
What does the term ‘aesthetic system’ as a component of the artistic process (Becker) imply?
a. A corpus of knowledge of artistic techniques that artists use when creating works and support personnel is not aware of.
b. A corpus of art historical conventions that is used in the making and reception of art that is exclusive for the core personnel.
*c. A corpus of knowledge and examples, a historic tradition, that has been assembled within an art discipline and which participants use to interpret and evaluate pieces of art.
d. Knowledge of the canon of an art discipline without which works cannot be properly interpreted.
In Becker’s chain of creation, the particular conditions under which art is created, disseminated and experienced are developed by:
a. art criticism and distribution of art works
b. unconventional ways of working and support activities
c. art education and civic order
*d. the aesthetic system and civic order
Which of the following would be part of the artistic process (Becker)?
a. Uploading a video to an internet platform.
b. Streaming / downloading music.
*c. Both a and b.
d. None of the above.
How would Becker interpret the fortunes of Vincent van Gogh’s art works?
*a. As a maverick artist during his lifetime, his work was later integrated in the art world.
b. As an integrated professional of the art world during his lifetime.
c. As a folk artist who later on became integrated in the art world.
d. As a maverick artist whose innovations were never integrated in the art world.
What type of artist would Beethoven be according to Becker?
a. maverick artist
b. folk artist
c. naïve artist
*d. integrated professional
What have art sociologists criticised Becker for?
a. His approach is exclusively trying to understand society with a generalised large-scale perspective.
*b. His approach is not critical and not specific enough to the arts.
c. He is too critical of artists and their individual accomplishments.
d. He focuses too much attention on folk and naïve artists.
Chapter 7. Art and the Production of Culture Perspective
What was the Production of Culture Perspective a reaction to?
a. Symbolic interactionist micro-studies of creative processes, overlooking macro phenomena.
b. Cultural studies focusing exclusively on popular culture, not the fine arts.
*c. Marxist sociology and structural-functionalist sociology promoting the abstract notions of the culture industry and culture as values.
d. Empirical studies without theoretical underpinning.
What is typical of the production of culture perspective?
*a. It focuses attention on the question as to how cultural objects are shaped by the contexts in which they are made.
b. It focuses attention on the power dynamics between cultural producers.
c. It argues that cultural objects can be studied without paying attention to the institutional context in which they are made and consumed.
d. It argues that the forms and shapes of art works are the outcome of artist’s inspiration and aesthetic competences.
What does ‘middle-range’ theory mean?
a. Theory that calls attention to both sides of an issue.
*b. Theory that deals with a certain aspect of social life, not society at large.
c. Theory that focuses on the role of the middle-class in society.
d. Theory that integrates highly and lowly praised theoretical perspectives.
Which six facets does the ‘six-facets model of the production nexus’ refer to?
a. technology, web 2.0, law and regulation, piracy, occupational careers, and streaming platforms
*b. technology, law and regulation, industry structure, organisation structure, occupational careers, and market
c. market, organisation structure, occupational careers, informal culture, precarious employment, and participatory culture
d. aesthetic systems, artistic conventions, creative inspiration, individual competences, different forms of media, and the role of gatekeepers
Which academic field did the production of culture perspective draw inspiration from?
a. Performance and theatre studies
b. Art history and cultural theory
c. International Economics
*d. Industrial and organisational sociology
What does the ‘dialectic of symbolic resistance and appropriation’ refer to?
a. That avant-garde art is made in opposition to hegemonic culture.
*b. That commercial cultural products are given new meanings by creative and subversive audiences, and commercial producers reorient themselves towards these new developments, incorporating them in their next products.
c. That commercial cultural products are rejected by true artists.
d. That commercial cultural products are mimicked by artists aiming to develop symbolic resistance to mainstream culture.
How is the production of culture perspective different from Bourdieu’s field theory?
*a. Bourdieu’s field perspective highlights power struggles whereas the production of culture perspective focuses on organisational and institutional issues.
b. Bourdieu’s field perspective highlights micro-interactions in creative work where the production of culture perspective focuses on macro issues.
c. Bourdieu’s field perspective highlights the role of gatekeepers whereas the production of culture perspective focuses exclusively on audiences.
d. Bourdieu’s field perspective highlights harmonious cooperation whereas the production of culture perspective focuses on competition over resources.
