Karl Marx And Max Weber - 1332 Words

Throughout the semester, I was very fascinated by religion science as they talked about different religion in depth that exist on earth and various perspectives of well known people on the study of religion. I chose Karl Marx and Max Weber for my paper assignment. Two sociologists and philosophers have discussed their views on religion and its impact on society. Most of the Sociologist of that time wrote about the role of religion in society, Karl Marx and Max Weber observations are particularly relevant for our course. Religion is one of the principle social ideologies that impacts social stability and modification. This paper will compare and contrast their views on the impact of religion upon society. Karl Marx (1818-1883) and Max Weber (1864-1920) both are Sociologist, Economist and Philosophers. Karl Marx explains that religion is a social opiate and agent of social control, Max Weber describes it on another way that religion can in some instances be an independent variable and a source of social change. Karl Marx Karl Marx is one of the most persuasive thinkers; he states that religion as an opiate. He is the first sociologist of religion as he comments that humans make religion, religion does not make humans. He didn’t bring out any specific writing on religion subject but his influence on the sociology of religion is remarkable. The Marxian thesis describes that Marx’s perspective on religion can only be understood, it is very important to study his thesis aboutShow MoreRelatedKarl Marx And Max Weber1663 Words   |  7 Pagesnature of the society that we live in. Karl Marx and Max Weber were two world renowned social theorists who both looked at the world in similar and contrasting ways and have helped shape the world that we live in today. Marx and Weber analyzed the transformations of society that resulted in similarities along with differences, explaining the nature along with causes of the transformation which helps other theorists come up with methods for their claims today. Karl Marx was a German philosopher and revolutionaryRead MoreKarl Marx And Max Weber1174 Words   |  5 PagesThe study of sociology has always focused on examining the many factors that compose society and the myriad of ways in which it functions. Karl Marx along with Émile Durkheim and Max Weber were the pioneers that are credited as being the founders of classical sociology. They were the first ones to thoroughly examine the complexities of society and create theories for them. The theoretical frameworks and research methodologies created by these sociologists were products of the enlightenment and areRead MoreKarl Marx And Max Weber1486 Words   |  6 PagesBoth Karl Marx and Max Weber assert that capitalism is the dominion of abstractions and the irrational accumulation of abstract wealth for the sake of wealth. For Marx, the state of capitalism is entrenched in the social classes to which people have bben assigned. Capitalism, according to Marx, is a result of the bourgeo isie s ascent to economic and political power. This fuels the manifestation of a system that exploits the labour power of the lower socioeconomic classes for the gain of the higherRead MoreKarl Marx And Max Weber1187 Words   |  5 Pages1. Class Karl Marx and Max Weber both identify economic position as being a key factor in social stratification. Marx uses the Materialist Conception of History as his basic premise to show that there exist two classes which are in opposition to one another, and that they are in constant social conflict with one another due to the structure of capitalism itself. Weber, on the other hand, describes class as being an objective measure of wealth, with conflict not between classes but within them. AlthoughRead MoreKarl Marx And Max Weber1324 Words   |  6 PagesKarl Marx and Max Weber were influential sociologists that paved the way for modern sociological school of thought. Both, Karl Marx and Max Weber contributed a lot to the study and foundation of sociology. Without their contributions sociology would not be as prominent as it is today. From the contribution of how sociology should be studied, to how they applied their theories to everyday life has influenced many sociologists. Predominant ly, both of these theorists’ discussed the effects of capitalismRead MoreKarl Marx And Max Weber1156 Words   |  5 Pagesinevitably lead to revolution? Karl Marx (1818-1883) and Max Weber (1864-1920), both social scientists, dedicated much of their time and work towards the common goal of interpreting the causes and effects of capitalism. They did this by creating a sense of understanding (not only for themselves but for others as well) in regards to capitalism’s