By Ballantyne, G.
Developing a discussion among the social idea of Alain Touraine and the philosophy of Paul Ricoeur, this paintings locates the wellsprings of the renewed intepretative powers of Touraine's contemporary sociology of the topic and critique of modernity in an implicit and unfinished, yet unmistakable 'hermeneutical turn'.
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Extra resources for Creativity and Critique (Social and Critical Theory)
But whereas for Marx, accumulation referred to the accumulation of capital, and speciﬁcally to the use of proﬁts for the expansion and improvement of the conditions of production, Touraine assumes that accumulation is a characteristic of all ‘historical’ societies. More importantly, however, by including the ‘cultural model’ and ‘knowledge’ as co-constitutive components of the self-transformative capacity of society, Touraine is stressing that the form accumulation takes is always determined by a society’s image of its own creativity, and the image it has of nature.
Touraine’s reﬂection began with the most central of all sociological concepts; underlying otherwise divergent perspectives, he claimed, there is a shared image of ‘society’, which has built-in assumptions conducive to an over-uniﬁed image of the social ﬁeld. Touraine’s attempt to unravel the implicit assumptions connected with what he called the ‘classical’ concept of society focused on three such presuppositions. The ﬁrst is the premise that society is in principle capable of changing itself without any fundamental disruptions.
P. 122. 31 See for example, A. Dawe, “Theories of Social Action,” in eds. T. Bottomore and R. Nisbet, A History of Sociological Analysis, London, Heineman Educational Books, 1979, pp. 362-417, and Z. Bauman, “Hermeneutics and Modern Social Theory,” in eds. D. Held and J. Thompson, Social Theory of Modern Societies: Anthony Giddens and his Critics, Cambridge, Cambridge University Press, 1989, pp. 34-55. 32 Dawe, “Theories of Social Action,” p. 379. 33 Dawe, “Theories of Social Action,” p. 365.