What does the neo-institutional perspective emphasise?
a. That institutions are constantly remade and thus neo-institutional is a more fitting term.
b. That institutional dynamics are modified by powerful individuals
*c. That institutional structures and norms constrain choices and condition organisational developments.
d. That institutional structures, norms and habits are conditioned by class structures in society.
What does isomorphism refer to?
a. Severe competition between organisations
b. Growth of organisations
c. Development of new organisations
*d. Imitation between organisations
According to production of culture scholars, artistic classification systems are:
a. Developed by artists who break new ground.
b. Inherent in cultural objects, styles, and genres themselves.
c. Initiated by artists to stand out from competitors.
*d. Socially produced (by professionals such as gatekeepers, critics, and scholars).
Four dimensions are important for artistic classification systems (Dimaggio 1987). These are:
*a. The extent to which art is set apart in institutionally bounded genres, the extent to which genres are ranked hierarchically, the extent to which classifications are accepted, and the extent to which boundaries are ritualised.
b. The extent to which art is set apart from other life activities, the extent to which certain genres are promoted by cultural institutions, the extent to which genres reflect class-based cultural preferences, and the extent to which the state sponsors only certain artistic genres.
c. The extent to which artistic classifications build on historical periodizations, the extent to which genres have been historized, the extent to which historical periods have given rise to genre classifications, and the extent to which genres are used to teach history in primary education.
d. The extent to which arts and culture is ritualised in society, the extent to which genres are used to form fan communities, the extent to which artists adhere to genre conventions, and the extent to which producers stick to well-known genres when marketing new products.
When did the notion of ‘cultural and creative industries’ arise and what does it signal?
a. It was introduced in the 1950s and is synonymous with the notion of the culture industry.
*b. It was introduced in the 1990s and seeks to stimulate and utilise creativity economically.
c. It was introduced in the 2010s and highlights the role of culture and creativity for online businesses.
d. It was introduced as a key part of the industrial revolution in the 19th century and emphasises the mechanical reproduction of cultural goods.
Chapter 8. Art and the Actor-Network Perspective
What do ANT and Becker’s Art-Worlds have in common?
*a. Both consider art a collective process.
b. Both highlight the artistic genius.
c. Both focus on power in artistic production.
d. All of the above.
How is the ANT perspective different from the other approaches when it comes to studying art?
a. Other sociological approaches pay attention to the content of art works, ANt does not.
b. Bourdieu and Becker do not focus on collectives within the art world, ANt does.
c. Actor-Network-Theory is not a theory.
*d. Actor-Network-Theory focuses on art works and the collectives around them.
What is Vera Zolberg critiquing when she speaks of the “sociologism” versus “aestheticism” extremes?
a. That artists cannot make beautiful and socially relevant art at the same time.
b. That scholars try to categorize art as either socially relevant or artistically relevant.
*c. That scholars try to study art either for its social impact or artistic qualities, not both.
d. That art is always a social construct and should therefore be studied as such.
In Hennion's framework, what is the focus of attachment regarding cultural objects?
a. Objects' independence from external influences.
*b. How objects influence users and make users form affective connections with them.
c. Objects' passivity in relation to human agency.
d. Users have an influence on objects.
For an audience member, deciding to dance at a concert is an example of:
a. Co-production
b. Mediation
c. Generalized symmetry
*d. Attachment
In ANT, the concept of co-production primarily emphasizes:
a. artworks as independent of their historical context.
b. the deterministic nature of artworks influenced by social causality.
c. artworks as passive transmitters of social meaning.
*d. the mutual relationship between artworks and their social context.
We can speak of co-production during festivals because:
a. Musicians and festival organizers collaborate to create a festival.
b. Attendees and performers only exist in the context of the festival and constitute a network.
*c. Audiences produce the festival by reacting to the performances, and performances produce the audiences by influencing them.
d. Programmers of festivals select artists based on their position in the music industry.
Why is Hennion critical of Bourdieu’s perspective on art?
a. Bourdieu ignores the power differences between agents in art worlds.
b. Bourdieu opposes economic to cultural capital.
*c. Bourdieu portrays the value of the work of art as a social construct.
d. Bourdieu’s theories are grounded in empirical observations that are too old.
In what ways are Hennion and Bourdieu’s approaches similar?
a. Both see art as determined by its mode of production.
*b. Both see art as the product of multiple mediations.
c. Both see artists as individuals with extraordinary abilities.
d. Both see the material component of art as influential.
