Abstract
This chapter will apply the concepts of self-action, inter-action and trans-action to trace the different historical formations of artistic uniqueness, such as the eighteenth-century genius, the nineteenth-century rebel artist and the early twentieth-century performance artist. Based on the historical interpretation of various social figurations, the often ontological or essentialist notions of the God-like artist (such as the great artists in art history) versus God-like art institutions (mystic, elite gatekeepers in sociology) are not discarded, but their appearance is framed from a trans-actional perspective. Rather than opting for one of these concepts, the chapter applies Dewey’s and Bentley’s notions of self-action, inter-action and trans-action to contextualize how these different figurations of the genius and the artist came into being.
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Notes
- 1.
This term, like ‘art’ usually refers to visual art only. However, in the context of this paper, the terms artwork and art will also apply to literary formats, performances and artistic approaches to sound.
- 2.
It should be noted that there is an interesting tension to describe works of art as unique and singular. They are unique as being the only one, unequalled, unparalleled or unmatched. However, a work of art is also a singular, because it is part of a larger population of equally unique works.
- 3.
It may be said that there is a third sociological strand, which argues that uniqueness is an illusion and everything that can be explained can be explained through a socio-historical framework. However, this deconstruction of uniqueness somewhat misses the point, because it does not itself explain why society has developed such a notion.
- 4.
If not otherwise noted, all translation from French and German are mine.
- 5.
‘The term “invention”, which criticism had inherited from classical rhetoric, served for a long time as a name for finding in Nature of something new to copy which was called original’ (Smith 1925, p. 89).
- 6.
This conception would also leave a back-door open to the earlier notions of originality that would define it as an imitation of great masters of Antiquity, whose models would provide the correct taste.
- 7.
The French Academy and its Salon Exhibitions were increasingly unable to cope with large numbers of painters that would seek a career in this field (White and White 1965).
- 8.
- 9.
It was at this time that the words ‘artist’ and ‘artistic’ become commonly used (Heinich 1993).
- 10.
Another conceptually interesting resource might be the Greek term synousía (συνουσία), which conveys the meaning of coupling, but not of independent entities, but with the coupling bring about a meaning that did not exist beforehand.
- 11.
This shift has important consequence for the body of the artist. While Romanticism would restrict the body to innerness and emotion, the role of artistic presence would mean that the body of the artist had to make its presence felt.
- 12.
Derrida did not formulate an explicit notion of time for that proposal, but in his interrogation of Heidegger’s proposal, he also deviates from the idea of essence and suggests a reading that has a more temporalized notion, for instance, when he (Derrida 1987, p. 24) speaks of the ‘circle in the encircled circle’.
- 13.
Artists operating in the world of theatre and dance may also include a brief section of their physical appearance, like height, eye and skin colour, left hand or right hand etc.
Statistics Paris
Le Ministre des Travaux Publics, De L’Agriculture et du Commerce. (1837). Statistique de la France. Paris: Imprimerie Royale.
Le Ministre des Travaux Publics, De L’Agriculture et du Commerce. (1855). Statistique de la France. Paris: Imprimerie Royale.
Ministère du Commerce. (1881). Résultats statistiques du dénombrement de 1881. France et Algérie. Paris: Imprimerie Royale.
Ministère du Commerce et de L’Industrie. (1886). Résultats statistiques du dénombrement de 1886. Part I: France. Paris: Berger-Levrault.
Ministère du Commerce, de L’Industrie, des Postes et des Télégraphes. (1891). Résultats statistiques du dénombrement de 1891. Paris: Imprimerie Nationale.
Ministère du Travail. (1921). Résultats statistiques du recensement général de la population (Vol. 1). Paris: Imprimerie Nationale.
Ministère du Travail et des Prévoyance Sociale. (1906). Résultats statistiques du recensement général de la population (Vol. 1). Paris: Imprimerie Nationale.
N/A. (1856). Statistique de la France. Résultats statistiques du dénombrement de 1856 (Vol. 9). Strasbourg: Imprimerie Administrative de Veuve Berger-Levrault.
N/A. (1861). Statistique de la France. Résultats généraux du dénombrement de 1861. Strasbourg: Imprimerie Administrative de Veuve Berger-Levrault.
N/A (1866). Statistique de la France. Résultats généraux du dénombrement de 1866. Strasbourg: Imprimerie Administrative de Veuve Berger-Levrault.
N /A. (1872). Statistique de la France, Résultats généraux du dénombrement de 1872. Paris: Imprimerie Royale.
Service de la statistique, Préfecture de la Seine municipale. (1881). Résultats statistiques du dénombrement de 1881 pour la ville de Paris et le département de la Seine et renseignements relatifs aux recensements antérieurs. Paris: G. Masson.
