Ikvai Nándor szerk.: Gödöllőiek, szentendreiek. Művészettörténeti tanulmányok (Studia Comitatensia 10. Szentendre, 1982)

Szentendreiek - Gergely Attila–Gergely Attiláné: Kiállításlátogatás és művészetfeldolgozás a szentendrei gyűjteményekben (művészetszociológiai felmérés)

A válaszoló 20 értékdimenzióban adhatta az ellátottságra a következő válaszokat: maximálisan (3) közepesen (2) minimálisan (1) 31 Az osztályzatokat egyszerűen összeadtuk, s az összeget így kódoltuk: 3,4 = 1 10 = 6 5,6 = 2 11 = 7 7 = 3 12,13 = 8 8 = 4 14,15 = 9 9 = 5 32 Lényegretörő módon fejti ki a kérdést például Sir Claus Moser, a brit társadalomstatisztika vezetője Social Indicators: systems, methods and problems с tanulmányában (in: Social Policy Research, ed. M. Bulmer, Macmillan, 1978. 203—214. old.). 33 A számítás a már közölt adatokon alapul: 480 000/8 300 000 = 0,0578 180 000/8 300 000 = 0,0217 1220 453/ 480 000 = 2,54 1220 453/ 180 000 = 6,78 34 Vö. pl.: Kari Marx: Bevezetés a politikai gazdaságtan bírálatához, 1857. Marx— Engels Művei, 13. kötet. Budapest, 1965. GERGELY, ATTILA—GERGELY, JÚLIA: TO THE SOCIAL DYNAMICS OF AESTHETIC PROCESSING An empirical study in the sociology of art The authors analyse the result of an empirical study in the sociology of fine art that was conducted during 1980 in the art collections of the Hungarian town Szentendre. The Szentendre art galleries play a central role in national cultural policy and adult education in the arts: one of those (the Margit Kovács Museum) receives more visitors annually than the Hungarian National Gallery, and the total number of visitors to the eight collections is equivalent to 40% of that of the largest ten art exhibiting public institutions in the country. Thus, the conclusions drawn in the paper may be appropriately generalized to present day Hungarian artistic adult education. The fieldwork was based on two research instruments and two samples, respectively. A rather simple dataform was distributed to a representative sample of 5200 visitors to the eight collections. This covered the socio-eco-cultural basics of the visitors with respect to about 25 variables and was administered by the visitors themselves. The other instrument was a rather extensive and intensive questionnaire covering about 250 variables. It was administered by interviewers to 320 respondents selected by means of a probability sample stratified according to main occupational categories which were identified prior to the interview by means of the preliminary self-administered questionnaire. The central goal of the project as a whole has been to contribute to the development of a system of social indicators that will inform cultural policy on a local and national level. Since one of the guiding hypotheses behind the project referred to the existence and effectiveness of a broader aesthetic field of socially framed personal practice, and stated that this aesthetic field was conditioned by aspects of life that had no manifest aesthetic implications, the focal aim of the present paper has been to identify: the basic socio-economic, cultural and life-style correlates of attendance rates; of the meaning and motivation of attendance; of the attitudes and expectations towards work of art; of the orientations in aesthetic taste; and of the levels of artistic competence and interpretation. (The last issues were appraised by means of thinking-aloud protocols.) Special attention has been paid to the hypothesized relevance of intergenerational and job-socialization processes. In general, the evidence obtained strongly supports the guiding hypothesis, as 212