2009
DOI: 10.1080/09502360903000547
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For neither love nor money: the place of political art in Pierre Bourdieu's literary field

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Cited by 21 publications
(3 citation statements)
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“…There are potential problems with the model, however. Jarad Zimbler (2009) has claimed that both Bourdieu and Casanova reduce the literary field to a strict opposition between autonomy and heteronomy -between the pure aesthetic space of the literary present and the 'external' forces of commercialism (Bourdieu) or politics (Casanova). Literary legitimacy, by their definition, must have an aesthetic and not a political or commercial motivation.…”
Section: Field World Vernacularmentioning
confidence: 99%
“…There are potential problems with the model, however. Jarad Zimbler (2009) has claimed that both Bourdieu and Casanova reduce the literary field to a strict opposition between autonomy and heteronomy -between the pure aesthetic space of the literary present and the 'external' forces of commercialism (Bourdieu) or politics (Casanova). Literary legitimacy, by their definition, must have an aesthetic and not a political or commercial motivation.…”
Section: Field World Vernacularmentioning
confidence: 99%
“…9. See Zimbler (2009) and Etherington (2012) on the implications of thinking through theories of "field" and "material" in South Africa and the Caribbean, respectively. 10.…”
Section: Fundingmentioning
confidence: 99%
“…O que sugiro, retomando e ampliando o argumento, é que com as independências e instalação de novos regimes políticos houve novas condições de exercício da atividade literária que se criaram em todos os PALOP, com um fortalecimento do campo de produção ideológica e o surgimento de um campo político nacional e autóctone que coloca em cena a possibilidade de profissionalização da política e de sua correlativa autonomização com relação a outros campos. Vale dizer também que com a expulsão do colonizador, há o fim de uma censura imposta pelo poder colonial, mecanismo que envolve um critério exterior ao campo literário e acaba também por plasmar a produção literária dos territórios até então sob domínio de um poder estrangeiro (ZIMBLER, 2009).…”
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