ABSTRACT
In this chapter, the author begins with the artist's problem. The artist's problem, writes Etienne Gilson in Painting and Reality, "is to obtain from the solid and immobile objects produced by his art in expression of movement, of becoming, and, in short, life". Turgot, in 1750, who first showed awareness of the possibility of instilling in the chain of being, at least so far as the logical hierarchy of cultures and peoples on earth was concerned, a principle of motion or movement. The author concerns with large-scale, grand, or what he have called panoramic envisagement of asserted movement in time, involving such entities as Mankind, Society, or Culture, each abstract and universal in character. He then wants to turn to a different, although closely related, treatment of movement that is manifest in nineteenth-century sociological thought. The author's illustration of sociological diorama is Weber's treatment of rationalization.