Service de la statistique, Préfecture de la Seine municipale. (1886). Résultats statistiques du dénombrement de 1886 pour la ville de Paris et le département de la Seine et renseignements relatifs aux recensements antérieurs. Paris: G. Masson.
Service de la statistique, Préfecture de la Seine municipale. (1891). Résultats statistiques du dénombrement de 1891 pour la ville de Paris et le département de la Seine et renseignements relatifs aux recensements antérieurs. Paris: G. Masson.
Service de la statistique, Préfecture de la Seine municipale. (1896). Résultats statistiques du dénombrement de 1896 pour la ville de Paris et le département de la Seine et renseignements relatifs aux recensements antérieurs. Paris: G. Masson.
References
About, E. (1855). Voyage a travers l’Exposition des Beaux-Arts (Peinture et sculpture). Paris: Hachette.
Abrams, M. J. (1972). The Mirror and the Lamp: Romantic Theory and the Critical Tradition. Oxford: Oxford University Press.
Allen, J. S. (1981). Popular French Romanticism: Authors, Readers, and Books in the 19th Century. Syracuse, NJ: Syracuse University Press.
Altick, R. D. (1978). The Shows of London. Cambridge, MA and London: Harvard University Press.
Anitra, N. (2006). Shaking off the Shackles: From Apartheid to African Renaissance in the History of Art Syllabi. In J. Onians (ed.), Compression vs. Expression: Containing and Explaining the World’s Art (pp. 39–56). New Haven: Yale University Press.
Arnheim, R. (1997). Ancient Chinese Aesthetics and Its Modernity. British Journal of Aesthetics, 37(2), 155–157.
Attridge, J. (2009). Paris, Capital of the Nineteenth-Century Novel? Modernism/Modernity, 16(1), 167–171.
Baldensperger, F. (1924). Le Mouvement des Idées Dans L’Émigration Française (1789–1815). Paris: Plon-Nourrit.
Barasch, M. (1990). Theories of Art: From Plato to Winckelman (Vol. 1). New York: Routledge.
Barclay, V. (2011). A Latin American in Paris: Cristóbal Rojas (1858–1890) Between Academicism and Modernism. (Unpublished dissertation). University of Texas.
Barr, Jr. A. H. (1936). Cubism and Abstract Art. New York: The Museum of Modern Art.
Barrett, E. (2007). Experiential Learning in Practice as Research: Context, Method, Knowledge. Journal of Visual Art Practice, 6(2), 115–124.
Baten, J., & van Zanden, J. L. (2008). Book Production and the Onset of Modern Economic Growth. Journal of Economic Growth, 13(3), 217–235.
Batteux, C. (1746). Les beaux arts réduits à un même principe. Paris: Durand.
Bobrowska-Jakubowski, E. (2001). Le Milieu des Artistes Polonais en France 1890–1918: Communautés et Individualités (PhD dissertation). Université de Paris 1, Panthéon-Sorbonne, Paris.
Born, P. (2002). The Canon Is Cast: Plaster Casts in American Museum and University Collections. Art Documentation: Journal of the Art Libraries Society of North America, 21(2), 8–13.
Bouayed, A. (2010). La formation historique de l’élite artistique algérienne: entre identité et modernité. In O. Carlier (Ed.), Images du Maghreb, images au Maghreb (XIXe-XXe siècles): Une révolution du visuel? (pp. 177–202). Paris: L’Harmattan.
Breuer, K. (2010). Japanesque: The Japanese Print in the Era of Impressionism. New York: Prestel Publishing.
Bürger, P. (1984). Theory of the Avant-Garde. Manchester: Manchester University Press.
Buskirk, M. (2003). The Contingent Object of Contemporary Art. Cambridge, MA: MIT Press.
Campe, J., & Weber, R. (2017). Rethinking Emotion, Interiority and Exteriority in Premodern, Modern, and Contemporary Thought. Berlin: Walter de Gruyter.
Carnahan, D. H. (1938). The Romantic Debate in the French Daily Press of 1809. Publications of the Modern Languages Association of America, 53(2), 475–501.
Casanova, P. (2002). Consécration et accumulation de capital littéraire: La traduction comme échange inégal. Actes de La Recherche En Sciences Sociales, 144(4), 7–20.
Casanova, P. (2004). The World Republic of Letters. Cambridge, MA: Harvard University Press.
Cassirer, E. (1961). The Logic of the Humanities. New Haven: Yale University Press.
Charles, V., & Carl, K. H. (2011). The Viennese Secession. New York: Parkstone International.
Chase-Dunn, C., & Manning, E. S. (2002). City Systems and World Systems: Four Millennia of City Growth and Decline. Cross-Cultural Research, 36(4), 379–398.
