Durkheim’s social theory is based on social facts, the division of labor, and the consequences of certain levels of regulation. Social facts are defined as any and all behavior influenced by constraints existing outside of the individual that has an existence of its own. Social facts are formed by the Collective Consciousness, an over-arching understanding of the social world, and Collective Representations, which are more specified ideas/concepts with a common, shared meaning. Durkheim states that the division of labor is the variation of occupations within a society, which work to create solidarity, efficiency, and fulfilling society’s needs. Durkheim also conceptualized the effects of different levels of regulation. Fatalism, which is over-regulation within a society, creates a sense of powerlessness among the individuals. Anomie, which is under-regulation within a society, creates a sense of confusion and lack of structure.
Durkheim’s theory on social facts can be found within popular culture. The concept of a social fact can manifest in many fictional characters within popular culture, but specifically among comic book characters. These characters take on a life of their own by a mixture between the Collective Consciousness and Collective Representations. Generations grow up with comic book characters and those characters grow into something bigger than the original artists may have intended. Toys, collectibles, fan fiction, and movie adaptations of these beloved comic books – and the fact that they are raking in so much money – can be evidence of this. These characters are fictional concepts that are treated as real things. They exist externally and have existences of their own.
A specific example of this kind of character is Spider-Man. The original Spider-Man debuted in 1962, a comic about Peter Parker, a shy, unpopular, but very smart high school student. He gets bitten by a radioactive spider, giving him extraordinary powers that he eventually uses to fight crime (“Spiderman Biography”). Spider-Man to this day has a strong fan base, resulting in an array of toys, collectibles, fan fiction, and a long list of movie adaptations. The character has become so much more than it was originally intended, and has become its own social phenomenon that has a shared existence among millions of people. An example of how strong this character exists on its own is when there is mass disagreement about how he should be cast in the movies. Spider-Man, although he looks a certain way in the comic books, can be cast differently in movies. There was a push back in 2010 to cast Donald Glover, an African-American comedic actor and rap artist, as Peter Parker in the latest Spider-Man movie. Although some thought it a chance for filmmakers to “diversify,” others were strongly opposed and “not on board with a black Spider-Man” (Arbeiter). Spider-Man, although completely fictional, is treated as a thing or symbol that people can have strong opinions about. His appearance may change, but the concept of Spider-Man is tenacious. Spider-Man is a Collective Representation that lives within the Collective Consciousness of popular culture.
Another example of this kind of character is Wonder Woman. Making her debut in 1942, Wonder Woman had extraordinary powers as the Princess of the Amazons, a mythological clan of warrior women who were “created from all the souls of women who had been killed by men” (Tran). Wonder Woman has a strong following as well, carrying its own brand of toys, collectibles, a list of television and movie adaptations, etc. An example of how strong this character exists on its own is when there is mass disagreement on how she should be cast in the movies. Gal Gadot, an Israeli fashion model and actress, was recently cast as Wonder Woman in Zack Snyder’s prospective Batman vs. Superman film. Although this decision was also met with backlash, such as complaints about Gadot’s body type, James Hoare writes that “Wonder Woman is a two-dimensional representation of what the character looks like, and that representation changes – often subtly, often wildly – depending on who’s holding the pencils or what the prevailing trends in comics and art at the time” (Hoare). Wonder Woman is a fictional character but is treated as a thing or symbol that people can have strong opinions about. Her appearance may vary, but the concept of Wonder Woman is unfaltering. Wonder Woman also constitutes as a Collective Representation within the Collective Consciousness of popular culture.
In conclusion, Durkheim’s theory on Social Facts can be found in popular culture, specifically regarding comic book characters. Spider-Man and Wonder Woman are both examples of comic book characters becoming something new, taking on a life of its own. These characters take on a life of their own by a mixture between the Collective Consciousness and Collective Representations. Society treats these fictional characters – whether they are comic book or other literary characters, television characters, or movie characters – as real things. They are fictional characters that exist outside of the individual and have become their own new kind of social phenomena, taking on a life of their own.
Works Cited
Arbeiter, Michael. "Donald Glover in 'Amazing Spider-Man': Honor or Insult?"Hollywood.com. Hollywood.com, 11 Apr. 2012. Web. 21 Feb. 2014. <http://www.hollywood.com/news/movies/23709256/donald-glover-in-amazing-spider- man-honor-or-insult?page=all>.
Hoare, James. "Man Of Steel 2: Gal Gadot’s Wonder Woman Is Too Skinny?" SciFiNow The Worlds Best Science Fiction Fantasy and Horror Magazine. SciFi Now, 06 Dec. 2013. Web. 21 Feb. 2014. <http://www.scifinow.co.uk/blog/53914/man-of-steel-2-gal-gadots- wonder-woman-is-too-skinny/>.
