Simmel and 'the Social' by Olli Pyyhtinen

By Olli Pyyhtinen

This booklet argues for the centrality of Georg Simmel's social idea to the relational and processual emphases which are frequently regarded as even more fresh advancements in social idea. Situating Simmel's paintings particularly with appreciate to New Vitalism and Bruno Latour's paintings, the booklet exhibits that Simmel has nonetheless a huge quantity to give a contribution.

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Extra resources for Simmel and 'the Social'

Sample text

As it stands today, the term social theory has become so broad that it is almost emptied of content. 17 Social theory thus seems to be a very general label that covers all varieties of theoretically oriented thought within the social sciences. Hans Joas and Wolfgang Knöbl (2004) defend the usability of the neologism Sozialtheorie (‘social theory’) in German discussion. Interestingly, they see Sozialtheorie as a convenient label precisely due to its wide range. According to Joas and Knöbl, social theories are not defined by belonging to any single discipline, such as sociology (in fact, Joas and Knöbl count such strands as structuralism and pragmatism among social theories), since they cover all kinds of general claims about the regularities of social life, which depart from the individualistic premises of economics, pshycology, and political thought, for example.

In sum, to characterize my manner of approach as conceptual portraiture implies that the study does not have any proper ‘findings’ in the strict sense of the word. Rather, the conceptual portrait it produces has to be created and invented. The point could be clarified by drawing on the distinction between discovery and invention that Bergson makes in The Creative Mind: ‘Discovery, or uncovering, has to do with what already exists, actually or virtually; it was therefore certain to happen sooner or later.

70–1, 96, 110–111). In sum, to characterize my manner of approach as conceptual portraiture implies that the study does not have any proper ‘findings’ in the strict sense of the word. Rather, the conceptual portrait it produces has to be created and invented. The point could be clarified by drawing on the distinction between discovery and invention that Bergson makes in The Creative Mind: ‘Discovery, or uncovering, has to do with what already exists, actually or virtually; it was therefore certain to happen sooner or later.

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