Abstract

The cultural turn has yet to fully reconfigure ‘class’ as a set of fictions, tropes, discourses and enduring culture-structures. Existing Durkheimian approaches have stalled at his middle period morphological reductionism. This paper constructs a more radical understanding in the late-Durkheimian idiom. It shows how class operates as a signifier in a language game of purity and pollution, virtue and vice. Taking a lead from studies of the ‘unruly’ working class, the paper opens up the more subtle pollution that attends to the mythical ‘bourgeoisie’ and its associated and imagined ‘bourgeois’ culture. As a sign system this class location is deemed inauthentic, sybaritic, and as strangely deadening to cultural vitality. Although commonly found in contexts of gentrification and commodification that involve class conflict, this critical discourse is also applied within the bourgeois milieu. Such needless auto-critique suggests a relative autonomy from determination by class struggle. The possibilities for this approach are illustrated at length with reference to a paradigm case: the highly bourgeois milieu of the composer Richard Wagner and his Bayreuth Festival.