‘Hipster Capitalism’ in the Age of Austerity? Polanyi Meets Bourdieu’s New Petite Bourgeoisie

Scott, Michael

doi:10.1177/1749975516681226

Cited by 58 publications

(35 citation statements)

References 69 publications

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“…Finalmente, los casos privilegiados de estudio de esta corriente posmoderna: las fábricas de creación, fablabs o estudios artísticos, más que escenarios de creación y experimentación, más que por su producción cultural, son conocidos como escenarios de sociabilidad y consumo hipster. En ellos, en lugar de Polanyi y su lógica de reciprocidad característica de las redes artísticas, prevalece Bourdieu y las lógicas distintivas de estatus (Scott, 2017).…”

Section: La Perspectiva Posmoderna Del Cambio Artístico Centrada En Eunclassified

Cambio social y cambio artístico: autonomía de la esfera artística e influencia de la estructura en la sociología de las artes

Rius-Ulldemolins

2020

Política Soc.

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La interpretación de la influencia del cambio social en el cambio artístico ha sido desde el inicio de la sociología una cuestión controvertida. Así, para los autores clásicos de la sociología, el arte constituía un desafío a sus teorías. Sus aportaciones teóricas constituyen contribuciones valiosas, son importantes para desarrollar una perspectiva sociológica del cambio artístico. Sin embargo, la interpretación heterónoma de lo artístico respecto a lo social, especialmente por la perspectiva postmarxista o neodurkhemiana, impone severos límites al análisis del cambio artístico, que solo será superado a partir de la conceptualización weberiana del arte como esfera social autónoma. A partir de esta base, se analizarán tres corrientes de la sociología del arte (estructuralista, interaccionista e institucionalista), que intentan desencriptar la black box que representa la influencia social en la creación artística a partir de una perspectiva mesosociológica. No obstante, el surgimiento de las orientaciones posmodernas representa un retorno estimulante pero confuso del nivel de análisis macro que vuelve a poner en tela de juicio el debate sobre autonomía y la heteronomía del arte. El análisis crítico de la aportación de cada corriente y perspectiva de la sociología del arte sobre la autonomía y la influencia de la estructura será el objeto de este artículo.

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Section: La Perspectiva Posmoderna Del Cambio Artístico Centrada En Eunclassified

Cambio social y cambio artístico: autonomía de la esfera artística e influencia de la estructura en la sociología de las artes

Rius-Ulldemolins

2020

Política Soc.

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“…Teoreticky postulované mechanismy by měly směřovat k tříbení a upevňování habitu jakožto kognitivnímu odrazu sociálního prostředí. Zároveň klíčová a zatím nedostatečně zodpovězená otázka je, nakolik -a jakým způsobem -mohou být rozdíly ve vkusu kapitalizovatelným zdrojem [Jarness 2017;Savage, Warde, Devine 2005], ať již v rovině získávání pracovních pozic [Igarashi, Saito 2014], podnikání [Scott 2017] či mocenského postavení. Předpokladem jejího zodpovězení je pak mimo jiné detailní longitudinální sledování přechodu mezi vysokou školou a profesním životem.…”

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Cultural Capital at the University: The Structuration of the Cultural Space of Students of Charles University

Špaček¹

2018

Czech Sociological Review

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Cultural capital is an important part of the conceptual apparatus of research on inequalities and social reproduction. The putative transformation of cultural hierarchies in contemporary society, however, opens up the question of whether it still makes any sense to speak of 'legitimate taste' and eventually of what the nature this legitimate taste might be. This article examines what constitutes legitimate culture in the context of university-level study. It focuses on the differentiation of taste and the way in which the space of cultural consumption is structured by academic disciplines and university faculties. The article draws on data from a questionnaire survey of first-and second-year students at Charles University in 2017 (n = 5127) and conducts a multiple correspondence analysis. It shows that the first dimension of the cultural space of students can be interpreted as the axis of overall cultural capital without any specific differentiation. The third dimension of cultural space, by contrast, convincingly captures a cleavage between traditional cultural capital and a new form of cultural capital. The amount of cultural capital accumulated depends on the kind of academic disciplines studied, but another significant structuring element of cultural capital is the environment of individual university faculties itself.

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“…The growth of a diversity of cultural ‘micro‐enterprises’ that merge traditional forms of skilled artisanal making with an ability to mediate and perform configurations of ‘good taste’ is an increasingly prominent feature of post‐industrial economies (Scott ). Boltanski and Esquerre (: 33) have sought to conceptualize the use of narratives to marshal cultural value and to ascribe that value to products and the people involved in making them, ‘enriching’ them with value and ‘a kind of aura surrounding them, signifying that they are exceptional’ as being increasingly prominent in Western economies as they continue to shift away from mass production and consumption.…”

Section: Introductionmentioning

confidence: 99%

A thirst for the authentic: craft drinks producers and the narration of authenticity

Thurnell‐Read

2019

British Journal of Sociology

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There is a long academic tradition which positions the desire for authenticity as emerging as a symptom of dissatisfactions with modernity. Most recently, this has involved consumption of products that are valued for being authentic in contrast to mass produced commodities which are seen as being homogeneous, standardized and therefore inauthentic. A recent resurgence in interest in the idea of craft and craftwork has brought to the fore concerns about re-establishing connections between products, consumers and producers beyond rational market exchange. This research draws on interviews with 40 craft brewery and distillery workers to explore the ways in which authenticity is narrated as part of an ongoing effort to add value to their products and the contexts of their production. The article identifies six modes of authenticity which are drawn on in combination by participants to establish a narrative of authenticity. This is understood to be a clear illustration of the 'enrichment process' by which post-industrial economies manufacture value. A central element of craft drink producers' work is the marshalling of cultural value and engaging in communicative and performative acts that ascribe that value to products and the people involved in making them.

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‘Hipster Capitalism’ in the Age of Austerity? Polanyi Meets Bourdieu’s New Petite Bourgeoisie

Cited by 58 publications

References 69 publications

Cambio social y cambio artístico: autonomía de la esfera artística e influencia de la estructura en la sociología de las artes

Cambio social y cambio artístico: autonomía de la esfera artística e influencia de la estructura en la sociología de las artes

Cultural Capital at the University: The Structuration of the Cultural Space of Students of Charles University

A thirst for the authentic: craft drinks producers and the narration of authenticity

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