Originally published in 1893 and never out of print, Emile Durkheim's groundbreaking work remains one of the cornerstone texts of the sociological canon--now updated and re-translated in this new edition. As the Industrial Revolution was changing the landscape of society, Durkheim presented a new vision of the social structures at the root of capitalism, and the issues he grappled with still resound today. If pre-industrial societies were held together by common values, sentiments, and norms, equally shared by all, what holds modern societies, with their complex division of labor and non-cohesive social structure, together? What did this new social order mean for the autonomy of the individual? Durkheim argued that class conflict is not inherent in a capitalist society, as Marx contended, but that the unfettered growth of state power would lead to the extinction of individuality. Only in a free society that promotes voluntary bonds between its members, Durkheim suggested, can individuality prosper. In this new edition, the first since 1984, world-renowned Durkheim scholar Steven Lukes revisits and revises the original translation to enhance clarity, accuracy, and fluency for the contemporary reader. Lukes also highlights Durkheim's arguments by putting them into historical context with a timeline of important information. For students and scholars, this edition of "The Division of Labor" is essential reading and key to understanding the relevance of Durkheim's ideas today.
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Emile Durkheim (1858-1917)涂尔干,法国社会学家,社会学的学科奠基人之一。1858年4月15日出生于法国孚日省埃皮纳尔一个小城镇的犹太教教士家庭。幼年曾学习希伯莱文、旧约和犹太教法典。青年时代放弃了宗教信仰,走上实证科学的道路。1879年,就学于巴黎高等师范学校,1882年毕业。1882~1887年,在省立中学教书。其间赴德国一年,学习教育学、哲学、伦理学,深受W.冯特实验心理学的影响。1887~1902年,在波尔多大学教书,并在那里创建了法国第一个教育学和社会学系。1891年,被任命为法国第一位社会学教授。1898年,创建了法国《社会学年鉴》。围绕这一刊物形成了一批年轻社会学家的团体──法国社会学年鉴派。1902年后执教于巴黎大学。第一次世界大战中断了这位反战学者的学术研究,他的儿子和许多学生死于战场,他受到极大的刺激。1917年11月15日在巴黎去世。主要著作有:《社会分工论》(1893)、《社会学方法的规则》(1895)、《自杀论》(1897)、《宗教生活的基本形式》(1912)等。
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每个民族的道德准则都是受他们的生活条件决定的。倘若我们把另一种道德反复灌输给他们,不管这种道德高尚搞什么地步,这个民族都会土崩瓦解,所有个人也会痛苦地感受到这种混乱的状况
与艺术相应的需要就是我们漫无目的、只图享乐地扩大活动范围的需要,道德却迫使我们沿着一条道路走下去,最终达到一个确定的目的。所以,一说到义务,也就说到了限制。因此,尽管艺术可以受到道德观念的感染,或者融入到纯粹的道德现象的变化之中,但它不是道德本身。审美力过度的发展在道德看来却是一种严重的病兆。
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