Chesneau, E. (1868). Les Nations Rivales dans L’Art. Paris: Didier et Co.
Chesneau, E. (1878, September). Le Japon a Paris. Gazette des Beaux-Arts: La Doyenne des Revues D’art, 18, 385–397.
Clarke, J. J. (1997). Oriental Enlightenment: The Encounter Between Asian and Western Thought. London: Routledge.
Clowney, D. (2011). Definitions of Art and Fine Art’s Historical Origins. The Journal of Aesthetics and Art Criticism, 69(3), 309–320.
Clunas, C. (2009). Art in China (2nd ed.). Oxford: Oxford University Press.
Cody, S. (2005). Japan Goes to the World’s Fairs: Japanese Art at the Great Expositions. Los Angeles: Los Angeles Country Museum of Art.
Cohen-Solal, A. (2001). Painting American: The Rise of American Artists, Paris 1867-New York 1948. New York: Knopf.
Coleman, J. S. (1970). Social Inventions. Social Forces, 49(2), 163–173.
Commission impériale. (1855). Exposition des Beaux-Arts de 1855. Liste par ordre alphabétique des artistes étrangers et français dont les ouvrages sont exposés au Palais des Beaux-Arts. Paris: Vinchon Imprimeur des Musées Impériaux.
Commission impériale. (1867). Exposition Universelle de 1867 à Paris. Catalogue general. Paris: E. Dentu, Libraire-Éditeur.
Commission impériale. (1869). Rapport sur l’exposition universelle de 1867 à Paris: précis des opérations et listes des collaborateurs avec un appendice sur l’avenir des expositions, la statistique des operations, les documents officiels et le plan de l’exposition. Paris: Imprimerie Impériale.
Condillac, Étienne Bonnot de. (1746). Essai sur L’Origine des Connaissances Humaines. Amsterdam: Pierre Mortier.
Connelly, F. S. (1995). The Sleep of Reason: Primitivism in Modern European Art and Aesthetics, 1725–1907. University Park: The Pennsylvania State University Press.
Cowan, R. B. (2008). Fear of Infinity: Friedrich Schlegel’s Indictment of Indian Philosophy in “Über die Sprache und die Weisheit der Indier”. The German Quarterly, 81(3), 322–338.
Danto, A. (1964). The Artworld. The Journal of Philosophy, 61(19), 571–584.
Da-Wei, K. (1990). Chinese Brushwork in Calligraphy and Painting: Its History, Aesthetics, and Techniques. New York: Dover Publications.
de Lamartine, A. (2000). Voyage en Orient. Paris: Honoré Champion.
Delécluze, E. J. (1855). Les Beaux-arts dans les deux mondes en 1855. Paris: Charpentier.
DeNora, T. (1993). The Social Basis of Beethoven’s Style. In J. H. Balfe (Ed.), Paying the Piper: Causes and Consequences of Art Patronage (pp. 9–29). Urbana and Chicago: University of Illinois Press.
Derrida, J. (1974). Limited Inc. Evanston, IL: Northwestern University Press.
Derrida, J. (1987). The Truth in Paining. Chicago: Chicago University Press.
Dewey, J., & Bentley, A. F. (1989 [1949]). Knowing and the Known. In J. A. Boydston (Ed.), John Dewey; the Later Works 1925–1953 (Vol. 16: 1949–1952) (pp. 1–294). Edwardsville: Southern Illinois University Press.
Diderot, D. (1777). Genié. In D. Diderot (Ed.), Encyclopédie ou dictionnaire raisonné des sciences, des arts et des métiers (Vol. 15, pp. 974–992). Geneva: Pellet imprimeur-libraire.
Dosio, P. A., & Macartney, H. (Trans.). (2011). Exchanging Glances: Art in the International Exhibitions in Argentina (1882–1910), Art in Translation, 3(4), 401–432.
Dotoli, G. (2000). Littérature et société en France au XVIIe siècle (Vol. 2). Paris: Presses Sorbonne Université.
Dozo, B.-O., & Glinoer, A. (2008–2009). Génération, cénacle, mouvance: essai de sociologie quantitative des Jeunes-France. Les Cahiers du XIX siècle, No. 3–4, 37–60.
Dubos, J.-B. (1748). Critical Reflections on Poetry, Painting and Music: With an Inquiry into the Rise and Progress of the Theatrical Entertainments of the Ancients (Vol. 2) (T. Nugent, Trans.). London: John Nourse.
Dussel, I. (2011). Between Exoticism and Universalism: Educational Sections in Latin American Participation at International Exhibitions, 1860–1900. Paedagogica Historica: International Journal of the History of Education, 47(5), 601–617.