Tran, Kevin. "Wonder Woman - History." Wonder Woman - History. N.p., 2012. Web. 21 Feb. 2014. <http://people.rit.edu/~kxt2075/320/project3/wonderwoman.shtml>.
"Spiderman Biography." History of Spiderman. Super Hero Stuff, n.d. Web. 21 Feb. 2014. <http://www.superherostuff.com/biographies/spideybio.html>.
Durkheim’s theory on social facts can be found within popular culture. The concept of a social fact can manifest in many fictional characters within popular culture, but specifically among comic book characters. These characters take on a life of their own by a mixture between the Collective Consciousness and Collective Representations. Generations grow up with comic book characters and those characters grow into something bigger than the original artists may have intended. Toys, collectibles, fan fiction, and movie adaptations of these beloved comic books – and the fact that they are raking in so much money – can be evidence of this. These characters are fictional concepts that are treated as real things. They exist externally and have existences of their own.
A specific example of this kind of character is Spider-Man. The original Spider-Man debuted in 1962, a comic about Peter Parker, a shy, unpopular, but very smart high school student. He gets bitten by a radioactive spider, giving him extraordinary powers that he eventually uses to fight crime (“Spiderman Biography”). Spider-Man to this day has a strong fan base, resulting in an array of toys, collectibles, fan fiction, and a long list of movie adaptations. The character has become so much more than it was originally intended, and has become its own social phenomenon that has a shared existence among millions of people. An example of how strong this character exists on its own is when there is mass disagreement about how he should be cast in the movies. Spider-Man, although he looks a certain way in the comic books, can be cast differently in movies. There was a push back in 2010 to cast Donald Glover, an African-American comedic actor and rap artist, as Peter Parker in the latest Spider-Man movie. Although some thought it a chance for filmmakers to “diversify,” others were strongly opposed and “not on board with a black Spider-Man” (Arbeiter). Spider-Man, although completely fictional, is treated as a thing or symbol that people can have strong opinions about. His appearance may change, but the concept of Spider-Man is tenacious. Spider-Man is a Collective Representation that lives within the Collective Consciousness of popular culture.
Another example of this kind of character is Wonder Woman. Making her debut in 1942, Wonder Woman had extraordinary powers as the Princess of the Amazons, a mythological clan of warrior women who were “created from all the souls of women who had been killed by men” (Tran). Wonder Woman has a strong following as well, carrying its own brand of toys, collectibles, a list of television and movie adaptations, etc. An example of how strong this character exists on its own is when there is mass disagreement on how she should be cast in the movies. Gal Gadot, an Israeli fashion model and actress, was recently cast as Wonder Woman in Zack Snyder’s prospective Batman vs. Superman film. Although this decision was also met with backlash, such as complaints about Gadot’s body type, James Hoare writes that “Wonder Woman is a two-dimensional representation of what the character looks like, and that representation changes – often subtly, often wildly – depending on who’s holding the pencils or what the prevailing trends in comics and art at the time” (Hoare). Wonder Woman is a fictional character but is treated as a thing or symbol that people can have strong opinions about. Her appearance may vary, but the concept of Wonder Woman is unfaltering. Wonder Woman also constitutes as a Collective Representation within the Collective Consciousness of popular culture.
In conclusion, Durkheim’s theory on Social Facts can be found in popular culture, specifically regarding comic book characters. Spider-Man and Wonder Woman are both examples of comic book characters becoming something new, taking on a life of its own. These characters take on a life of their own by a mixture between the Collective Consciousness and Collective Representations. Society treats these fictional characters – whether they are comic book or other literary characters, television characters, or movie characters – as real things. They are fictional characters that exist outside of the individual and have become their own new kind of social phenomena, taking on a life of their own.
Works Cited
Arbeiter, Michael. "Donald Glover in 'Amazing Spider-Man': Honor or Insult?"Hollywood.com. Hollywood.com, 11 Apr. 2012. Web. 21 Feb. 2014. <http://www.hollywood.com/news/movies/23709256/donald-glover-in-amazing-spider- man-honor-or-insult?page=all>.
Hoare, James. "Man Of Steel 2: Gal Gadot’s Wonder Woman Is Too Skinny?" SciFiNow The Worlds Best Science Fiction Fantasy and Horror Magazine. SciFi Now, 06 Dec. 2013. Web. 21 Feb. 2014. <http://www.scifinow.co.uk/blog/53914/man-of-steel-2-gal-gadots- wonder-woman-is-too-skinny/>.
Tran, Kevin. "Wonder Woman - History." Wonder Woman - History. N.p., 2012. Web. 21 Feb. 2014. <http://people.rit.edu/~kxt2075/320/project3/wonderwoman.shtml>.
"Spiderman Biography." History of Spiderman. Super Hero Stuff, n.d. Web. 21 Feb. 2014. <http://www.superherostuff.com/biographies/spideybio.html>.