In his book Distinction: A social critique of the Judgment of Taste (Bourdieu 1984), he conducted extensive research into the taste and preference of different social groups in France in the1960’s, known as the bourgeoises. The role of them had been taken over by “cultural intermediaries” who were certain to have “the importance in deterring the taste patterns for the rest of the society” (Strinati 1995:219). In other words he distinctively describes ways in which classes consume cannot simply be explained by economic inequalities, naming this disposition as “Cultural Capital”. The concept of taste is intractably linked with the notion of discriminations, social hierarchies and making judgements of accepting or rejecting which is a selective preferment. For instance, Bourdieu, who follows a ‘conventional tripartite classification’ refers to the universe of taste as legitimate taste (the taste for legitimate artefacts), middle taste which combines nor minor works in major art forms (‘profit in distinction’) and popular taste represented by choice of ‘light’” (Llyods, page 159).
Reflective Statement Candide The interactive oral conceptualized the satirical devices used by Voltaire in Candide and connected it’s cultural and contextual references to today’s world. Although the overarching storyline envelopes the underlying allusions, my peers illuminated hidden relationships beneath it. Thus, because of their explanations, Voltaire’s ridicule of his time period’s customs is comparable to the modernized world, of which my peers elaborated upon. One example to bring across is Vince’s acknowledgment of Voltaire’s mockery of philosophy. During Voltaire’s time period of the Enlightenment, people questioned as to which perspective to view life.
Karen Quiroz Munoz Professor Buechele Midterm: Question 2 In this paper I will discuss the "Culture Industry" by Theodor Adorno and Max Horkheimer and why they argued that audience identification with the products of the culture industry was manipulation. Also I will discuss Adorno and Horkheimer 's views of the possibility to have "authentic" forms of art produced through the culture industry. And lastly, how they define true works of art. Adorno and Horkheimer take an interesting stance when it comes to the rise of new forms of mass media. They believed the 'art ' was being sold and becoming a commodity and in doing so losing its autonomous.
Finally, a connection will be drawn between such Marxist analysis and state of the Capitalist system as it exists in the current South African socio-political and economic climate, examined vis-à-vis a contemporary newspaper article, Business rescue for Lily Mine only option, says Solidarity, alluding to such structures and contradictions. Marx achieved an unrivalled complexity in his analysis through his use of the materialist dialectic, which sought a material and economic basis in reality in order to understand the ‘superstructure’ – those elements of ideology and other institutional aspects (Best, 2003). To properly outline the structural components of Capitalism, one must begin with its smallest functional unit founded in the material world – the
Ellingson and Ellis (2008) see auto-ethnography as a social constructionist project that rejects binary opposition between the researcher and the researched, objectivity and subjectivity, process and outcome, self and others, and the personal and the political. Carolyn Ell is writes, “In auto-ethnographic work, I look at validity in terms of what happens to readers as well as to research participants and researchers”. Ellis suggests to judge auto-ethnographic writings on the usefulness of the story. In other words, the most important is what narratives do, what consequences they have. Narrative in his perspective is the way we remember the past and disclose to others the truth of our
Humour as a powerful tool to change things: the status of women in yesterday’s and today’s satire. Since Aristophanes’ comedies, satire has been aiming at criticizing the injustices of the authorities as well as the moral wrongness of society. By the wise use of wit and humour, satire castigat ridendo mores, a Latin phrase coined by the 17th century French scholar Jean de Santeul. The meaning of the sentence is that one can change customs of society s/he is living in by laughing at them. In other words, the best way of changing things is to point out their absurdity and satirise them.
His novel, Fight Club, suggests that societies tendency to engage in materialistic behaviors has affected the way modern society perceives masculinity. The author demonstrates the relevancy of this real world cultural implication through his statement, “then you’re trapped in your lovely nest, and the things you use to own, now they own you” (Palahniuk 22). Like many people of society, the narrator of the novel lists things of value in order to establish a status that suggest power. What the author implies through this quote is that society tends to develop a cycle of buying senseless items for the sole purpose of demonstrating financial strength and an illusion of prosperity. Society's tendency to be materialistic perceives the new version of masculinity through a male's ability to demonstrate their buying power.
In doing so, he mocked the entire foundations on which the institution of art had been built. Traditionally, uniqueness and originality gave an artwork its value in symbolic and monetary terms, and was a concept preserved through modernist art criticism. In 1936, Walter Benjamin, a cultural theorist wrote an essay entitled The Work of Art in the Are of Mechanical Reproduction, which radically reworked this view, laying charges of elitism at the feet of key figures such as Greenberg. Benjamin claimed that reproduction through printing and other methods could achieve the democratization of art because of its lower commodity value and accessibility to the masses. Pop artists, minimalists, conceptual artists and performance artists adopted Benjamin’s ethos, interpreting his words through a diverse range of media and techniques that undermined concept of authenticity and value and distorted commoditization.
15 Mar. 2018 Castro analyzes the irony in the Sophocles’ play “Antigone”. The critic explains how Sophocles uses tyranny to show the irony used in the play. Creon, the antago-nist, says things in the play that actually describe himself when he was talking about others, therefore being hypocritical. The critic explains this by saying “Creon be-ing hypocritical is the most ironic thing that happened in this play.” Johnson, Graham.
I have picked a famous quotation by Karl Marx to introduce my reflexion paper because of two reasons. First, it depicts how strongly our world is affected by objects outside of our own body, being vehicles of meaning, value, power or religion and as well it refers to the work of Janet Hoskins (2006), who has been inspired by Gell’s work (1998), talks about the shifting “personhood” floating from subject - person (also a such a vehicle) to the object and vice versa. Also it serves as an introduction to the discussion over the dialectics of mind-body, raw-cooked, culture-nature and then, materials versus materiality. Particularly, I will object to the slightly hapless disagreement between Ingold and Tilley, which in fact, perhaps accidentally,