Easton, M. (1964). Artists and Writers in Paris: The Bohemian Idea, 1803–1867. London: Edward Arnold.
Efland, A. D. (1990). A History of Art Education: Intellectual and Social Currents in Teaching the Visual Arts. New York and London: Teachers College Press.
El-Bassiouny, M. Y. (1964). Art Education in the United Arab Republic (Egypt). Studies in Art Education, 5(2), 21–27.
Elkins, J. (2007). Is Art History Global?. London: Routledge.
Erlmann, V. (1999). ‘Spectatorial Lust’: The African Choir in England, 1891–1893. In B. Lindfors (Ed.), African on Stage: Studies in Ethnological Show Business (pp. 107–134). Bloomington: Indiana University Press.
Epstein, J. (1940). Let There Be Sculpture. New York: G.P. Putnam’s Sons.
Everist, M. (2002). Music Drama at the Paris Odéon, 1824–1828. Berkeley: University of California Press.
Facos, M. (2011). An Introduction to Nineteenth-Century Art. New York: Routledge.
Fauser, A., & Everist, M. (Eds.). (2009). Music, Theater, and Cultural Transfer: Paris, 1830–1914. Chicago: University of Chicago Press.
Ferguson, P. P. (1997). Paris as Revolution: Writing the Nineteenth-Century City. Berkeley: University of California Press.
Figueira, D. M. (1991). Translating the Orient: The Reception of Sakuntala in Nineteenth-Century Europe. New York: State University of New York Press.
Flaubert, G. (1997). Selected Letters (G. Wall, Trans.). London: Penguin Books.
Fyfe, G. (2004). Reproductions, Cultural Capital and Museums: Aspects of the Culture of Copies. Museum and Society, 2(1), 47–67.
Gerhard, A. (1998). The Urbanization of Opera: Music Theatre in Paris in the Nineteenth Century. Chicago: Chicago University Press.
Goehr, L. (1994). The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. Oxford: Oxford University Press.
Gohr, S. (1992). Die Legende vom Verschwinden des Künstlers. Jahresring: Jahrbuch für modern Kunst, 39, 8–23.
Gordon, D. E. (1974). Modern Art Exhibitions 1900–1916 (2 Volumes). München: Prestel Verlag.
Grasskamp, W. (1981). Museumsgründer und Museumsstürmer: zur Sozialgeschichte des Kunstmuseums. München: Verlag Beck.
Grasskamp, W. (1988). Die Reise der Bilder. Zur Infrastruktur der Moderne. In Berlinische Galerie, Museum für Moderne Kunst, Photographie und Architektur (Eds.), Stationen der Moderne: die bedeutendesden Kunstaustellungen des 20. Jahrhunderts (pp. 25–33). Berlin: Nicolai.
Greer, D. (1966). The Incidence of the Emigration During the French Revolution. Gloucester, MA: Harvard University Press.
Greisman, H. C. (1994). The Enemy Concept in Franco-German Relations, 1870–1914. History of European Ideas, 19(1–3), 41–46.
Grout, D. J. (1980). A History of Western Music (3rd ed.). New York: W.W. Norton.
Hartman, E. (1994). Three Nineteenth-Century French Writers/Artists and the Maghreb. Tübingen: Narr.
Harvey, D. (2006). Paris, Capital of Modernity. New York: Routledge.
Hauser, A. (1951). The Social History of Art (2 Vols.). London: Routledge & Kegan Paul.
Hegel, G. W. F. (1975). Aesthetics: Lectures on Fine Art (2 Vols.) (T. M. Knox, Trans.). Oxford: Clarendon Press.
Heidegger, M. (1993). The Origin of the Work of Art. In D. F. Krell (Ed.), Basic Writings (pp. 143–206). London: Routledge.
Heinich, N. (1990). De l’apparition de “artiste” à l’invention des “beaux-arts”. Revue D’histoire Moderne et Contemporaine, 37(1), 3–35.
Heinich, N. (1993). Du peintre a l’artiste. Artisans et académiciens a l’age classique. Paris: Les Éditions de Minuit.
Hellmanzik, C. (2013). Does Travel Inspire? Evidence from the Superstars of Modern Art. Empirical Economics, 45(1), 281–303.
Hemmings, F. W. J. (1987). Culture and Society in France: 1789–1848. Leicester: Leicester University Press.
Herder, J. G. (2002). On the Cognition and Sensation of the Human Soul (1778). In M. N. Forster (Ed.), Herder: Philosophical Writings (pp. 187–244). Cambridge: Cambridge University Press.
Holquist, M. (2011). The Place of Philology in the Age of World Literature. Neohelicon: Acta Comparationis Litterarum Universarum, 38(2), 267–287.
