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Auguste Comte is widely acknowledged as the founder of the science of sociology and the 'Religion of Humanity'. In this fascinating study, the first major reassessment of Comte's sociology for many years, Mike Gane draws on recent scholarship and presents a new reading of this remarkable figure. Comte's contributions to the history and philosophy of science have decisively influenced positive methodologies. He coined the term 'sociology' and gave it its first content, and he is renowned for having introduced the sociology of gender and emotion into sociology. What is less well known however, is that Comte contributed to ethics, and indeed coined the word 'altruism'. In this important work Gane examines Comte's sociological vision and shows that, because he thought sociology could and should be reflexive, encyclopaedic and utopian, he considered topics such as fetishism, polytheism, fate, love, and the relations between sociology, science, theology and culture. This fascinating account of the birth of sociology is an unprecedented introductory text on Comte. Gane's work is an essential read for all sociologists and students of the discipline.

Sociology --- History. --- Comte, Auguste,

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Renoir, Auguste, --- 750 )* SCHILDERKUNST --- Renoir --- schilderkunst --- 737.7 --- Pierre-Auguste Renoir --- Renoir, Pierre-Auguste --- Frankrijk --- 19e eeuw --- Schilderkunst --- Tekenkunst --- Cultuur

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This volume explores the life and works of Auguste Comte from 1842 to 1852, when he transformed his philosophy into a religious and political movement.

Philosophy, Modern. --- Modern philosophy --- Comte, Auguste,

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Artists --- Renoir, Auguste, --- Renoir, Pierre Auguste, --- Renuar, Ogi︠u︡st, --- Renoar, Pjer-Ogist, --- רנואר, אוגוסט, --- Renoir, Pierre Auguste --- Renuar, Ogi︠u︡st --- Renoar, Pjer-Ogist

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Ingres Then, and Now is an innovative study of one of the best-known French artists of the nineteenth century, Jean Auguste Dominique Ingres. Adrian Rifkin re-evaluates Ingres' work in the context of a variety of literary, musical and visual cultures which are normally seen as alien to him. Re-viewing Ingres' paintings as a series of fragmentary symptoms of the commodity cultures of nineteenth-century Paris, Adrian Rifkin draws the artist away from his familiar association with the Academy and the Salon.Rifkin sets out to show how, by thinking of the historical archive as a form

Painting --- History. --- Ingres, Jean-Auguste-Dominique, --- Criticism and interpretation.