Bourdieu's Theory Of Cultural Production

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characterized by low levels of economic capital and high levels of cultural capital (indicated by CE– and CC+). In his theory of cultural consumption symbolic goods are desired by the dominant part of the dominant class, and other by the dominated part of the dominant class. The former fraction has high level of economic capital but lower level of cultural capital, whereas the dominated fraction has lower level of economic capital, but makes up for this by acquiring cultural capital, which can later be transformed to its other forms, such as economic capital. In this sense, the fields of cultural production are linked with the dominant part of the dominant class, and this is what Bourdieu proved by putting the field of power and the field of…show more content…
“This emphasis on interconnectedness and power makes Bourdieu’s sociology of cultural production superior to the huge corpus of pluralist sociology of culture, represented at its best by ‘the production of culture’ perspective” (Hesmondhalgh 2006:216). Applying his theory in museums’ realities, Bourdieu highlights that museum visiting, like aesthetic appreciation, is socially determined, and serves as a mechanism whereby cultural capital is produced, proclaimed and transmitted from one generation to the next (Bourdieu 1983). The influence of museum consumption in society can be seen as arising from the influence of a hierarchical culture. Museums became part of the contemporary 'cultural capital,' exclusively facilitating an understanding and appreciation of 'high culture' among the upper social classes (Bourdieu 1984, in: Belk 1995: 107-108). "What sumptuary laws failed to protect, and what democratized consumption in an affluent consumer society took away, was regained by the elite, at least for a time, in the sacred temple of the museum. The grand and imposing architecture of museum buildings, their glass-case hands-off distance displays, and their solemn tomb-like demeanor, were…show more content…
The new museology is a dialogue around the social and political role of museums, promoting new ways of communication in contrast to the classic, collection-oriented museum forms (Mairesse & Desvallees 2010). An essential element in the structure and organization of the ‘new’ museum is that it provides the population with an active role in shaping and participating in the museum (Rivard 1984a:48-50). Defined by Moore (1997) as an 'Age of Paradox' – where displays of 'high culture' concur with displays of 'popular culture,' openly celebrating branded consumer goods as something integral to everyday twentieth century life and therefore worth presenting as historical subject matter. Merriman (1999) stresses the importance of removing the cultural barriers, which have been deterrents to wider participation in the past, thereby enabling museums and heritage presentations to fulfill their democratic potential, as ‘People's Universities’ and as one of the principal means of gaining access to the past. Likewise, Bennett (1995) promotes a pluralistic philosophy of tolerance, equal access and multi-perspective presentations. “Museums should
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