The article critically investigates recent assumptions that professional women are en route to equality with professional men by assessing the field of architecture as a case study. It addresses the poorer completion rates for women architectural students, together with the lower proportions of professionally registered and promoted women architects.The article explores, in particular, Bourdieu’s theories of gender divisions and higher professions as an explanatory grid for understanding these phenomena, deploying especially two late works, Masculine Domination (2001) and The State Nobility (1996). It is argued that the extended Bourdieusian theory of practice illuminates the interview data gathered from women architects, especially through its emphasis on a disposition to naturalize domination. While Bourdieu’s position is not without weaknesses, this theory sheds light on the difficulties women practitioners are found to face empirically, especially in combining architecture and parenting.
Bourdieu's work on modern cultural production has certain omissions. It fails to raise the possibility that authors such as Salman Rushdie, either writing from peripheral nations or from powerless minorities within a powerful nation, might be called `heroic modernists'. This would differentiate them from the routinized form of late 20th-century modernist avantgardism, which operates within the logic of the laws of the `restricted literary field' and contributes inadvertently to social reproduction rather than transformation. The argument of the article provides grounds for seeing Rushdie as such a `heroic modernist'. The structural location for contemporary `heroic' modernism is linked to the particular position the writer occupies as a stranger or migrant. However, it is proposed that even writing such as Rushdie's, deriving as it does from the political good intentions of the radical, is constrained to establish itself within a highly competitive cultural field. The article asks whether the `double rupture' of the Verses - a rupture both with the bourgeois bestselling novel and with popular forms - is not the main source of those social contradictions on which the writer himself came to be so impaled. Not the least among such contradictions is the imperative for the purpose of literary distinction of the refusal of a traditional realist style, which led the author towards an ironic iconoclasm: a comic grotesque mode of subverting of the sacred.
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