During the last two decades, sociologist Pierre Bourdieu has become a dominant force in cultural activity ranging from taste in music and art to choices in food and lifestyles. _The Field of Cultural Production_ brings together Bourdieu's major essays on art and literature and provides the first introduction to Bourdieu's writings and theory of a cultural field that situates artistic works within the social conditions of their production, circulation, and consumption. Bourdieu develops a highly original approach (...) to the study of literary and artistic works, addressing many of the key issues that have preoccupied literary art and cultural criticism in the last twentieth century: aesthetic value and canonicity, intertextuality, the institutional frameworks of cultural practice, the social role of intellectuals and artists, and structures of literary and artistic authority. Bourdieu elaborates a theory of the cultural field which situates artistic works within the social conditions of their production, circulation, and consumption. He examines the individuals and institutions involved in making cultural products what they are: not only the writers and artists, but also the publishers, critics, dealers, galleries, and academies. He analyzes the structure of the cultural field itself as well as its position within the broader social structures of power. The essays in his volume examine such diverse topics as Flaubert's point of view, Manet's aesthetic revolution, the historical creation of the pure gaze, and the relationship between art and power. The Field of Cultural Porduction will be of interest to students and scholars from a wide range of disciplines: sociology and social theory, literature, art, and cultural studies. (shrink)

Previous research has suggested that in cultural production fields the concatenation of eminence explains success, defined as influence and innovation. We propose that individuals in fields as diverse as philosophy, literature, mathematics, painting, or architecture gain visibility by cumulating the eminence of others connected to them across and within generations. We draw on interaction ritual chain and social movement theories, and use evidence from the field of modernist architecture, to formulate a model of how networks of very strong (...) ties generate motivations and emotional enthusiasm, change reputations, and form collective movements that over time transform the structure of cultural fields. Because major aesthetic innovations break sharply with older styles, they need very strong group solidarity over a long period of time to propagate a new standard of practice. We propose mutual halo effects, i.e., the reciprocal reinforcement of upstream and downstream prestige on a given individual node, as the key factor accounting for success in a cultural production field. We discuss the relevance of these results for building a model of influence and innovation in cultural production fields in which networks—reshaped by shifting technological, political, and economic conditions—trigger new styles. (shrink)

Replete with madwomen, murderers, musicians, and mystics, "Lonely Woman" dramatically interweaves the lives of five women. It remains Takako Takahashi's most sustained and multifaceted fictional realization of her concept of "loneliness.".

Early practitioners of the social studies of science turned their attention away from questions of institutionalisation, which had tended to emphasize macrolevel explanations, and attended instead to microstudies of laboratory practice. The author is interested in re-investigating certain aspects of institution formation, notably the formation of scientific, medical, and engineering disciplines. He emphasises the manner in which science as cultural practice is imbricated with other forms of social, political, and even aesthetic practices. The author considers the following topics: the (...) organic physics of 1847; the innovative research program of Carl Ludwig as a model for institutionalising science-based medicine, optics, painting, and ideology in Germany, 1845-95; the Haber-Bosch synthesis of ammonia; and the introduction of nuclear magnetic resonance instrumentation into the practice of organic chemistry. (shrink)

How do ethics show up in the everyday behaviors and conversations of researchers in a scientific laboratory? How does the microcosmic culture of the laboratory shape researchers’ understandings of scientific ethics? We, an interdisciplinary team representing anthropology, computer science, and rhetorical studies, investigated these questions in two university STEM labs. Similar to previous work mapping out the epistemic cultures, we sought to understand the ethical cultures of these research groups. We observed their lab meetings for several months and conducted interviews (...) with members of the research laboratories. Ultimately, we recognized two distinct ethical cultures within the two laboratories: one focused on the relationship between science and social justice, and the other focused on clean data and accuracy as an ethical issue. These two distinct ethical cultures were discernable through ethnography, close reading of laboratory members’ language, as well as broad-scale topic modeling. Our project complements previous studies of ethics in science that have focused on codes of ethics or student curricula as ways in which scientists develop an understanding of scientific ethics. Our project demonstrates that everyday interactions between the members of scientific research labs additionally shape, at a decidedly local level, how scientists understand and ultimately approach ethical decision-making in the scientific research process. (shrink)

