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By Tony Bennett, Mike Savage, Elizabeth Bortolaia Silva, Alan Warde, Modesto Gayo-Cal, David Wright

Culture, classification, Distinction is significant contribution to overseas debates concerning the position of cultural capital on the subject of glossy varieties of inequality. Drawing on a countrywide research of the organization of cultural practices in modern Britain, the authors evaluate Bourdieu’s vintage examine of the relationships among tradition and sophistication within the gentle of next debates.

In doing in order that they re-appraise the relationships among category, gender and ethnicity, track, movie, tv, literary, and humanities intake, the agency of wearing and culinary practices, and practices of physically and self upkeep. because the such a lot entire account thus far of the numerous interpretations of cultural capital which have been constructed within the wake of Bourdieu’s paintings, Culture, classification, Distinction bargains the 1st systematic review of the relationships among cultural perform and the social divisions of sophistication, gender and ethnicity in modern Britain.

It is key analyzing for somebody attracted to the relationships among tradition and society.

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Extra info for Culture, Class, Distinction (Culture, Economy, and the Social)

Example text

While the concept of cultural capital thus provides the organising centre for our concerns, we need to disentangle our approach to this concept from aspects of its use and interpretation in Bourdieu’s work. This requires that we take account of how Bourdieu’s understanding of cultural capital is affected by its relationships to the concepts of field and habitus, and of how it relates to his account of the space of lifestyles. These comprise the first set of questions addressed in this chapter. Consideration of these will provide a theoretical context for our second concern: to identify how our research methods have both been informed by, and depart from, Bourdieu’s methodological procedures.

Halsey et al. (1980) showed that in the post-war selective system, where all children were tested at age 11, with a small minority going to educationally advantaged grammar schools and the rest to secondary-modern schools, middle-class children were systematically advantaged. However, as a committed supporter of educational reform and the comprehensive system, Halsey insisted that there were no intrinsic reasons why the working-class children who predominantly went to secondary-modern schools could not follow more academic routes – given the opportunity.

Bourdieu, 1984: 30) This leads to an aesthetic of the modernist avant-garde, championed by intellectuals and artists, seeking the purity of abstraction. By contrast, wealthy ‘industrialists’ still repudiate routine everyday experience, but through indulgence in the leisurely and luxurious, whereby they ‘incline towards a hedonistic aesthetic of ease and facility, symbolised by boulevard theatre or Impressionist painting’ (Bourdieu, 1984: 176). This is the aesthetic of ‘conspicuous consumption’, of lavish display.

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