The Cultural Intermediaries Reader

Maguire, Jennifer Smith; Matthews, Julian

doi:10.4135/9781473912281

Cited by 102 publications

(44 citation statements)

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“…While acknowledging that it can be considered as a limitation of our measurement strategy that we are unable, in technical terms, to disentangle the relative strengths of these factors, we hold that, as an institution, the essence of culture sections in quality European newspapers is built on the idea of telling the readers what 'art' and 'culture' are. 11 See, for example, Bourdieu, 1984Bourdieu, , 1993Smith Maguire and Matthews, 2014;Janssen and Verboord, 2015. For a classic account emphasizing the role of 'mass media gatekeepers' in cultural production, see Hirsch, 1972.…”

Section: Notesmentioning

confidence: 99%

Enter Culture, Exit Arts?

Purhonen¹,

Heikkilä²,

Hazır³

et al. 2018

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Key debates of contemporary cultural sociology -the rise of the 'cultural omnivore', the fate of classical 'highbrow' culture, the popularization, commercialization and globalization of culture -deal with temporal changes. Yet, systematic research about these processes is scarce due to the lack of suitable longitudinal data. This book explores these questions through the lens of a crucial institution of cultural mediation -the culture sections in quality European newspapersfrom 1960 to 2010.Starting from the framework of cultural stratification and employing systematic content analysis both quantitative and qualitative of more than 13,000 newspaper articles, Enter Culture, Exit Arts? presents a synthetic yet empirically rich and detailed account of cultural transformation in Europe over the last five decades. It shows how classifications and hierarchies of culture have changed in course of the process towards increased cultural heterogeneity. Furthermore, it conceptualizes the key trends of rising popular culture and declining highbrow arts as two simultaneous processes: the one of legitimization of popular culture and the other of popularization of traditional legitimate culture, both important for the loosening of the boundary between 'highbrow' and 'popular'.Through careful comparative analysis and illustrative snapshots into the specific socio-historical contexts in which the newspapers and their representations of culture are embedded -in Finland, France, Spain, Sweden, Turkey and the UK -the book reveals the key patterns and diversity of European variations in the transformation of cultural hierarchies since the 1960s. The book is a collective endeavour of a large-scale international research project active between 2013 and 2018. Semi Purhonen is Associate Professor of Sociology at the Faculty of Social Sciences, University of Tampere, Finland. Between 2013 and 2018, he worked as academy research fellow at the Academy of Finland and was the Director of the research project 'Cultural Distinctions, Generations and Change', which lays the ground for the present book. His research interests are in the fields of cultural sociology, consumption, lifestyles and social stratification; sociology of age, generation and social change; and comparative research and sociological theory. Riie Heikkilä is a postdoctoral researcher at the Faculty of Social Sciences at the University of Tampere, Finland. Her main research interests include cultural capital, cultural consumption and social stratification, and comparative sociology in general. Her research project 'Understanding Cultural Disengagement in Contemporary Finland' has funding from the Academy of Finland until 2020. Irmak Karademir Hazır is Senior Lecturer in Sociology at the Department of Social Sciences, Oxford Brookes University, UK. Her research focuses on topics such as taste, socio-cultural change, Bourdiesian analysis of Turkish consumption scene and embodiment. She has worked as a board member of the European Sociological Association, Consumption Research Ne...

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Section: Notesmentioning

confidence: 99%

Enter Culture, Exit Arts?

Purhonen¹,

Heikkilä²,

Hazır³

et al. 2018

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“…In more recent years this category has been widened to include a diverse group of artists, creative practitioners and those within the cultural sector who work, in different ways, to engage communities with creative activity. This intermediation activity can stretch from attracting new audiences for galleries and performances to getting individuals more actively involved in creative production (Smith Maguire and Matthews ).…”