Honour, H. (2018). Romanticism. New York: Routledge.
Jackson, D. (1998). Western Art and Russian Ethics: Repin in Paris, 1873–76. The Russian Review, 57(3), 394–409.
Jarvis, M. (2007). Articulating the Tacit Dimension in Artmaking. Journal of Visual Arts Practice, 6(3), 201–213.
Jaffe, K. S. (1980). The Concept of Genius: Its Changing Role in Eighteenth-Century French Aesthetics. Journal of the History of Ideas, 41(4), 579–599.
Jefferson, A. (2015). Genius in France: An Idea and Its Uses. Princeton: Princeton University Press.
Johnson, A. W., & Earle, T. K. (2000). The Evolution of Human Societies: From Foraging Group to Agrarian State. Stanford, CA: Stanford University Press.
Joseph, G. G. (2016). 10 From Zero to Infinity: The Indian Legacy of the Bright Dark Ages. In A. Bala & P. Duara (Eds.), The Bright Dark Ages: Comparative and Connective Perspectives (pp. 187–198). Leiden: Brill.
Joyeux‐Prunel, B. (2015). Provincializing Paris. The Center-Periphery Narrative of Modern Art in Light of Quantitative and Transnational Approaches. Artl@s Bulletin, 4(1), 40–64.
Joyeux-Prunel, B., & Dossin, C. (2015). The Transatlantic Triangle of Artistic Circulation. Artl@s Bulletin, 4(1), 4–6.
Kamens, D. H., & Cha, Y.-K. (1992). The Formation of New Subjects in Mass Schooling: Nineteenth Century Origins and Twentieth Century Diffusion of Art and Physical Education. In J. W. Meyer, D. H. Kamens, & A. Benavot (Eds.), School Knowledge for the Masses: World Models and National Primary Curricular Categories in the Twentieth Century (pp. 152–164). Washington, DC: The Falmer Press.
Kang, C. (2015). József Ripple-Rónai Embroideries: Crafting Hungarian Modernism in Paris. In K. L. Carter (Ed.), Foreign Artists and Communities in Modern Paris (pp. 1870–1914). Burlington, VT: Ashgate.
Kant, I. (2007). The Critique of Judgment. Oxford: Oxford University Press.
Kaufman, P. (1926). Heralds of Genius. In W. R. Castle, Jr. & P. Kaufman (Eds.), Essays in Memory of Barrett Wendell (pp. 191–217). Cambridge: Harvard University Press.
Kaufmann, T. D., Dossin, C., & Joyeux-Prunel, B. (2015). Circulations in the Global History of Art. Farnham: Ashgate.
Klopstock, F. G. (1982). Friedrich Klopstock: Epigramme (K. Hurlebusch, Ed.). Berlin: Walter de Gruyter.
Kristeller, P. O. (1951). The Modern System of the Arts: A Study in the History of Aesthetics Part I. Journal of the History of Ideas, 12(4), 496–527.
Kristeller, P. O. (1952). The Modern System of the Arts: A Study in the History of Aesthetics Part II. Journal of the History of Ideas, 13(1), 17–46.
Kristeller, P. O. (1980). Renaissance Thought and the Arts: Collected Essays. Princeton: Princeton University Press.
Labracherie, P. (1967). La vie quotidienne: De la bohème littéraire au XIXe siècle. Paris: Hachette.
Laermans, R. (2009). Artistic Autonomy as Value and Practice. In P. Gielen & P. De Bruyne (Eds.), Being and Artists in Post-Fordist Times (pp. 125–137). Rotterdam: NAi Publishers.
Lahire, B. (2006). La condition littéraire. La double vie des écrivains. Paris: Éditions La Découverte.
Latronche, M.-F. (2001). The Impact of India on French Romanticism. European Romantic Review, 12(4), 477–492.
Legge, M. D. (1950). “Artiste” in Middle French. The Modern Language Review, 45(1), 66–67.
Lewis, G. (1992). Museums and Their Precursors: A Brief World Survey. In J. A. Thompson (Ed.), Manual of Curatorship: A Guide to Museum Practice (2nd ed., pp. 5–21). Oxford: Butterworth-Heinemann.
Lowinsky, E. E. (1964). Musical Genius—Evolution and Origins of a Concept. The Musical Quarterly, 50(3), 321–340.
Luhmann, N. (2000). Art as a Social System. Stanford: Stanford University Press.
Mai, E. (1986). Expositionen: Geschichte und Kritik des Austellungswesens. Berlin: Deutscher Kunstverlag.
Maillard, C. (2008). L’Inde vue d’Europe: Histoire d’une rencontre (1750–1950). Paris: Éditions Albin Michel.