What is typical of the ‘radical constructivist’ approach of ANT?
a. Material objects have no relevance in social relationships.
b. Material objects constitute social relations.
c. Material objects are constituted by social relations.
*d. Material objects both constitute and are constituted by social relations.
In a recording studio setting, a good example of a ‘mediator’ (Actor-Network theory) would be a(n):
a. analogue synthesizer
b. sound engineer
c. creative director
*d. all of the above
In ANT, the concept of mediation refers to:
a. The process of someone stepping in the artist’s creative process.
*b. The process of meaning alteration of a product/idea during the creative process.
c. The fact that meaning-making is ‘in the eyes of the beholder’.
d. The process of artists using semiotic mechanisms to influence the audience.
Hennion’s and Becker’s approaches are similar in that…
a. They distinguish between core and support personnel.
b. They think of art as objects with ontologically distinct qualities.
*c. They investigate how social interactions decide which positions art and artists achieve.
d. They think of the macro-dynamics in the art field as impactful.
Why do sociological analyses of art, such as Bourdieu’s, cast art as a suspicious subject, according to Hennion?
*a. Bourdieu reduces art to an effect of social relations.
b. Bourdieu analyses the effects of art objects on audiences.
c. Bourdieu ignores how art is created by networks of people.
d. Bourdieu cannot explain innovation in artistic styles.
From the ANT perspective an actor is: …
*a. anyone or anything that has an effect.
b. a network, as single humans cannot act according to ANT.
c. a human agent who represents the interests of others.
d. a network of both humans and non-human agents.
What has Hennion’s ANT approach been criticized of?
a. It neglects the role of the critic in the production of art.
b. It neglects the role of human agents in the production of art.
*c. It neglects the role of power in the production of art.
d. It neglects the role of collective networks in the production of art.
What does the empirical program of ANT entail?
a. Research should test hypotheses.
*b. Research should make specific analyses only.
c. Research should develop generalizable macro theoretical frameworks.
d. Research should focus on overcoming Eurocentric perspectives on what art is.
In addition to the concepts of mediation, attachment, and coproduction, ANT in sociology of the arts has focused on:
a. specific artworks and hermeneutics.
b. precarity in creative work.
*c. materialities and technologies.
d. history and politics.
Chapter 9 Introduction to Social Systems Theory
For social systems theorists, social order:...
a. is the result of human action.
b. restricts human action.
*c. co-evolves with human action.
d. depends on psychological states of mind.
In social systems theory, people …
a. are not relevant for sociological analysis.
*b. perform roles in a variety of social systems.
c. are the starting point of sociological analysis.
d. perform roles in only one social system.
In general systems theory, a system is composed of …
*a. a border, a structure, and a function.
b. a border and elements.
c. elements, a structure, and operations.
d. elements, operations and a function.
Section 9.1
What are the four types of systems discerned by social systems theorists?
a. biological systems, machines, humans, and social systems.
b. humans, animals, plants, and material systems.
c. machines, psychological systems, social systems, and ecological systems.
*d. machines, biological systems, social systems, and psychic systems.
What are the basic elements of a social system?
a. thoughts
b. energy (flows)
*c. communications
d. people
Psychic systems consist of: …
*a. the operations of the mind
b. communications
c. movements of the body
d. language
What does it imply when social systems theorists argue that systems co-evolve?
a. Over time systems become increasingly complex.
b. Over time, systems become more simple.
*c. Over time, systems adjust themselves to developments in other systems.
d. Over time, systems become immune to each other.
What is typical of technological systems, according to systems theory?
a. They require energy to run.
b. They are designed by humans.
*c. The relation between input and output is fixed.
d. Over time, the same input may yield a different output.
From a systems theoretical perspective, the human body is: …
a. irrelevant for sociological analysis.
*b. a conglomerate of psychic and biological systems.
c. a conglomerate of technological and biological systems.
d. a subsystem of the system of life, as it can reproduce itself.
Memory is a …
a. biological system
b. social system
*c. psychic system
d. technological system
The brain is a …
*a. biological system
b. social system
c. psychic system
d. technological system
Thoughts are elements of a …
a. biological system
b. social system
*c. psychic system
d. technological system
What is the function of biological systems?
*a. To reproduce life.
b. To build society.
c. To communicate.
d. They have no function.
