Pssst… we can write an original essay just for you. Your time is important. Get essay help. An overview of Civil disobedience Essay. Superman is dead! Dostoyevsky and Ubermensch Theory Essay. Find Free Essays We provide you with original essay samples, perfect formatting and styling. Order Now. Please check your inbox. Order now. Hi there! Are you interested in getting a customized paper?
Check it out! Having trouble finding the perfect essay? Hire a writer. Got it. Taste is not pure. Bourdieu demonstrates that our different aesthetic choices are all distinctions - that is, choices made in opposition to those made by other classes.
This fascinating work argues that the social world functions simultaneously as a system of power relations and as a symbolic system in which minute distinctions of taste become the basis for social judgement. Uploaded by ColeFromTexas on October 6, Internet Archive's 25th Anniversary Logo. Search icon An illustration of a magnifying glass. User icon An illustration of a person's head and chest. The artists, who shared this world view, were led to include arithmetical and geometrical devices in their compositions so as to flatter this taste for measurement and calculation; and they tended to exhibit the technical virtuosity which, in this context, is the most visible evidence of the quantity and quality of the labour provided; M.
To assert the autonomy of production is to give primacy to that of which the artist is master, i. It also means a refusal to recognize any necessity other than that inscribed in the specific tradition of the artistic discipline in question: the shift from an art which imitates nature to an art which imitates art, deriving from its own history the exclusive source of its experiments and even of its breaks with tradition.
The aesthetic disposition demanded by the products of a highly autonomous field of production is inseparable from a specific cultural competence. This historical culture functions as a principle of pertinence which enables one to identify, among the elements offered to the gaze, all the distinctive features and only these, by referring them, consciously or unconsciously, to the 6 See P.
This mastery is, for the most part, acquired simply by contact with works of art—that is, through an implicit learning analogous to that which makes it possible to recognize familiar faces without explicit rules or criteria—and it generally remains at a practical level; it is what makes it possible to identify styles, i. The pure gaze implies a break with the ordinary attitude towards the world, which, given the conditions in which it is performed, is also a social separation.
This is seen clearly in the case of the novel and especially the theatre, where the working-class audience refuses any sort of formal experimentation and all the effects which, by introducing a distance from the accepted conventions as regards scenery, plot etc.
In contrast to the detachment and disinterestedness which aesthetic theory regards as the only way of recognizing the work of art for what it is, i. Whereas, in order to grasp the specificity of the aesthetic judgement, Kant strove to distinguish that which pleases from that which gratifies and, more generally, to distinguish disinterestedness, the sole guarantor of the specifically aesthetic quality of contemplation, from the interest of reason which defines the Good, working-class people expect every image to explicitly perform a function, if only that of a sign, and their judgements make reference, often explicitly, to the norms of morality or agreeableness.
Whether rejecting or praising, their appreciation always has an ethical basis. Popular taste applies the schemes of the ethos, which pertain in the ordinary circumstances of life, to legitimate works of art, and so performs a systematic reduction of the things of art to the things of life.
The pure aesthetic is rooted in an ethic, or rather, an ethos of elective distance from the necessities of the natural and social world, which may take the form of moral agnosticism visible when ethical transgression becomes an artistic parti pris or of an aestheticism which presents the aesthetic disposition as a universally valid principle and takes the bourgeois denial of the social world to its limit. The detachment of the pure gaze cannot be dissociated from a general disposition towards the world which is the paradoxical product of conditioning by negative economic necessities—a life of ease—that tends to induce an active distance from necessity.
Although art obviously offers the greatest scope to the aesthetic disposition, there is no area of practice in which the aim of purifying, refining and sublimating primary needs and impulses cannot assert itself, no area in which the stylization of life, that is, the primacy of forms over function, of manner over matter, does not produce the same effects.
In fact, through the economic and social conditions which they presuppose, the different ways of relating to realities and fictions, of believing in fictions and the realities they simulate, with more or less distance and detachment, are very closely linked to the different possible positions in social space and, consequently, bound up with the systems of dispositions habitus characteristic of the different classes and class fractions.
Taste classifies, and it classifies the classifier. Social subjects, classified by their classifications, distinguish themselves by the distinctions they make, between the beautiful and the ugly, the distinguished and the vulgar, in which their position in the objective classifications is expressed or betrayed.
And statistical analysis does indeed show that oppositions similar in structure to those found in cultural practices also appear in eating habits. The culture which results from this magical division is sacred. Cultural consecration does indeed confer on the objects, persons and situations it touches, a sort of ontological promotion akin to a transubstantiation.
0コメント