This article aims to bring out Durkheim's development of a pioneering sociology of the crowd, overlapping with yet going beyond psychological theories of the time. It begins by exploring the terminology used by Durkheim, colleagues and contemporaries in referring to crowds/gatherings/assemblies, and next asks about the social, political and intellectual context in which 'the crowd' became a key issue, as in the Dreyfus Affair and among writers such as Tarde. It then focuses on the issue's discussion in Durkheim's new journal, the Année sociologique, as well as in his own major works, but above all in Les Formes élémentaires de la vie religieuse, which offers a seminal, if concealed, sociology of the crowd.
Eduardo Cintra Torres
Sublimations of Monarchy in Georgian Satirical Prints
James might well have possessed all of this requisite prior knowledge; but what of the crowds who gathered outside that shop to gaze at the prints displayed in the windows? It defies belief that the street hawkers, crossing sweepers, knife grinders
Pinker’s (Mis)Representation of the Enlightenment and Violence
to a great deal of concern among the ruling elites, was the behavior and attitudes of the populace, as well as a be- lief that the condemned were no longer abiding by the preordained rituals. English observers considered the crowds that gathered to
Party ( 2016 ), Dean construes the party as an organisation for making the egalitarian impulses of the crowd durable by transforming these impulses into the political subject of the people. The party, in her partially Badiouian vocabulary, is what
Sheila K. Hoffman
-person experience. But even this “Mona Lisa” effect has not driven in-person visitation down. Rather the opposite. Anyone who has elbowed through the crowds at many of the world's best-known museums can attest to that. Indeed, having been among this ubiquitous press
Pilgrims, Seers, and Religious Experience at Marian Apparition Sites
Sandra L. Zimdars-Swartz
Historically, walking has been an essential element of Christian pilgrimage. For medieval journeys of faith, whether from London to Canterbury, Santiago de Compostela, Rome, or Jerusalem, the rigors of walking the distance from home to site could demonstrate suffering, sacrifice, and devotion. Although people may arrive at a religious destination by plane, bus, or car, walking at the site remains essential to the pilgrim's experience of the sacred. Focusing on the reported apparitions of the Virgin Mary at Lourdes, Necedah, Garabandal, Medjugorje, and Melleray and some later developments at these sites, this article examines the ways in which the physical movements of the pilgrims at these places establish a context for their experiences of the sacred. In the chaos of the crowds assembled at an ongoing apparition, experience is as fluid as the mingling of the pilgrims with each other and with the physical environment. These sites stand in stark contrast to well-established shrines where permanent structures orchestrate both movement and meaning.
Les Temps modernes is publishing here for the first time a film script written by Sartre during the winter of 1943-1944. We thank Daniel Accursi for generously passing it along and Michel Contat for preparing it for publication. Sartre’s article entitled “A film for the postwar period,” which appeared [unsigned] in L’Ecran français and was incorporated into the Lettres françaises [clandestine], no. 15, April 1944, clearly indicates the purpose of this project: “On screen—and only on screen—is there place for a panic-stricken, a furious or a serene crowd. The novelist can evoke the masses; if the dramatist wants to represent them on stage, he must symbolize them by using half a dozen characters who assume the name and function of the chorus; only films show them. And it is to the masses themselves that they do so: to fifteen million or twenty million spectators. It is in this manner that film can speak about the crowd to the crowd. That is what the great pioneers of film, such as Griffith, Cecil B. de Mille and King Vidor understood so well. This does not mean that films cannot show love stories or conflicts between individuals. Far from it. But they must reinsert them into their social setting. The speed with which the camera can move from place to place also permits it to situate a story in the whole universe. The wellknown rule of theatrical unity in French classical drama does not apply at all to film. One can even introduce several plots simultaneously, have them unfold in different settings and have their very diversity contribute to the creation of a complete social situation. The film’s unity therefore emanates from its profound meaning, from the epoch it restores, and not from the concatenation of the circumstances that make up a minuscule and unique anecdote.
’s marketplace demographics and therapy culture’s emphasis on an authentic self’ (p. 58). Second, Dean provides a preview of her theory of the crowd, which she develops at greater length in chapters two and three. This theory may be summarised thus: ‘The crowd
Everything in Motion
Clio Andris and Juan Ruescas
, hippos dry off, gerbils in suits slide down their tubes. It’s clear that Zootopia has been had by planners, with its sidewalks, streetlights, signage, subway, and parking spots. The hallmark of the city, however, is the crowd. The city safeguards
Public Disorder and Problematic Policing in Occupied Roubaix during World War I
James E. Connolly
quite simply been unable to disperse the crowd. The reason for this was his relationship with Mme Bonte. Orlianges frequently visited Bonte’s cabaret, considered a place of vice and debauchery where fraudsters and criminals gathered. 69 Furthermore