As psychic systems determine how we perceive and react, they …
a. are irrelevant for sociological analysis.
b. cannot be ignored for sociological analysis.
c. produce communications.
d. share meanings.
Which is NOT correct: from a social systems perspective, people are …
*a. are irrelevant for sociological analysis.
b. a collection of psychic and biological systems.
c. producers of communications.
d. all three above are not correct.
Which types of systems have materiality?
a. machines and psychic systems
b. social and biological systems
c. psychic and social systems
*d. machines and biological systems
Which types of systems do NOT have materiality?
a. machines and psychic systems
b. social and biological systems
*c. psychic and social systems
d. machines and biological systems
Which types of systems share language as a medium?
a. biological and psychic systems
b. social and biological systems
*c. psychic and social systems
d. machines and psychic systems
Section 9.2
What is an example of a ‘social fact' (Durkheim)?
*a. intergenerational norms
b. power
c. family relationships
d. economic dependency
What is the term Durkheim uses for social phenomena that coerce people while existing independently from the actions of individuals?
a. norm
b. value
c. culture
*d. social fact
In Parons’s theory of action, human action should be attributed to: …
a. the goals humans want to achieve
b. the individual’s psychological and physical attributes
c. the social resources individuals have access to
*d. all of the above together
Parsons’s theory of action differs from Bourdieu because: …
a. he explains human action based on cultural attributes.
*b. he does not factor in power differences.
c. he sees human habits as engrained in social relations.
d. he argues against social restrictions to human action.
Chapter 10
Section 10.1
What is Luhmann’s main criticism of Parsons's version of social systems theory?
a. Parsons does not explain what culture is.
*b. Parsons’s theory presupposes the existence of culture rather than explaining why and how it comes into existence.
c. Parsons’s theory presupposes the existence of art but does not give it a function in society.
d. Parsons’s theory explains how culture comes into existence but does not explain its function in society.
What is a key difference between social systems (Luhmann) and social fields (Bourdieu)?
*a. Social fields are hierarchically structured, social systems are not.
b. Social systems are hierarchically structured, social fields are not.
c. Social systems develop based on power relations, social fields do not.
d. Social fields serve a function, social systems position people in a social hierarchy.
What is the dominant structuring principle of our contemporary modern society according to Luhmann?
a. clan relations.
b. centre-periphery dynamics.
c. economic relations.
*d. functional differentiation.
What does functional differentiation of society imply?
*a. Social systems come into being when they solve a particular social issue.
b. People serve a particular role in society.
c. The power of people stems from their role in society.
d. Economic realities dominate over culture.
How does Luhmann characterise the capitalist economic system?
a. As a communication of the economic system.
b. As a disturbance of the political system.
c. As the function of the economic system.
*d. As a possible manifestation of the economic system.
How does social systems theory conceptualise inequality?
a. As inequalities regarding the possession of capitals.
b. As an unequal distribution of power.
c. As a difference in opportunities to participate in the economic system.
*d. As unequal levels of access to a variety of social systems.
Which is correct? The code of the communications in a social system … ?
a. values something positive, negative, or in between.
b. creates power differences.
*c. values something positive, or negative (with nothing in between).
d. is based on a particular value.
What is the function and a possible programme of the legal system?
b. function: making collectively binding decisions - programme: political party programmes
c. function: resolving conflict - programme: parliamentary debates
d. function: production of knowledge - programme: theories
What is the function and a possible programme of the scientific system?
a. function: resolving conflict - programme: laws
b. function: making collectively binding decisions - programme: political party programmes
c. function: resolving conflict - programme: parliamentary debates
*d. function: production of knowledge - programme: theories
What is the function and a possible programme of the political system?
a. function: resolving conflict - programme: laws
*b. function: making collectively binding decisions - programme: political party programmes
c. function: resolving conflict - programme: parliamentary debates
d. function: production of knowledge - programme: theories
What does the autopoiesis of social systems imply?