The Cultural Production of Social Movements offers a theory of cultural practices, protest tactics, strategic planning and deliberation, and movement organizational structures: “ideological contention.” It is a theory of ideology “from below.” The Cultural Production of Social Movements shows how conflicts—both with external political forces and disagreements, dissensus, and the decision-making process internal to social movements—produce knowledge and meanings that, in turn, impact upon and change the practices that contribute to how social movements are structured (...) and organized. The Cultural Production of Social Movements theorizes the relationship between consciously held superordinate ideas, the changing composition of progressive and oppositional social struggles, and the social worlds they hope to inhabit. Analyzing the Black Panther Party, specifically Kathleen Cleaver’s break with the Student Non-violent Coordinating Committee and her contributions to the Party, Operaismo (or Workerism) in Italy and the relationship between shifting organizational strategies, inventive tactics, and novel and expansive ways to theorize class struggles, and the communal composition of “Worker-Recovered Enterprise Movements” in contemporary Argentina, this book shows how movement ideologies change and how meanings structure organizations, mobilizations, and futures. In The Cultural Production of Social Movements ideology is neither a static set of principles, nor is an unconscious orientation towards power and governance. Rather, it is the contentious, democratizing, and deliberative processes—which become realized as tactics in protests, struggles, defeats, and victories—that makes the relationship between movements, and what they “mean” conscious to its participants. (shrink)

The master-servant and self-substance dialectic in Hegel’s Phenomenology of Spirit presents the self as reflectively negating the particularities of its natural consciousness and transcending towards the social substance in order to inscribe its culturally refined self-conception upon the universal substance. Hegel argues that the reflective and determinate negations of the subordinated self by means of participative cultural production (Bildung) lead to the overcoming of servitude and subordination. That is, the actions of the supposedly ‘inessential’ servant-selfhood lead to freedom (...) and disallows the ossification of the social substance. This Hegelian insight is employed in this article to understand dominations in contemporary liberal democracies, and the participative cultural productions of the Dalits and their politics of resistance in the Indian subcontinent. (shrink)

During the last two decades, sociologist Pierre Bourdieu has become a dominant force in cultural activity ranging from taste in music and art to choices in food and lifestyles. _The Field of Cultural Production_ brings together Bourdieu's major essays on art and literature and provides the first introduction to Bourdieu's writings and theory of a cultural field that situates artistic works within the social conditions of their production, circulation, and consumption. Bourdieu develops a highly original approach (...) to the study of literary and artistic works, addressing many of the key issues that have preoccupied literary art and cultural criticism in the last twentieth century: aesthetic value and canonicity, intertextuality, the institutional frameworks of cultural practice, the social role of intellectuals and artists, and structures of literary and artistic authority. Bourdieu elaborates a theory of the cultural field which situates artistic works within the social conditions of their production, circulation, and consumption. He examines the individuals and institutions involved in making cultural products what they are: not only the writers and artists, but also the publishers, critics, dealers, galleries, and academies. He analyzes the structure of the cultural field itself as well as its position within the broader social structures of power. The essays in his volume examine such diverse topics as Flaubert's point of view, Manet's aesthetic revolution, the historical creation of the pure gaze, and the relationship between art and power. The Field of Cultural Porduction will be of interest to students and scholars from a wide range of disciplines: sociology and social theory, literature, art, and cultural studies. (shrink)

Focusing on new disciplines in 19th-century German universities, this book reexamines certain critical junctures in the traditional historical picture of the role of the scientist in modern Western society.

This article examines whether the attention to cultural products on the internet is more democratically structured than in traditional print media, and how these types of media attention affect commercial success. For the U.S. fiction book releases in February 2009, I analyze consumer ratings at the web store Amazon.com and the social networking site Goodreads.com. The results show that on the internet far more books receive attention, and that this indeed comes to the advantage of female authors and authors (...) of popular fiction. Moreover, online publicity positively affects commercial success. These outcomes suggest that online attention to cultural products dampens the effects of institutionally embedded evaluations, while word-of-mouth mechanisms are becoming increasingly prominent in terms of how cultural products are discussed. (shrink)

