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Using a broad definition of the Durkheimian tradition, this book offers the first systematic attempt to explore the Durkheimians’ engagement with art. It focuses on both Durkheim and his contemporaries as well as later thinkers influenced by his work. The first five chapters consider Durkheim’s own exploration of art; the remaining six look at other Durkheimian thinkers, including Marcel Mauss, Henri Hubert, Maurice Halbwachs, Claude Lévi-Strauss, Michel Leiris, and Georges Bataille. The contributors—scholars from a range of theoretical orientations and disciplinary perspectives—are known for having already produced significant contributions to the study of Durkheim. This book will interest not only scholars of Durkheim and his tradition but also those concerned with aesthetic theory and the sociology and history of art.

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Until recently the subject of suffering and evil was neglected in the sociological world and was almost absent in Durkheimian studies as well. This book aims to fill the gap, with particular reference to the Durkheimian tradition, by exploring the different meanings that the concepts of evil and suffering have in Durkheim's works, together with the general role they play in his sociology. It also examines the meanings and roles of these concepts in relation to suffering and evil in the work of other authors within the group of the Année sociologique up until the beginning of World War II. Finally, the Durkheimian legacy in its wider aspects is assessed, with particular reference to the importance of the Durkheimian categories in understanding and conceptualizing contemporary forms of evil and suffering.

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Marcel Mauss (1872-1950) never completed his Doctoral thesis on prayer. Yet his scarcely mentioned introduction (Books I and II) of 176 pages and privately printed in 1909, can be seen as some of his most important work. His argument that much of prayer is a social act will be of great interest to anthropologists, sociologists and theologians. Here, the first English translation to be published, is preceded by a general introduction by W.S.F.Pickering and finally a specific commentary on Mauss's use of ethnographic material.

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