This article explores the nexus of class, gender, and musical taste for the white middle-class family in the USA from the late 1940s through the mid-1950s. Cultural intermediaries in the western concert music field embraced an upper-middlebrow aesthetic and, in the anomic age of the reconversion era, buttressed the symbolic boundaries of whiteness for their middle-class readership. Using Bourdieu's work on fields and taste, I examine the representation of the classificatory schemes of western concert music in George Marek's music column in Good Housekeeping, one of the era's most popular magazines. I also examine how musical practices were gendered in the familial embodiment of cultural capital. This study concludes with an elaboration of Bourdieu's work on fields and Negus's work on cultural intermediaries, in order to highlight the connections between the privileges of musical taste and racialization in the USA, at mid-century and today. Betty Friedan (1963) argued that the existential dread of the American mother was exacerbated in part by the plenitude of the marketplace. Freidan's portrait ruptured the mystique of quotidian afternoons in suburban cul-de-sacs, yet her conclusions were Journal of Consumer Culture IN THE FEMININE MYSTIQUE,
This article analyzes the sociality of illegal file sharing as one domain of teletechnology, using poststructural theory to conceptualize the file-sharing setting. It reveals the assumptions about file sharing in popular media, and demonstrates how the persistence of illegal file sharing across racial, economic, and status lines might be attributed to psychological and neurophysiological causes. To conclude, I consider the implications of poststructuralism for extension and synthesis in future social theory.Five years ago, in this journal, Patricia Clough (2000a:397) issued a tall order for sociology: to imagine the ontological implications of poststructuralism in order to produce a sociology capable of jumping ''from and to different scales of sociality from the microphysical [e.g., unconscious desire] to the macrocultural [e.g., global capital].'' A new politics was deemed necessary in order to imagine the historicity of the technical substrate of the unconscious and the global reach of teletechnology. Put another way: if the filmic apparatus of late modernity 1 gave rise to certain enframings for unconscious desire, then how do the objects of teletechnology delimit new channels for desire and pleasure, labor and capital? Teletechnology is not just personal computers and television, per se, but ''the full interface of computer technology'' (Clough 2000b:3), and thereby includes cell phones, personal digital assistants, and peer-to-peer file-sharing networks. Clough's edict, first, echoes Durkheim's dream ([1893] 1984:xxvi) of sociology as the science of morality.Because what we propose to study is above all reality, it does not follow that we should give up the idea of improving it. We would esteem our research not worth the labour of a single hour if its interest were merely speculative.Second, it insists that we reckon with the historical specificity of the unconscious and its refraction of and through teletechnology, which promises: globalized networks of information and communication whereby layers of electronic images, texts, and sounds flow in real time, so that the speeds of . . . reterritorialization of social spaces . . . are beyond any user's mere decision to turn ''it'' on or off . . . [T]eletechnology is both [a] register and an actualization of postpersonal thought. (Clough 2000b:3)
Do It Yourself is a way of supporting creativity development among the youngest children. Starting from this assumption, creativity can be understood as an ability to present new ideas. Do It Yourself is a set of numerous possibilities of supporting children's development through artistic and technical activity. Artistic and technical activities are the sources of first experiences in learning about the world. During such activities we enhance perceptual, emotional, social and also physical development. With those activities we express ourselves. DIY can be thus understood as a modern way of supporting development by producing artistic and technical objects. DIY has not been well and directly described in a scientific literature yet, but there are many valuable and interesting references in the field of psychology, artistic education and play. DIY may be thus seen as an interdisciplinary and promising therapeutic method.
This article uses Bourdieu’s cultural framework to analyze the social determinants and internal logic of a swing dance field in New York City. Using habitus, field, hexis, and cultural capital, the author offers an ethnographic analysis of how former members of punk subcultures transposed their durable, familial-based dispositions into the swing dance field. Likewise, this article explores the homologies between the fields of punk and swing and examines the influence of the agents’ class backgrounds. To conclude, the author considers possible extensions of Bourdieu for future studies of American leisure and consumption.
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