*a. that social systems create their own basic elements and structures
b. that social systems adapt to their environment
c. that social systems are autonomous
d. that social systems need other systems to reproduce themselves
What does the autonomy of social systems NOT imply?
a. that social systems react to their environment
b. that social systems function according to their particular logics
*c. that social systems are immune to what happens in their environment
d. that social systems create their own basic elements and structures
How do social systems relate to their environment?
a. their autonomy shields them off from their environment
b. they are stimulated by their environment
*c. they react to disturbances in their environment
d. they need their environment to survive
How do social systems relate to their environment?
a. they ‘view’ the environment based on their own operations
b. they select disturbances in their environment they react to
c. they adapt their structure to disturbances in their environment
*d. all of the above
According to Luhmann, over time, the functionally differentiated society will…
*a. become increasingly complex
b. disintegrate
c. become global
d. become more equal
Section 10.2
The structure of social systems consists of ….
a. people, materials, and communications
b. people, institution,s and objects
c. perceptions
*d. communications
The structure of psychic systems consists of ….
a. people, materials, and communications
b. people, institution,s and objects
*c. perceptions
d. communications
In Luhmann’s theory of social systems, people are present in …
a. interaction systems
b. the environment of social systems
*c. both a and b
d. neither a nor b
According to Luhmann, interaction systems are …
a. social systems that connect other systems
b. psychic systems that connect people
*c. social situations where people meet face to face
d. digital encounters between people
What is Luhmann’s term for the concrete situations in which social systems become manifest?
a. technological systems
*b. interaction systems
c. protest movements
d. communication systems
What is at the basis of communications, according to Luhmann?
a. the selection of a topic
b. the selection of the form of the communication
c. the selection of the meaning
*d. all of the above
Section 10.3
What is a protest movement?
*a. a particular type of communications in a social system
b. the dominated part of a social system
c. the dominating part of a social system
d. a subsystem of the political system
What is a protest movement?
*a. the critical part of a social system
b. the critical part of a social system’s environment
c. the dominating part of a social system
d. a social system’s reaction to its environment
According to Luhmann, protest movements may occur: …
a. in the environment of a social system
b. within the political system
c. in psychic systems
*d. in all social systems
What is a crucial insight that social systems theory teaches about art?
a. That it is the result of collective rather than individual action.
b. That it serves a particular purpose in society because it does not react to society.
*c. That it serves a particular purpose in society because of the particular way in which it communicates.
d. That it serves no function in society because art is autonomous.
Chapter 11
Section 11.1
According to Luhmann, the mass media system is defined as…
*a. all communications that make use of copying technologies to disseminate information
b. all communications that make use of printing technologies to disseminate information
c. all communications that make use of audio technologies to disseminate information
d. all communications that make use of digital technologies to disseminate information
What is/are the implications of copying technologies in the mass media system?
a. They speed up communication.
b. They allow larger audiences to be reached.
c. Producer and consumer of a communication need no longer be physically present.
*d. All of the above.
What does each social system have to possess in order for mass communication to function?
a. control mechanisms
*b. memory of communications
c. free market economy
d. physical presence of sender and receiver
Which programme is not part of Luhmann’s mass media system?
a. news and documentary programmes
b. advertising
*c. individualised VR programmes
d. entertainment
How does the mass media system ensure that communication is perceived as new?
*a. it communicates a particular version of reality
b. it only communicates news
c. it constantly rehashes old information
d. it allows for multiple perspectives at the same time
Section 11.2
When did the art system, according to Luhmann, become fully autonomous?
a. 19th century
b. 21st century
c. 18th century
*d. 20th century
Which step is not part of Luhmann’s understanding of the evolution of the art system?
a. arts as a tool to teach Christian value
b. diversifying tastes
c. development of print media
*d. demolition of art markets
Section 11.4
What is second-level observation?
a. An artist being observed in the process of creation.
*b. An observer becoming aware of their observing.
c. An observer being observed.
d. Two people observing each other.
Which of the following is NOT a second-order observation?
*a. the canvas of an artwork
b. the beauty of an artwork
c. the changing perception of an artwork over time
d. the review of an artwork
Section 11.5
Which of the following is NOT a critique of Luhmann’s art system?
a. He comes to the same conclusions as other sociological analyses about value attribution.
b. Lack of empirical evidence of aesthetic perceptions.
*c. The art system communicates aesthetic values.
d. The art system is not fully autonomous.
What is an outcome of the social analysis of art that only Luhmann arrives at and cannot be found in other social theories of art?
a. That only agents in the art world/field/system determine what (good) art is.
b. That art is the result of collective action rather than individual genius.
c. That artworks communicate something about society.
*d. That art’s function in society is related to the tension between form and matter.
