• Korean journal of communication and information
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• v.29
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• pp.147-188
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• 2005

This study attempts to review and evaluate the sociological engagement and media practices of an eminent French sociologist Pierre Bourdieu. In the first part of the paper, I presented some characteristics of Bourdieu's view on the sociological engagement. In the second part, I also examined Bourdieu's alternative media strategies(ARSS, Liber, Raisons d'agir) which were designed to intervene effectively in the academy and public sphere of French society. For Bourdieu, the sociological engagement can be conceived and legitimized as follows: first, the talents of the ensemble of 'specific intellectuals' in Foucaldian sense should be combined to constitute a kind of 'large collective of intellectuals' Second, this 'collective of intellectuals' should make 'corporatist' efforts to improve the autonomy of the 'field of cultural production', which is the indispensable condition for the conquest of 'the universal' Bourdieu tried to realize his logic of sociological engagement through all his intellectual works, media activities and political intervention. In appreciating positively the consistency and originality of Bourdieu's theory and practice of engagement, I proposed to reconsider some limits of his 'modern' politics - enlightenment, science, collectivity - in today's 'postmodern condition'.

• Journal of the Korea Convergence Society
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• v.9 no.2
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• pp.157-164
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• 2018

In this study, we will examine that the social class is reproduced by the school curriculum from the viewpoint of cultural reproduction theory by Pierre Bourdieu. Specially, we will examine the sociality of the curriculum, the social control of cultural capital, and how these make class reproduction possible. In this study, social class is reproduced by the ideological orientation of curriculum. This means that the school curriculum has social character and is closely related to the cultural capital of the ruling class.

• Korean journal of communication and information
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• v.17
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• pp.145-178
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• 2001

Bourdieu is one of the few social science researchers who were interested in photography. Bourdieu's work on photography appears principally in two books: Un art moyen: Essai sur les usagrs sociaux de la photographie(1965) and La distinction(1979). In these books, Bourdieu analyzes the role of photography in the family life of peasants and small town and urban dwellers. He shows how different classes and groups express their esthetic worldview in response to different photographs and photographic styles. What Bourdieu analyzed is not just photography but ways of photographing and ways of looking at pictures. Through these analyses, Bourdieu explores the social definition of photography. Bourdieu's ideas on photographic practice in social life are as follows. First, the photography, especially family photography generally practiced, has the integrative function. It recreates the group by ritualizing and solemnizing the important moments of social life in which the group reaffirms its unity. Second, the photography as esthetic practice in search of legitimacy as a fine art becomes a means by which different classes are pitted against each other. Each of classes gives its own meaning to photographic practice. Despite its originality and persuasive power, Bourdieu's work on photography has its own limits. The data used by Bourdieu are 35 years old and relevant to European social life. Things has changed since. First, the technological improvement and innovation in photography was considerable. Cheap and good photographic materials, easy to operate, made photographic practice everybody's everyday activity. New media like camcorder and digital camera made photography one of the industrial discards like jukebox. It means that photography does not function as important means of distinction between classes any longer. The integrative function of the photography becomes more ambiguous too. Second, the esthetic status of the photography has changed. The family photography was already integraed into fine art. Photography is not a middle-brow art any more. Bourdieu's work on photography shows how photography was used by different social classes in European social life of the 1960's. His work is historically and geographically limited. Moreover, his work was ordered by the french affiliate of Eastman Kodak Company. And all along the analysis, Bourdieu didn't hide his intention of distinguishing his sociological method from the other methods, especially psychological one. These mean that Bourdieu's work was done in a specific context, for specific purposes. In this respect, Bourdieu's work on photography, like every sociological work, can not claim to be universal.

• The Journal of the Korea Contents Association
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• v.13 no.5
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• pp.71-81
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• 2013

Punch awakens the audience of necessity of social change related to the poverty and prejudice toward the underprivileged. However Bourdieu claims individuals such as Dong-Ju Lee can not change existing dominant order even if they struggle for social change. In particular, laughter effect and romantic gaze as a commercial strategy on Punch become mechanism for maintaining the symbolic violence. And this is soon to be recognized as legitimate victims of violence themselves, as Bourdieu has argued that maintaining social order and reproduction by collusion are possible.

• Fashion & Textile Research Journal
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• v.23 no.6
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• pp.758-769
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• 2021

The purpose of this study is to analyze the traditional embroidery in India by region based on Bourdieu's cultural theory. As the research methods for this study, literature and case studies were conducted. The results of the study are summarized as follows. First, India's regions could be divided into four distinct regions based on language and religion. The main concepts of Bourdieu's cultural theory, namely the sub-dimensions of field and habitus, were the field of social system, the field of goods & economy, the field of environment/region, culture, and ethnicity. Second, Eastern India's embroidery was influenced by Hinduism and traditional art. The embroidery used various fabrics such as the Applique work, and vivid colors and patterns were mainly used in the Hindu myths, animals, and flower patterns of the embroidery. Third, embroidery in Western India was influenced by exotic cultures like Persian due to geographical conditions, and embroidery via the use of gold threads and various ornaments was developed. Symbolized flower patterns and geometric patterns were used a lot in the respective embroidery. Fourth, embroidery in southern India was influenced by the Dravidian culture and their architectural style, which saw the emergence of an embroidery that used simple colored cross-stitch. Most of the patterns in this embroidery are geometricized. Fifth, Northern Indian embroidery has historically served as the center of power, resulting in an embroidery that uses various forms and materials. In this embroidery, flower patterns are mainly used. Finally, the characteristics of the traditional embroidery of India's each region is based on Bourdieu's cultural theory, which could be summarized as ethnic religiosity, exotic splendor, structural formality, and symbolic power.