Majluf, N. (1997). “Ce n’est pas le Pérou”, or, the Failure of Authenticity: Marginal Cosmopolitans at the Paris Universal Exhibition of 1855. Critical Inquiry, 23(4), 868–893.
Martindale, A. (1972). The Rise of the Artists in the Middle Ages and Early Renaissance. London: Thames & Hudson.
Mason, J. H. (1993). Thinking About Genius in the Eighteenth Century. In P. J. Mattick (Ed.), Eighteenth-Century Aesthetics and the Reconstruction of Art (pp. 210–239). Cambridge: Cambridge University Press.
McCallum, D. F. (2015). Japanese Painters in Paris, 1880-1912. In K. L. Carter (Ed.), Foreign artists and Communities in Modern Paris, 1870–1914 (pp. 227–238). Burlington, VT: Ashgate.
Melot, M. (1999). La notion d’originalité et son importance dans la définition des objets d’art. In R. Moulin (Ed.), Sociologie de L’Art (pp. 191–201). Paris: L’Harmattan.
Michaud, Y. (1999). Enseigner L’art? Analyses et réflexions sur les écoles d’art (2nd ed.). Nîmes: Editions Jacqueline Chambon.
Miller, K. H. (2006). Talking Machine World: Selling the Local in the Global Music Industry, 1900–20. In A. G. Hopkins (Ed.), Global History: Interactions Between the Universal and the Local (pp. 160–190). Houndmills: Palgrave Macmillan.
Morgner, C. (2019). System Theory and Art: Micro-Diversity and Self-Organisation. Cybernetics and Human Knowing, 26(1), 47–71.
Morishita, M. (2006). The Iemoto System and the Avant-Gardes in the Japanese Artistic Field: Bourdieu’s Field Theory in Comparative Perspective. The Sociological Review, 54(2), 283–302.
Mortier, R. (1982). L’Originalité: Une Nouvelle Catégorie Esthétique au Siècle des Lumières. Genève: Droz.
Moulin, R. (1978). La genèse de la rareté artistique. Ethnologie Française, 8(2–3), 241–258.
Müller-Jentsch, W. (2005). Das Kunstsystem und seine Organisationen oder Die fragile Autonomie der Kunst. In W. Jäger & U. Schimank (Eds.), Organisationsgesellschaft. Facetten und Perspektiven (pp. 186–219). Wiesbaden: VS Verlag für Sozialwissenschaften.
Musée de la musique (Eds.). (2000). L’Invention du Sentiment. Paris: Réunion des Musées Nationaux.
Naef, S. (2006). Entre Mondialisation du Champ Artistique et Recherche Identitaire les Arts Plastiques Contemporains dans la Méditerranée Orientale. In J. Dakhlia (Ed.), Créations Artistiques Contemporain en Pays d’Islam: Des Arts en Tensions (pp. 71–95). Paris: Kimé.
Naef, S. (2010). De Venise au Caire: l‘Égypte sure la scène artistique international. In O. Carlier (Ed.), Images du Maghreb, images au Maghreb (XIXe-XXe siècles): Une révolution du visuel? (pp. 317–328). Paris: L’Harmattan.
Needell, J. D. (1983). Rio de Janeiro at the Turn of the Century: Modernization and the Parisian Ideal. Journal of Interamerican Studies and World Affairs, 25(1), 83–103.
Nietzsche, F. (1997). Untimely Meditations. Cambridge: Cambridge University Press.
Nietzsche, J. C. (1975). The Genius Figure in Antiquity and the Middle Ages. New York: Columbia University Press.
Nochlin, L. (1991). The Invention of the Avant-Garde: France, 1830–1880. In L. Nochlin (Ed.), The Politics of Vision: Essays on Nineteenth-Century Art and Society (pp. 1–18). London: Thames & Hudson.
Novalis. (1997). Novalis: Philosophical Writings (M. M. Stoljar, Ed.). New York: SUNY Press.
Nylan, M. (1996). Confucian Piety and Individualism in Han China. Journal of the American Oriental Society, 116(1), 1–27.
O’Hagan, J., & Hellmanzik, C. (2008). Clustering and Migration of Important Visual Artists. Historical Methods, 41(3), 121–134.
Onuchukwu, C. (1994). Art Education in Nigeria. Art Education. The Journal of the National Education Association, 47(1), pp. 54–60.
Osterhammel, J. (2012). Globale Horizonte europäischer Kunstmusik, 1860–1930. Geschichte Und Gesellschaft, 38(1), 86–132.
Otterbeck, C. (2007). Europa Verlassen: Künstlerreisen am Beginn des 20. Jahrhunderts. Cologne: Böhlau.
