Pitirim A. Sorokin
Born
in Syktyvkar, Russian Federation
January 21, 1889
Died
February 10, 1968
Genre
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The Crisis of Our Age
7 editions
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published
1992
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Social and Cultural Dynamics: A Study of Change in Major Systems of Art, Truth, Ethics, Law and Social Relationships
9 editions
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published
2006
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The American Sex Revolution
7 editions
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published
1956
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Ways & Power Of Love: Techniques Of Moral Transformation
5 editions
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published
2002
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Social and Cultural Mobility
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The Sociology of Revolution
8 editions
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published
1967
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A Long Journey: The Autobiography of Pitirim A. Sorokin
3 editions
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published
1963
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Bir Bunalım Çağında Toplum Felsefeleri
by |
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Man and Society in Calamity
by
19 editions
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published
1942
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Leaves From a Russian Diary
9 editions
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published
1924
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“Instead of being depicted as a child of God, a bearer of the highest values attainable in this empirical world, and hence sacred, man is reduced to a mere inorganic or organic complex, not essentially different from billions of similar complexes. In so far as materialism identifies him and his cultural values with matter and mechanical motion, it cannot fail to strip him and his values of any exceptional and unique position in the world. Since they are but a complex of antoms, and since the events of human history are but a variety of the mechanical motions of atoms, neither man nor his culture can be regarded as sacred, as constituting the supreme end value, or as reflections of the Divine in the material world. In a word, materialistic sensory science and philosophy utterly degrade man and the truth itself.”
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“The fine arts are one of the most sensitive mirrors of society and culture of which they are an important part. What society and culture are, such will their fine arts be. If the culture is predominantly sensate, sensate also will be its dominant fine arts. If the culture is unintegrated, chaotic and eclectic also will be its fine arts. Since contemporary Western culture is predominantly sensate, and since the crisis consists in the disintegration of its dominant supersystem, so the contemporary crisis in the fine arts must also exhibit a desintegration of the sensate form of our painting and sculpture, music, literature, drama and architecture.”
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“The communists and fascists in politics are the analogues of the modernists in the fine arts. Both groups are in rebellion against the dominant sensate politico-economic and art systems; but both are essentially sensate. Accordingly, neither group can consitute the politico-economic or art system of the future. They are mainly destroyers and rebels – not constructive builders. They flourish only under the conditions peculiar to a period of transition. Being charged with destructive force, the modernists are too chaotic and distorted to serve as the bearers of a permanent art culture.”
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Topics Mentioning This Author
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