Chicanas and Mexican women share a history of colonialism that has (a) sustained oppressive constructions of gender roles and sexuality, (b) produced and reproduced them as racially inferior and as able to be silenced, conquered, and dominated physically and mentally, and (c) contributed to the exploitation of their labor. Given that colonialism has also come to shape the way young women of Mexican heritage learn in mainstream US schools, informal education from everyday women's conviviality and solidarity becomes a pivotal context (...) in which they can learn how to reconstitute colonial legacies. We examine how a group of Mexican working-class immigrant women at home and in a sweatshop fashion a girl named Ana, the main character in the popular film Real Women Have Curves, into a confident young woman who engages in what Pérez (1999, 2003) refers to as empowering and dynamic decolonial ways of seeing, knowing, doing, being, and reconstituting. In spite of its contradictions that, at times, assist in reproducing Ana as an oppressed laborer, it is their doing that helps produce her as a woman who engages in decolonial practices by facilitating her to deftly negotiate an oppressive economic and patriarchal space, a mainstream feminist space, and a space where their embodiments and creative cultural discourse, practices, and beliefs shine. As such, the film provides a powerful counterstory (Delgado 1989) that disrupts the chokehold of the logic of colonialism and how it seeks to classify, stereotype, and control young women like Ana. (shrink)

Fields of language practice such as education, the media, the civil service, or, indeed, literature are all places where official, and therefore institutionalised languages, prevail. At the same time, they open up spaces of social values and recognition, thus offering the opportunity for declining minority languages to enter and permeate those spaces. This is why a strategy of active promotion of minority cultures is needed to ensure that they are not controlled by the dominant practices. The Corsican language is a (...) case in point. This essay introduces three forms of identity-expression in Corsican literature – namely oraliture, militant writing, and Literature – and subsequently relocates the above issues within the cultural context of Corsica. (shrink)

This edited collection explores how African artists use their art to articulate the need for a return to the traditional African vision of communal solidarity, hospitality, and respect of humanity. The collection highlights the artists' exposure of the catastrophic effects of the abandonment of African humanism on African culture and life.

Theories of culture and action, especially after the cognitive turn, have developed more complex understandings of how unconscious, embodied, internalized culture motivates action. As our theories have become more sophisticated, our methods for capturing these internal processes have not kept up and we struggle to adjudicate among theories of how culture shapes action. This article discusses what I call “productive” methods: methods that observe people creating a cultural object. Productive methods, I argue, are well suited for drawing out moments (...) of shared automatic cognition and resonance. To demonstrate the value of productive methods, I describe my method of asking focus group participants to devise and draw AIDS campaign posters collectively. I then 1) show how this productive method made visible distinct moments of both automatic and deliberative cognition, 2) offer an operational definition of resonance and demonstrate how the process of drawing revealed moments of resonance, and 3) suggest how this method allowed me to investigate the relationship between cognition and resonance and their effect on action. To conclude, I discuss strategies for using productive methods and advocate for their use in measuring culture. (shrink)

This groundbreaking book provides an analytical tool to understand how and why evil works in the world as it does. Deconstructing memory, history, and myth as received wisdom, the volume critically examines racism, sexism, poverty, and stereotypes.

Provides a much-needed humanities-based analysis and description of humanism in relation to theses cultural markers. Whereas most existing analysis attempts to explain humanism through the natural and social sciences (the "what" of life), Anthony B. Pinn explores humanism in relation to "how" life is arranged, socialized, ritualized, and framed. This ground-breaking publication brings together old and new essays on a wide range of topics and themes, from the African-American experience, to the development of humanist churches, and the lyrics of (...) Jay-Z. (shrink)

Demands for standardization and accountability as systemic cures for perceived ills in the education system are paralleled by a public and private sector promotion of technology integration as one pedagogical solution. The general critique of education and of technology in society has developed as two related yet separate threads in critical inquiry and discussion. As electronic forms of media and communication are becoming pervasive in society in general, solutions to long-standing educational dilemmas that mirror problems in society at large need (...) to develop from grounded theories for educational practice that embrace technological forms of information, knowledge, and culture production. This needs to be done to reverse the historical trend of education as an institution first adopting and then adapting technological forms to purposes of replicating status quo culture and social relationships. Despite the claims of many to the contrary, new technology may not make any difference in education. Individual attainment and achievement through technological efficiency may prove meaningless in a world pressed to reconcile problems that move diverse societies closer together rather than farther apart. Hope, meaning, belonging, and what has been termed the pedagogy of possibility are posited as an ethical foundation for advancing the integration of technology into education for an equitable, democratic, and different future. (shrink)

The essays in this collection in honor of Pierre Bourdieu gather loosely under the rubric of 'cultural production' and around three central themes: the ...