Chapter 12
Jeffrey Alexander’s so-called ‘Strong Programme’ defines culture as an independent variable that shapes actions and institutions. What is the term he uses to describe this?
a. sociology of culture
*b. cultural sociology
c. epistemology
d. structural functionalism
Section 12.1
For Van Maanen, aesthetic values are …
*a. values people derive from their encounters with works of art
b. inherent properties of an object (such as beauty)
c. the formal characteristics of an object
d. values particular to the experience of art
Van Maanen defines intrinsic values of art experience as …
a. all values realised during art reception.
*b. all values that are realised through mental engagement with an art work object.
c. all values that are realised through contemplating the content of the art work.
d. all values realised that result from the social setting of art.
An intrinsic value of the arts is, according to Van Maanen, a value
a. based on the content of a play
b. based on the level of engagement with a book
c. based on the melody and tempo of music
*d. all values above are intrinsic values
An instrumental value of the arts, is according to Van Maanen a value
*a. based on the social engagement with other audience members
b. based on the level of engagement with a book
c. based on the melody and tempo of music
d. all values above are intrinsic values, none are instrumental
In defining art, Van Maanen centralises …
a. the content of an art object
b. the experience of the form of an art object
*c. the playful relationship between form and content of an object
d. the selection of meaning by audience members
Section 12.1.1
Which type of experience is not included in Van Maanen’s aesthetic experiences?
a. decorative
*b. commemorative
c. comfortable
d. challenging
Experiencing the wall-paper in a room is an example of
*a. decorative experience
b. commemorative experience
c. comfortable experience
d. challenging experience
Hearing the back-ground music in a bar is an example of
*a. decorative experience
b. commemorative experience
c. comfortable experience
d. challenging experience
Recognising the Eiffel Tower on a picture is an example of
a. decorative experience
b. commemorative experience
*c. comfortable experience
d. challenging experience
Recognising the song playing in the background in a shop is an example of
a. decorative experience
b. commemorative experience
*c. comfortable experience
d. challenging experience
When you hear a piece of music and you realise you have heard it many times before and that you really like it, is an example of
a. decorative experience
b. commemorative experience
c. comfortable experience
*d. challenging experience
Which of the types of aesthetic experience is artistic, according to Van Maanen?
a. decorative experience
b. commemorative experience
c. comfortable experience
*d. challenging experience
Which of the following is an artistic experience according to Van Maanen?
a. a decorative experience
b. a comfortable experience
c. a challenging experience, when the challenge is the result of new information in the communication
*d. a challenging experience, when the challenge is the result of the discrepancy between form and matter of the communication
Section 12.1.2
Which of the following is an example of a non-artistic challenge in aesthetic experiences?
*a. learning something about the topic of the work
b. challenging a sense of beauty
c. feeling disgusted
d. having difficulty interpreting the forms of the object
For Van Maanen, the collective experience of representations, emotions, and information is an …
a. instrumental value of art
*b. intrinsic value, but not unique for art
c. intrinsic value unique to art
d. economic value of art.
Section 12.1.3
What does van Maanen’s definition of art depend on?
a. subject matter
b. materiality
*c. recipient’s perception
d. the artist’s intended message
Which of the following is correct? According to Van Maanen, …
a. Challenging art experiences are more valuable than comfortable experiences.
b. Comfortable art experiences have no value for society.
*c. Art works typically alternate in providing comfortable, challenging and instrumental values.
d. Instrumental values cannot occur during challenging art experiences.
A group of friends discussing a novel they all have read, start talking about their preferred letter font. They come to the conclusion that Times New Roman is their preferred font for reading novels. This represents:
*a. An intrinsic value on a collective level not unique to art.
b. An intrinsic value on a collective level unique to art.
c. An instrumental value on an individual level.
d. An instrumental value on a collective level.
If cultural participation provides people with an opportunity to relax, this represents:
a. An intrinsic value on a collective level not unique to art.
b. An intrinsic value on a collective level unique to art.
*c. An instrumental value on an individual level not unique to art.
d. An instrumental value on a collective level unique to art.
Comfortable aesthetic experiences (Van Maanen) may provide:
a. Intrinsic values unique to art
b. Intrinsic values not unique to art
c. Instrumental values
*d. A combination of B and C
Challenging aesthetic experiences (Van Maanen) may provide:
a. Intrinsic values unique to art
b. Intrinsic values not unique to art
c. Instrumental values
*d. A combination of A, B and C
Which of the following is true:
a. Aesthetic experiences are always emotional experiences.