• Fashion & Textile Research Journal
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• v.21 no.6
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• pp.766-775
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• 2019

This study investigated the appearance management aspects of middle-aged male CEO's based on Bourdieu's class theory. We conducted in-depth interviews with male CEOs in their 40s and 50s to understand the characteristics of appearance management in terms of economic, cultural and social capital. We found that they acquire educational capital based on their parents' economic capital and form their own cultural capital as adults. They had the characteristics of Petit Brujois, which aimed for a higher class. The characteristics of differentiation based on appearance management identified three results came from solidifying one's class position: clothing management, diversifying and upgrading appearance management, and pursuing their own ideal image. The influence of social network and cultural capital was also observed in appearance management. This study explored the characteristics of discriminatory appearance management through an in-depth study of middle-aged male CEOs as well as contributed to understanding the context of capital and appearance management by applying Bourdieu's class theory. In addition, this study provides basic data that can be referred to a design and marketing direction for the men's clothing market by providing information on male consumers with high purchasing power.

• Journal of English Language & Literature
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• v.64 no.4
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• pp.651-672
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• 2018

Death of a Salesman is centered on Willy Loman trying to achieve the American dream and taking his family along for the ride. This paper explores the meaning of his suicide in the work through the Adorno's theory on the individual's reification and commodity by an exchange value in the capitalism and argues that Bourdieu's capital classification shows the cause of his tragic decision. Reification refers to "the structural process whereby the commodity form permeates life in capitalist society." and Adorno called the reification of consciousness an epiphenomenon. The social-psychological level in Adorno's diagnosis serves to demonstrate the effectiveness and pervasiveness of late capitalist exploitation. According to Bourdieu, cultural capital can exist three forms: in the embodied state, in the objectifed state and in the instituionalized state. He states embodied capital is argued to be the most significant influence; however unlike other forms of capital (social, economic, etc.) obtaining embodied capital is largely out of the individuals' control as it is developed from birth. In conclusion, I suggest Death of a Salesman can be interpreted as a text criticizing the internalization of the subject, which is the result of the self-destructive mechanism of the subject in the logic of modern subject formation.

• Journal of Fashion Business
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• v.28 no.1
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• pp.20-35
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• 2024

The term 'fashion capital' has been used in conjunction with Bourdieu's concept of cultural capital. The aim of the present study was to explore the concept of fashion capital existing independently within the field of fashion. In-depth interviews were conducted with 8 fashion specialists and enthusiasts, seeking to uncover the structures, characteristics, and paths of fashion capital accumulation possessed by individuals with high fashion capital. As a result, fashion capital was broadly categorized into inherited capital, acquired capital, and institutionalized capital. Key components were identified, including inherited capital related to influence of family and childhood environment, acquired capital encompassing fashion activities, fashion knowledge, and ability to appreciate fashion, and institutionalized capital represented by economic benefits transformed from other forms of capitals. Additionally, 13 supplementary elements were identified. These elements could be broadly categorized into inherited, acquired capital, and institutionalized capital, as outlined by Bourdieu. This study initiates an academic discussion on the concept of fashion capital within the domain of fashion consumer research. Findings of this study have potential to provide educational and practical implications for both fashion industry and academia.

• Proceedings of the Korea Society of Costume Conference
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• 2001.08a
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• pp.107-108
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• 2001

• Korean journal of communication and information
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• v.52
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• pp.154-176
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• 2010

Rooted in the work of Pierre Bourdieu, the cultural intermediaries have recently developed as a focus of attention for the Anglo-saxon sociology of culture and cultural studies. This paper tries to critically examine the debate around the definition and role of cultural intermediaries. It also explores the applicability of the notion ‘cultural intermediaries’ to a changing digital mediascape. In the first part of the paper, I clarify the critical problematics inherent in the Bourdieusian conception which focuses on the function of cultural intermediaries for the ‘production of the belief’ in cultural goods. Consequently, I draw attention to the mediation and transformation process of ‘legitimate culture’ by critics in mass media as ‘new cultural intermediaries’. In the second part, I attempt to constitute a typology of cultural intermediaries, proposing the notion of ‘on-line cultural mediation’ and ‘on-line cultural intermediaries’. I also outline the characteristics of three different types (‘traditional’, ‘new' and 'on-line') of cultural intermediaries. I argue this new conception of cultural intermediaries can help to understand the complex power relations and their transmutation in various cultural fields under digital environment.