Parent, F. (1979). Les cabinets de lecture dans Paris: pratiques culturelles et espace social sous la Restauration. Annales. Économies, Sociétés, Civilisations, 34(5), 1016–1038.
Parsons, T. (1964). Evolutionary Universals in Society. American Sociological Review, 29(3), 339–357.
Pelles, G. (1963). Art, Artists & Society: Origins of a Modern Dilemma: Painting in England and France 1750–1850. Englewood Cliffs, NJ: Prentice-Hall.
Prösler, M. (1996). Museums and Globalization. In S. Macdonald & G. Fyfe (Eds.), Theorizing Museums: Representing Identity and Diversity in a Changing World (pp. 21–44). Oxford: Blackwell.
Putnam, J. (2001). Art and Artifact: The Museum as Medium. London: Thames & Hudson.
Rance, K. (1999). Mémoires de nobles français émigrés en Allemagne pendant la Révolution française: lavision rétrospective d’une experience. Revue D’histoire Moderne et Contemporaine, 46(2), 245–262.
Rosenberg, R. E. (2015). Music, Travel, and Imperial Encounter in 19th-Century France. New York: Routledge.
Rousseau, J.-J. (1768). Genie. In J.-J. Rousseau (Ed.), Dictionnaire de musique (pp. 230–231). Paris: Veuve Duchesne.
Ruppert, W. (1998). Der moderne Künstler. Zur Sozial- und Kulturgeschichte der kreativen Individualität in der kulturellen Moderne im 19. und frühen 20. Jahrhundert. Frankfurt am Main: Suhrkamp.
Said, E. W. (1979). Orientalism. New York: Vintage Books.
Sassen, S. (2001). The Global City: New York, London, Tokyo (2nd ed.). Princeton, NJ: Princeton University Press.
Schelling, F. W. J. (1800). System des transzendentalen Idealismus. Tübingen: J. G. Cotta’schen Buchhandlung.
Scherer, F. M. (2004). Quarter Notes and Bank Notes: The Economics of Music Composition in the Eighteenth and Nineteenth Centuries. Princeton and Oxford: Princeton University Press.
Schlegel, F. (1971). Friedrich Schlegel’s “Lucinde” and the Fragements (P. Firchow, Trans.). Minneapolis: University of Minnesota Press.
Schlegel, F. (1984). Critical Fragments. In K. M. Wheeler (Ed.), German Aesthetic and Literary Criticism: The Romantic Ironists and Goethe (pp. 40–53). Cambridge: Cambridge University Press.
Schleiermacher, F. (1996). Schleiermacher: On Religion (R. Crouter, Ed.). Cambridge: Cambridge University Press.
Schmidt, J. (1985). Die Geschichte des Genie-Gedankens in der deutschen Literatur, Philosophie und Politik 1750–1945. Vol. 1. Von der Aufklärung bis zum Idealismus. Darmstadt: Wissenschaftliche Buchgesellschaft.
Schneemann, P. J. (2006). Imade Myself into the Artist I Was Always Determined to Be. Autobiographie und Subjektbildung als Problem künstlerischer Ausbildung. In C. Muysers & T. Georgen (Eds.). Bühnen des Selbst. Zur Autobiographie in den Künsten des 20. und 21. Jahrhunderts (pp. 65–85). Kiel: Muthesius Kunsthochschule.
Schneemann, P. J. (2008). Welterfahrung und Weltentwurf des Reisenden Künstlers in der Gegenwart. Acta Historiae Artium, 49, 45–54.
Schroer, M. (2006). Mobilität ohne Grenzen? Vom Dasein als Nomade und der Zukunft der Sesshaftigkeit. In W. Gebhardt & R. Hitzler (Eds.), Nomaden, Flaneure, Vagabunden: Wissensformen und Denkstile der Gegenwart (pp. 115–125). Wiesbaden: VS Verlag.
Scott, D. B. (2008). Sounds of the Metropolis: The Nineteenth-Century Popular Music Revolution in London, New York, Paris, and Vienna. Oxford: Oxford University Press.
Sengupta, I. (2005). From Salon to Discipline: State, University and Indology in Germany, 1821–1914. Heidelberg: Ergon Verlag.
Shiff, R. (1984). Cezanne and the End of Impressionism: A Study of the Theory, Technique, and Critical Evaluation of Modern Art. Chicago: University of Chicago Press.
Shiner, L. (2001). The Invention of Art: A Cultural History. Chicago: The University of Chicago Press.
Smith, L. P. (1925). Four Romantic Words: From Words and Idioms—Studies in the English Language. London: Constable and Co. Limited.
Speier, H. (1937). The Social Conditions of the Intellectual Exile. Social Research, 4(3), 316–328.