Subjunctive Aesthetics argues for the importance of ecocritical approaches within Mexican Studies. This monograph engages with established and up-and-coming Latin American ecocritical scholars who argue that Latin America offers an important corrective to Anglocentric approaches to the Anthropocene by foregrounding colonialism and empire.

“Else-where” is a synoptic survey of the representational values given to art, architecture, and cultural production from 2002 through 2011. Written primarily as a critique of what is suppressed in architecture and what is disclosed in art, the essays are informed by the passage out of post-structuralism and its disciplinary analogues toward the real Real . While architecture nominally addresses an environmental ethos, it also famously negotiates its own representational values by way of its putative autonomy ; its (...) main repression in this regard is “landscape,” figure of the Other and figure of the Real. Engaging forms of spectrality, and not necessarily speculative intelligence per se, architecture is also “conscious” of its own complicity in capitalist orders, a complicity that in part underwrites its avant-garde forms of agitation since the onset of modern architecture. As a result, and over the course of the twentieth century, architectural vanguards have successively been depleted such that they return only as reified half-measures in the late-modern production of difference. As such, the essay “Actually Existing Ground” examines the failed promise of Landscape Urbanism. Since the 1960s, as with the allied arts, architecture has evacuated many of the utopian gestures given to modernism and embraced a form of ultra-contingency in a direct alliance with the post-modern and post-Marxist concession to markets and to cultural production as principal means of establishing formal hegemony. This recourse or surrender to the economic-determinist ethos of post-modernity, regardless of attempts to problematize it and/or critique it through types of what Manfredo Tafuri has called “operative criticism” , has, arguably, all but failed, and with the suggestive return circa 2011 of new forms of resistance an exit from the accommodating spirit of the times is indicative of the expectation of strenuous, yet highly formal and non-discursive operations within artistic and architectural production. The essays collected in “Else-where” cross various disciplines, inclusive of landscape architecture, architecture, and visual art, to develop a nuanced critique of an emergent formal regard in the arts that is also an invocation of the highest coordinates given to the arts – formal ontology as speculative intelligence itself – or the return of the universal as utopian thought “here-and-now.”. (shrink)

Analyzes twentieth-century media and cultural theories as they relate to changes in political economy, communication technology, popular culture and collective consciousness in the United States. It argues that much of contemporary media environment is operating as Western capitalist media have for more than a century, making these theories more relevant than ever.

Shows the inseparability of textuality, materiality, and history in discussions of the body.

In an era of intensifying globalization and transnational connectivity, the dynamics of cultural production and the very notion of creativity are in transition. Exploring creative practices in various settings, the book does not only call attention to the spread of modernist discourses of creativity, from the colonial era to the current obsession with 'innovation' in neo-liberal capitalist cultural politics, but also to the less visible practices of copying, recycling and reproduction that occur as part and parcel of (...) creative improvization. (shrink)

The proposal of the ‘Anthropocene’ as a new geological epoch where humans represent the dominant natural force has renewed artistic interest in the ‘geopoetic’, which is mobilized by cultural producers to incite changes in personal and collective participation in planetary life and politics. This article draws attention to prior engagements with the geophysical and the political: the work of Simone Weil and of the editors of the Martinican cultural journal Tropiques, Suzanne and Aimé Césaire. Synthesizing the political and (...) scientific shifts in human-world relationships of their time, both projects are set against oppressive or narcissistic materialisms and experiment with the image of the ‘cosmic’ to cultivate a preoccupation not with a tangible materialism but with an intangible one that emphasizes process and connectivity across wide spatial and temporal scales. The writers’ movement between poetics and politics will be used to enquire what kind of socio-political work a contemporary geopoetic could potentially do. (shrink)

One can read the history of kitsch and the history of kitsch theories by accentuating either everyday aesthetics (knickknacks) or pseudo art/bad art. The authors have divided their introduction to the topic by accentuating first everyday aesthetics (this part includes a detailed history of kitsch research) and then art—especially the wave of contemporary art that has lately been knocking on the doors of kitsch. Three historical stages of kitsch are discussed. The first stage discusses the topic and gives (e.g., bad, (...) sentimental art and interior design) negative attention only. This phase ends with Clement Greenberg’s essay “Avant-Garde and Kitsch” (1939). The second wave discusses kitsch in a curious manner, mainly around the 1960s. And the contemporary stage of the discussion is often positive (starting from the 1990s). In the part where contemporary art is analyzed, art’s kitschy side is traced historically to the Dutch art market of the seventeenth century. But today’s art world, which is strongly invaded by kitsch, gains the main attention. How did kitsch become so central to contemporary art? What forms has it taken there? (shrink)