construction, foundation, mechanism, and its future. In their assessments of capitalism, both Marx and Weber appear to have two different conclusionsRead MoreMax Weber And Karl Marx2003 Words   |  9 Pagesas sociologists and philosophers. Despite a vast amount of sociologists contributing to our development of social thought over time, I’m particularly interested in the work of Max Weber and Karl Marx. Both theorist’s theories co-inside and take on an interesting partial Marxist perspective on society and social thought. Weber, a German sociologist, philosopher and political economist born in 1864 is one of the best philosophers to explain the theory of the economic system of capitalism. He had a wideRead MoreKarl Marx And Max Weber Essay1394 Words   |  6 PagesKarl Marx and Max Weber are two great sociologists of the 19th century. They have provided varying interpretations of the rise of capitalism, its nature and their ideas on how society changes. Less than half a century separated Weber from Marx. Published in 1867, the twenty-forth chapter of Capital presents Marx’ views on the genesis of capitalism. Weber’s views crystallized in his best-known work – The Protestant Ethic and the Spirit of Capitalism – where he traced the impact of ascetic ProtestantismRead MoreKarl Marx And Max Weber2172 Words   |  9 PagesBoth Karl Marx and Max Weber sought to understand the emergence of modern bourgeoisie capitalism and its pervasiveness, at least throughout the western world, in the nineteenth century. Both authors saw modern capitalism as an inherently superior system of economic exchange for the gene ration of wealth, but greatly differed in their epistemological approach to its genesis. This in turn influenced their loci of analysis, as well as their eventual conclusions on the processes of historical change itselfRead MoreKarl Marx And Max Weber Essay2354 Words   |  10 PagesKarl Marx and Max Weber, were influential social thinkers of the 19th century, having developed many theories in various areas of sociology. One of the areas both Marx and Weber have thoroughly discussed in their essays is origins and development of modern capitalism. Although both theorists agree on the basic elements of modern capitalism, that is, it is a rational process of accumulation of wealth or capital for reinvestment, yet they differ in their ideas concerning how capitalism emerged as it

Titians Altarpieces Essay Example For Students

Titians Altarpieces Essay What was the importance of these two altarpieces for the development of paintingin Venice, both from a stylistic and iconographic point of view? It has beensaid that Titians Assunta, which adorns the high altar, and Pesaro (on theleft aisle of the chapel of the Immaculate Conception) stand mid-way between thepast and the future of Venetian painting. This infers that Titian drew onestablished traditions learnt from his masters Bellini and Giorgione, and imbuedhis works with a freshness and inspiration not seen before. Furthermore, itbecomes apparent that his sensitive construction of the works consideringthe authority of his patrons facilitate a depth of interpretation whichhighlight both the sacred and civic concerns of the time. To illustrateTitians progressive role in Venetian art history, I will draw on Renaissancedocumentation, and contemporary research that notes the stylistic andiconographic elements of these altarpieces. In 1568 the Florentine chroniclerVasari wrote of Titian, Titianwho has adorned with great pictures the Cityof Venicedeserves the love and respect of all craftsmen, who ought to admireand imitate him in many things. For he is a painter who has producedworkwhichwill live as long as the memory of illustrious men endures . This isa useful starting point for such an investigation: this representation is valid,since Vasari had met and spoken to him while writing the book, and being aFlorentine he wasnt so susceptible to employing the Venetian rhetoric whichcould tend to be biased The contemporary chronicler Ludovico Dolce recorded theshock and criticism the Assunta attracted when it was first unveiled. Suchcontroversy points to its radicalism and supports assertions that it wasinfluential for developing artists: For all the panels grandeur andawesomeness, the oafish painters and the foolish masses, who until then hadseen nothing but the dead and cold works of Giovanni Bellini, of Gentile, and ofVivarino, which were without movement and modelli ng, grossly defamed thepicture. Then, as envy cooled and the truth slowly dawned on them, people beganto marvel at the new style established in Venice by Titian There is goodreason to conclude that the Assunta and Pesaro altarpieces rank amongst thefinest and most notary of Titians works. In his book, The