Section: Introductionmentioning

confidence: 99%

Time, rhythm and the creative economy

Jones

Warren

2016

Trans Inst British Geog

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Creative practice is fetishised in the policy discourse of post-industrial economies as a driver of growth and social inclusion. Conceptually, we advance Lefebvre's incomplete rhythmanalysis project by combining the ideas of dressage and arrhythmia to give novel insights into contradictions within the contemporary creative economy. Our analysis shows dressage (practices learned through repetition) being used as a means to impose unsustainable ('arrhythmic') patterns of working within the creative sector. Cultural intermediaries, practitioners whose work focuses on engaging communities with the benefits of the creative economy, are today finding themselves chasing short-term, bureaucratic demands on their time, which operate counter to the rhythms of creative production. This paper draws on interviews and activity diaries kept by intermediaries collected as part of a large AHRC-funded project. We conclude that the rhythmic regimes being imposed on intermediaries by policymakers and funders are in fact driving out the very creative practices they are intended to foster. This contradiction has major implications for growth, social inclusion and wellbeing in an age of neoliberal austerity.

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“…Bu anlamda onları seçkin beğeninin içini dolduran aktörler veya bekçiler (gatekeeper) olarak görmek mümkündür. 33 Örneğin 1960'larda New York Times ve Los Angeles Times gazetelerinde popüler müzik türlerinin eleştirilerine daha çok yer verilmiş, bu da değinilen türlerin Amerika'da diğer ulusal bağlamlardan daha önce meşrulaşmasını sağlamıştır. Baumann'ın sinemanın yaşadığı dönüşümü incelediği çalışması ise yaygınca okunan eleştirmenlerin bu alanının 'ciddi' sanat olarak sınıflandırılmaya başlamasında rolü olduğunu göstermiştir.…”

Section: Sınıflandırmalarda Gazetelerin Rolüunclassified

Kültürel Açılım, Hepçillik ve Seçkin Sanatın Düşüşü: Türkiye-Avrupa Karşılaştırması

Hazır

Purhonen

2017

İlef Dergisi

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ÖzGüncel birçok çalışma, kültür ve sanat alanındaki sınıflandırmaların önemli yapısal dönüşümler geçirmekte olduğunu öne sürer. Kimilerince bu süreç, yerleşik/köklü (established) sanat tanımının sınırlarının, yeni ortaya çıkan (emerging) sanat alanlarını da içerecek şekilde geçirgenleşmesini içerir ve bu sebeple 'kültürel açılım' olarak tarif edilir. Kimilerince ise, beğeni kültürleri arasındaki hiyerarşinin esnekleşmesini içerir ve 'kültürel hepçillik' kavramı ile açıklanır. Sunulan bu çalışmada, altı Avrupa ülkesininde yapılan ve 1960-2010 arasında gazetelerde yayınlanan kültür-sanat haberlerinin (N=13,161) içeriğini inceleyen bir araştırmanın verileri kullanılarak şu sorulara cevaplar aranmaktadır: Yayınlanan haberlerin ve eleştirilerin kültür alanlarına göre dağılımı nasıldır? Zaman içerisinde, köklü alanlar ile yeni ortaya çıkan alanlara gösterilen gazetecilik ilgisi değişmiş midir? Belirli bir sanat alanının alt türleri arasındaki hiyerarşi; örneğin klasik müzik, pop müzik ayrımı, öngörüldüğü gibi giderek azalmakta mıdır? Avrupa örneklerinde 'kültürel açılım'dan ziyade 'kültürel hepçilleşme' tezinin açıklayıcı olduğu yörüngeler tespit edilmiştir. Türkiye'de ise diğer ülkelere kıyasla, yeni ortaya çıkan alanlara ve popüler türlere yoğun ilgi olduğu görülmektedir. Sonuç kısmında bu ilginin bir açılım ya da hepçilleşme olarak okunup okunamayacağı sorgulanmıştır.

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The Cultural Intermediaries Reader

Cited by 102 publications

References 0 publications

Enter Culture, Exit Arts?

Enter Culture, Exit Arts?

Time, rhythm and the creative economy

Kültürel Açılım, Hepçillik ve Seçkin Sanatın Düşüşü: Türkiye-Avrupa Karşılaştırması

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