During the past ten years, China’s micro film industry has made a rapid development aided by technological changes. Focusing on three types of micro films, this paper reveals some characteristics of China’s micro films within socialist cultural production with Chinese characteristics. This model departs from a past when the government managed everything during the Planned Economy, but is also different from the models of cultural policy in the West. The micro films examined are A Murder Case Triggered (...) by a Steamed Bun, a parody of film Wuji, market-conspiracy micro films such asImminent and The Only Choice, and social-welfare micro films likeI will give you happiness when I grow up. All of them bring forth the issue of coordination and harmonization of conflict between social-welfare and market efficiency. (shrink)

Introduction BEVERLEY SKEGGS By asking a group of feminist cultural theorists who have produced exemplary interdisciplinary scholarship in the to reflect ...

Pornographic Sensibilities stages a conversation between two fields-Medieval/Early Modern Hispanic Studies and Porn Studies-that traditionally have had little to say to each other. The collection offers innovative new approaches to the study of gendered and sexualized bodies in medieval and early modern textual production, including literary and historical documents. The volume's embrace of the interpretative tools of Porn Studies also inscribes a critical provocation: in what ways can contemporary modes of reading the past serve to freshly illuminate not only (...) the contours of that same past but also the very critical assumptions of the present upon which fields like medieval and early modern Hispanic Studies are built? In this way, Pornographic Sensibilities encourages at once both rigorous historicizations of pre- and early-modern culture, and playful engagement with "presentism," considered here as a critical tool to undress the hidden assumptions of both past and present. This move substantively challenges long-held critical orthodoxies among scholars of pre-Enlightenment periods, for whom the very category of "pornography" itself has often problematically been framed as an anachronism when applied to their work. (shrink)

Ten years after the popular uprising that became a brutal war, Syrian and Syrian-Palestinian authors are engaged in the struggle to craft a historical consciousness that can acknowledge and mourn for their recent revolutionary past without reifying it. As they write in and of material, political, and social ruin, their works echo collective traumas in regional memory: the Palestinian nakba, the rise of Syria’s Assad regime, Lebanon’s civil war, the 2003 occupation of Iraq, and more. The ruin appears cruelly recursive, (...) yet it is arrested in the corpus of works discussed in this article: poetry by Firas Sulaiman and Osama Esber; prose by Yassin al-Haj Saleh, Samer Yazbek, and Ra’id Wahsh; and documentary film by the Abounaddara Collective. Drawing on Arabic poetic modernism and regional politics, I argue that ruin imagery—ranging from war’s rubble to ancient artefacts—carries distinctive structures of temporal anticipation in Syrian literary and cultural memory. The writers and filmmakers discussed deploy formal and thematic means of stasis and repetition, displacement and accumulation, to summon these temporal structures—only to refuse, interrupt, and reroute them. I argue that such poetic engineerings of the images of ruin assert the singularity of the Syrian present within broader collective memories of ruin. As such, they raise a historicizing challenge to the current academic dominance of reading ruin imagery, notably from the Middle East, through an imperial lens. (shrink)

In exploring Wordsworth's professionalization as a writer, the author's interpretations are coordinated by a single, albeit highly ramified, critical hypothesis: that Romanticism's aesthetic forms afforded the middle classes an imaginary furlough from the impinging consciousness of their tenuous socioeconomic status.

This article reflects on how data circulations and data analysis have become a central and routine part of contemporary life; it does this through the lens of a particular cultural form: the game of football. More specifically, the article focuses upon the role of data in the production and playing of football, with the suggestion that forms of measurement and pattern recognition are now central to the performance of footballers and the recruitment and organization of squads. The article (...) reflects on what this case study reveals about the implications of data, metrics and analytics for contemporary culture and suggests that we can use examples like football to see how embedded these data-processes are in the social world. This article presents the concept of productive measures as one means for analysing such developments. (shrink)