*b. The only emotion unique to art experience regards to the enjoyment of using one’s power of imagination.
c. Emotional value of aesthetic experiences is an instrumental value of such experiences.
d. Emotions related to aesthetic experiences are irrelevant when determining the types of values derived from the experience.
While reading a Harry Potter novel, a reader gets acquainted with British class society. This represents:
*a. An intrinsic value not unique to art.*
b. An intrinsic value unique to art.
c. An instrumental value on an individual level.
d. An instrumental value on a collective level.
While reading a novel, a gay person starts crying because s/he recognizes the struggle of the main character who comes out to their parents. This represents …
a. An intrinsic value unique to art, as the experience is challenging.
*b. An intrinsic value not unique to art, as the experience is emotional.
c. An instrumental value on an individual level.
d. An instrumental value on a collective level.
Which of the following is true:
a. Challenging experiences provide more important values than comfortable experiences
*b. If there were no values unique to art, there is no reason to conduct cultural policies
c. Comfortable experiences are the most common type of aesthetic experiences
d. None of the above is true.
Section 12.1.4
Which of the following is true?
a. Instrumental values of art and intrinsic values do not occur at the same time.
b. Instrumental values of art regard the acquisition of (new) information through art experience.
c. Instrumental values of art are always social in nature as art experiences are shared.
*d. Instrumental values may be served by intrinsic values of art experience in a particular way.
Section 12.2.
Which aspect is not part of the PAM triangle?
a. aesthetic production
b. audience
c. means
*d. intention
Bourdieu’s notion of cultural capital is …
a. not relevant in Van Maanen’s PAM triangle.
b. represented in the P-coordinate of Van Maanen’s PAM triangle.
*c. represented in the A-coordinate of Van Maanen’s PAM triangle.
d. represented in the M-coordinate of Van Maanen’s PAM triangle.
In Van Maanen’s PAM triangle, Becker’s theory of art worlds …
a. is not represented.
b. is present in the P coordinate, as here we can place support personnel
*c. is present in the M coordinate as here we can place support personnel
d. is present in the A coordinate as here we can place core personnel
In Van Maanen’s PAM triangle, institutional theories of art are …
a. irrelevant
b. present in the A coordinate
c. present in the A-M coordinate
*d. present in the P-M side of the triangle
Section 12.3
Following Van Maanen, it may be argued that …
a. instrumental values always come at the detriment of intrinsic values of art.
*b. very experimental art, may have difficulty in contributing to the realisation of social values.
c. decorative art experiences have no social value.
d. economic value may only be realised through popular artistic forms.
Following Van Maanen, it may be argued that …
*a. instrumental values do not come at the detriment of intrinsic values of art.
b. very experimental art cannot realise economic values.
c. decorative art experiences have no social value.
d. economic value may only be realised through popular artistic forms.
Chapter 13. A New Pathway for Sociology of Art: Sociology About Art
What does the call for a ‘reparatory sociology’ (Bhambra 2023) entail?
a. Renaming the inaccessible vocabulary of traditional sociological concepts.
b. Repairing theories that are not self-explanatory by making them more accessible.
c. Elaborating theoretical frameworks that are not covering sufficient spans of topics.
*d. Repairing sociology by addressing the global inequalities that traditional sociology (implicitly) legitimises.
Why does sociology of art risk overlooking non-institutionalized art?
a. Because sociology of art uses canonical art as the main point of reference to define the field.
b. Because sociology of art calls attention to processes of consecration and legitimisation.
c. Because sociology of art focuses on processes of institutionalisation.
*d. All of the above.
Section 13.1.
What is/are fundamental insight(s) that all three traditions in the sociology of art share?
a. Art is not the product of a single genius.
b. The label ‘art’ is a social category.
* c. Both a and b.
d. Neither a, nor b.
Section 13.3
What does the notion of ‘produser’ (Jenkins 2006) entail?
a. That producers anticipate what users want and commission artistic content accordingly.
b. That the role of artists does not exist anymore in our current day and age.
c. That the authority of artists needs to be challenged by producers and users.
*d. That users are also producers today, expressing themselves creatively and sharing their creations with others.
How does the notion of ‘produser’ (Jenkins 2006) challenge art sociology?
a. It challenges the traditional distinction between artist and audience.
b. It challenges boundaries between different forms of art.
c. It challenges the traditional institutional definitions of art.