Altarpiece inRenaissance Venice, Peter Humfrey claims that the exceptionally large number ofchurches in Venice elevated the prevalence of this style, as they all needed tobe decorated. The lack of fresco painting (due to the humid climate) meant morepanel paintings were constructed, and so Venetian painters tended toconcentrate their most ambitious effortson altar painting Limitations ofthe investigation The lack of primary documentation from this era hinders ourability to place the artwork in its socio-cultural context. When relying on therhetoric of the State-appointed historians, we must consider the bias thatresults from their upholding of the Myth of Venice. Obviously, the val ueof these to the research question is limited; being contemporary, they areunable to describe Titians long-term influence on Venetian painting. Definition of key terms When analysing artwork from a stylistic point of view,all visual (not metaphorical) factors are taken into account. Issues ofcomposition, symmetry and asymmetry, colour palette, application of paint, andrendering of forms are all relevant. Iconography refers to any elements of thepainting that can be left open for a religious or sacred interpretation. Thesetwo points of view are inextricably linked: for example, the placement (re:composition, thus stylistic element) of the Madonna and Child, elevated in thecentre of a devotional painting also has iconographic references: this was theirtraditional position, and portrayed their roles as intercessors between thefigures below, and God in Heaven above. In this context, the altarpiece refersto a painting set behind an above the altar in a Christian church. Paintedaltarpieces might be accompanied by sculpture, as in the case of TitiansAssunta, which features three free-standing marble figures on the frame. Theterm sa cra conversazione refers to the type of composition made popular byBellini, where a group of saints are gathered in a unified space. Anyconversation between saints is solely spiritual and internal;paradoxically, as soon as obvious communication takes place (in the case ofTitians Pesaro), the composition no longer conforms to what constitutes asacra conversazione . Established traditions in altarpiece design Titian waspainting amongst the turbulent climate of the age of Reformation and theCounter-Reformation: this may have influenced his work, endowing it with agreater sense of drama and more overt display of emotion which is evidentespecially in Assunta. This was a significant development from the entrenchedVenetian style established by Bellini: his altarpieces were characteristicallytranquil and meditive (Humfrey refers to Bellinis Diletti, S. Giobbe and StCatherine of Sienna altarpieces in defining the sacra conversazione). His styleembodies the Venetian ethos of La Serenissima. S tylistic developments inAssunta and Pesaro altarpieces While depictions of the Assumption scene had beenpainted by such names as Vivarini and Palma Vecchio, Titians subjects aremuch more powerfully built and more dynamic in their gestures than therelatively angular and timid figures in the earlier altarpieces. There is a moodof vivacity and upward movement, driven by the shifts in dark and light throughthe three zones (disciples, Madonna, God and angels). The viewers eye isarrested by the raised arms of the disciples, the foreshortening of thevirgins body refuses to let the eye rest, until it reaches the sweeping groupof angels. Rosand affirms the stylistic importance of this work, in suggestingthat its unveiling heralded the arrival of the classical High Renaissance inVenice. Titians dramatic gestures and breadth of form draws comparisons tothe art of Raphael, and in particular, his Assumption. Some scholars suggestTitian may have seen preparatory sketches for this work around the time hereceived the commission for Assunta , in which case the originality of his workis dubious. However, the fact that he hadnt yet undertaken the artistspilgrimage to Rome and viewed the works of Raphael and his contemporaries,offers credibility in terms of his artistic innovation. A justification of whyAssunta was not accepted by the patron, Guardian of the Fransiscan order, FraGermano, was because the human forms are too sensual. A highly rhetoricalpassage from a 1910 book by Charles Ricketts, asserts that the face of Marysatisfies us as expressing ecstasy in a human type . While being ultimatelysubjective, it sheds light on how people would personally react to it. Theexuberant vitality would have been frightening and even offensive, togenerations used to Bellinis style. The Assunta is notable in combining twosignificant biblical events: the Assumption of the Virgin Mary, and theCoronation. The Coronation was a