Best 10 quotes of Pitirim Sorokin on MyQuotes

Any Organized social group is always a stratified social body. There has not been and does not exist any permanent social group which is "flat" and in which all members are equal.

Either the conscious intellect is impotent, or is not sufficiently strong, or is not the factor positively connected with altruistic phenomenon generally or their sublime form particularly.

Hate begets hate, violence engenders violence, hypocrisy is answered by hypocrisy, war generates war, and love creates love.

Love is the supreme value around which all moral values can be integrated into one ethical system valid for the whole of humanity.

Man is a conscious, rational thinker and a supra-conscious creator genius.

Only the power of unbounded love practiced in regard to all human beings can defeat the forces of interhuman strife, and can prevent the pending extermination of man by man on this planet. Without love, no armament, no war, no diplomatic machinations, no coercive police force, no school education, no economic or political measures, not even hydrogen bombs can prevent the pending catastrophe.

The most effective and most accessible way to acquire the maximum of constructive power is to love truly and wisely.

The resort to human flesh, often after months of ever-increasing hunger pangs, appeared to be an animallike reaction without painful emotional overtones.

The fine arts are one of the most sensitive mirrors of society and culture of which they are an important part. What society and culture are, such will their fine arts be. If the culture is predominantly sensate, sensate also will be its dominant fine arts. If the culture is unintegrated, chaotic and eclectic also will be its fine arts. Since contemporary Western culture is predominantly sensate, and since the crisis consists in the disintegration of its dominant supersystem, so the contemporary crisis in the fine arts must also exhibit a desintegration of the sensate form of our painting and sculpture, music, literature, drama and architecture.

... the function of giving enjoyment and pleasure leads any sensate art at is decadent stage to degrade one of its own socio-cultural values to a mere means of sensual enjoyment on the level of 'wine, women and song'. Second, in its endeavour to portay reality as it appears to our senses, it becomes the art of pregressively thinner and more illusory surfaces instead of reflecting the essence of sensory phenomena. Thus it is destined to become ever more superficial, puerile, empty and misleading. Third, in its quest for sensory and sensational 'hits', for stimulation and excitement as the necessary conditions for sensory enjoyment, it is increasingly and fatally deflected from positive to negative phenomena — from ordinary types and events to those which are pathological, from the fresh air of normal socio-cultural reality to the social sewers, until it becomes a museum of pathology and of negative aspects of sensory reality. Fourth, its charming diversity impels it to seek ever-greater variety, until all harmony, unity and balance are submerged in an ocean of incoherency and chaos. Fifth, this diversity, together with the effort to give pleasure, and to stimulate, leads to an increasing complication of technical means; and this, in turn, tends to make of these instrumentalities an end in themselves — one which is pursued to the detriment of the inner value and quality of fine arts. Sixth, sensate art, as we have seen, is the art of the professional artists creating for the public. Such specialization, while in itself a distintic advantage, results, in the later phases of sensate culture, in the separation of artists from the community — a factor from whichboth parties suffer, as well as the fine arts themselves.