Spitzer, A. B. (1987). The French Generation of 1820. Princeton: Princeton University Press.
Stalfort, J. (2013). Die Erfindung der Gefühle. Eine Studie über den historischen Wandel menschlicher Emotionalität (1750–1850). Bielefeld: Transcript.
Stewart, P. (2010). L’Invention du sentiment: roman et économie affective au XVIIIe siècle. Oxford: Voltaire Foundation.
Thérenty, M.-E., & Vaillant, A. (2010). Presse, nations et mondialisation au XIXe siècle. Paris: Nouveau Monde éditions.
Tröhler, D., Popkewitz, T. S., & Labaree, D. F. (2011). Schooling and the Making of Citizens in the Long Nineteenth Century: Comparative Visions. London: Routledge.
Tyre, J. (2005). Music in Paris During the Franco-Prussian War and the Commune. The Journal of Musicology, 22(2), 173–202.
Tzoref-Ashkenazi, C. (2006). India and the Identity of Europe: The Case of Friedrich Schlegel. Journal of the History of Ideas, 67(4), 713–734.
Van der Grijp, P. (2009). Art and Exoticism: An Anthropology of the Yearning for Authenticity. Berlin: Literatur Verlag.
Vernoit, S. (2006). The Visual Arts in Nineteenth-Century Muslim Thought. In D. Behrens-Abouseif & S. Vernoit (Eds.), Islamic Art in the 19th Century: Tradition, Innovation, and Eclecticism (pp. 19–35). Leiden and Boston: Brill.
Vidalenc, J. (1963). Les Émigrés Français, 1789–1825. Caen: University of Caen.
Vignon, C. (1855). Exposition Universelle de 1855: Beaux-Arts. Paris: Librairie D’Auguste Fontaine.
Warnke, M. (1993). The Court Artist: On the Ancestry of the Modern Artist. Cambridge: Cambridge University Press.
Weber, W. (2017). Music and the Middle Class: The Social Structure of Concert Life in London, Paris and Vienna Between 1830 and 1848. London: Routledge.
Wessell, L. P., Jr. (1975). Novalis’ Revolutionary Religion of Death. Studies in Romanticism, 14(4), 425–452.
West, S. (1995). National Desires and Regional Realities in the Venice Biennale, 1895–1914. Art History, 18(3), 404–434.
White, H. C., & White, C. A. (1965). Canvases and Careers: Institutional Change in the French Painting World. Chicago: The University of Chicago Press.
Wichmann, S. (1999). Japonisme: The Japanese Influence on Western Art Since 1858. London: Thames & Hudson.
Wittkower, R. (1965). Imitation, Eclecticism and Genius. In E. R. Wasserman (Ed.), Aspects of the Eighteenth Century (pp. 143–161). Baltimore: John Hopkins Press.
Wittkower, R., & Wittkower, M. (1963). Born Under Saturn: The Character and Conduct of Artists: A Documented History from Antiquity to the French Revolution. New York: Random House.
Wolff, J. (1993). The Social Production of Art (2nd ed.). London: Macmillan.
Wong, A. Y. (2006). Parting the Mists: Discovering Japan and the Rise of National-Style Painting in Modern China. Honolulu: University of Hawai’i Press.
Young, E. (1918). Conjectures on Original Composition. In E. Morley (Ed.), j. Manchester: At the University Press.
Zembylas, T. (Ed.). (2014). Artistic Practices: Social Interactions and Cultural Dynamics. London: Routledge.
Zolberg, V. L. (1983). Changing Patterns of Patronage in the Arts. In J. Kamerman & R. Martorella (Eds.), Performers and Performances in the Arts: The Social Organization of Artistic Work (pp. 251–268). New York: Praeger Publishers.
Zumthor, P., & Sommer, H. (1950). A propos du mot “genie”. Zeitschrift Für Romanische Philologie, 66, 170–201.
Acknowledgements
An earlier version of parts of this chapter were presented at the workshop ‘Meaning-Making in the Arts’ at the University of Leuven in 2018. I am grateful to Rudi Laermans and the participants of the workshop for their comments.
Author information
Authors and Affiliations
Corresponding author
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2020 The Author(s)
About this chapter
Cite this chapter
Morgner, C. (2020). The Emergence of Artistic Practice: From Self-Action to Trans-Action. In: Morgner, C. (eds) John Dewey and the Notion of Trans-action. Palgrave Studies in Relational Sociology. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-26380-5_6
Download citation
DOI: https://doi.org/10.1007/978-3-030-26380-5_6
Published:
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-030-26379-9
Online ISBN: 978-3-030-26380-5
eBook Packages: Social SciencesSocial Sciences (R0)