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By Michael Grenfell

Pierre Bourdieu is now famous as one of many key modern critics of tradition and the visible arts. paintings principles analyses Bourdieu's paintings at the visible arts to supply the 1st evaluate of his concept of tradition and aesthetics. Bourdieu's engagement with either postmodernism and the matter of aesthetics offers a brand new means of studying the visible arts. His curiosity is in how creative fields functionality and the consequences their procedures have for paintings and creative perform. paintings principles applies Bourdieu's thought of perform to the 3 fields of museums, images and portray. those sensible examples are used as a springboard to deal with visible arts within the twenty first Century and to set up Bourdieu's principles of artwork.

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Extra resources for Art Rules: Pierre Bourdieu and the Visual Arts

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On the one hand, they are present 00Art Rules 6/12/06 1:55 pm Page 25 A Brief History of Theory 25 in both the material and ideational content of civil society. On the other hand, they are experienced, grasped and articulated through the particular sensual and intellectual functions of individuals. This latter point returns us to the subjective world, but this time not through an existentialist view but to the philosophy of phenomenology. This ‘science of phenomena’ was established through a return to ‘things in themselves’; in other words, once the everyday world was ‘bracketed off ’, phenomenological study proceeded through the in-depth enquiry of individual consciousnesses.

Structuralism’ was another direct influence on Bourdieu, but ‘structures’ interpreted in vastly different ways. Bourdieu, Structuralism and Phenomenology. Both prior to and following the Second World War, American sociology was heavily represented by a search to find an alternative to the conflictual, revolutionary theories of Marxism. The most obvious case is that of Talcot Parsons (1949, 1951), who sought a theory to prescribe the healthy, ‘functional’ state of ‘normal’ society, basically expressed in terms of individual and collective cohesion and complementarity.

Of course, such changes must occur. Nevertheless, Bourdieu seems to be saying that we should not ignore the social cost and personal suffering they impose on the individuals concerned. This concern with the consequences of change can also be found in Bourdieu’s work on social suffering in the 1990s – La Misère du monde (1999/1993). Among the many anecdotes, vignettes and case studies of poverty in France, the underlying theme is the personal cost of social change; for example, the effects of educational reform on teachers, the problems caused by new industrial practices, the need for modern housing and the price individuals are prepared to pay in order to ‘invest in their future’.

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