theme most usually represented in a horizontalformat, yet perhaps t his extensive thematic content would have offered morescope for drama and innovation when it was to be set in a tall, arched format. Reflections of a Culture Past EssayFrancis position makes him intercessor between the Pesaro family and Christ. These allusions to the Passion become explicit in the depiction of the two puttiin the clouds, who support a large wooden cross. The extent of the Pesarosiconographic significance can be challenged with the knowledge of the particulartroubles Titian had to overcome regarding the placement of the work. The viewerfirst encounters the altarpiece from an angle, approaching the high altar. Hence, the composition must accommodate not only this view, but a full-frontalperspective. It seems that these conditions would have challenged Titianscreativity, and the question of what stands due to necessity and what stands asiconography in this work makes analysis a complicated issue. With the Assunta,Goffen suggests that the stylistic feature of circular forms carriesiconographic relevance. While they unify the composition within the painting,the curved architecture of the choir screen and the apse, they refermetaphorically to God, circles being His geometric equivalent . The goldtones prevalent in the work allow for a similar reading, that golden lightrepresents His divine illumination. The light becomes more intense and golden aswe cross the boundary between the mundane and the sacred realms, reaching itsfull density when it reaches God. This golden light and illumination embodiesMarys triumph over sin and death. The extent to which the role of patronageinhibited artistic inn ovation We have an inhibited ability to interpret works asreflections of the artists innovation and artistic development since theywere largely contrived according to the demands of the patrons. In TitiansPesaro, Jacopo Pesaros demands were well documented. The terms of Titianscommission stipulated that he include full-length kneeling portraits of Jacopo,his brothers and nephew . In meeting these requirements, this could perhapsaccount for Titians unusual composition, and if true, it negates theinterpretation of significant stylistic innovation. It appears Pesaro wantednumerous images represented in his altarpiece, supported by Ettlinger whostudied the iconography of the columns: Pesarobelieved that a successfulintegration of all elements could be achieved . Alongside the depiction ofthe Immaculate Conception (and his veneration of it), the inclusion of hisfamily, and emblems which celebrated his illustrious military career wereinvolved. The presence of so much diverse symbolism com plicates aninterpretation of the artworks iconography, which has been demonstrated inthe plethora of scholars explanations in regard to the columns in thebackground of the Pesaro altarpiece. As a Mendicant friar, Fra Germano Casalecould not own property, although he is commerated as the patron of theAssunta . The date of unveiling and his name is inscribed on the frame, whichsufficiently serves as documentation of the patronage and commission. Even ifGermano relied on bequests to the Frari to fund the work, his vested interestsare apparent when we read of his constant harassing of Titian while it was beingpainted. It reinforces the notion raised with the Pesaro, that the presence ofthe patrons places an influence on the outcome of the painting, so much so thatit enables interpretations based on the political and social interests of thepatrons. It is the many possible readings of these works, not only from astylistic and iconographic point of view, that make the Assunta and Pesaro su chenigmatic and monumental works. In capturing the ideals and beliefs from theirtime while exhibiting such progressive artistic features, they hold greatimportance for the development of painting in Venice. Bibliography1. Anderson, J. The Genius of Venice 1500-1600, in Art International,vol.27 April/June 1984 p.15-22 2. Ettlinger, H. The Iconography of theColumns in Titians Pesaro Altarpiece, in Art Bulletin vol.61, 1979 p.59-673. Goffen, R. Piety and Patronage in Renaissance Venice: Bellini, Titian and theFransiscans, New Haven, Yale (1996) 4. Humfrey, P. The Altarpiece in RenaissanceVenice, New Haven and London (1993) 5. Licht, F. Titian: The Majestic Voiceof All Venice, in Art International no.11 Summer 1990 p.90-93 6. Ricketts, C. Titian Methuen ; Co.Ltd, London, 1910 7. Rosand, D. Painting in CinquecentoVenice: Titian, Veronese, Tintoretto, New Haven and London (1982) 8. Rosenthal,M. In my view Titians reputation: the limitations of history, inApollo, Dec. 93 p.395-8 9. Tietze, H. Titian: The Paintings and Drawings ThePhaidon Press Ltd, London 1950