《Distinction》的原文摘录

  • 他将这种“特有的、精神高贵的、天性贵族的艺术”在“与艺术圣事不相称的”群众身上引起的愤怒归因于这种艺术引发的“屈辱”和“阴暗的卑微感”:“在一个半世纪里,‘人民’、群众自诩为整个社会。斯特拉文斯基的音乐或皮兰德娄的喜剧具有迫使他们看到自己的本来面目的社会学力量,他们是‘普通的人民’,社会结构的简单成分之一,历史进程的惰性材料,精神宇宙的次要因素。令一方面,年轻的艺术也促使‘最优秀的人’在多数人的单调乏味中互相认识和互相认可并了解自己的使命,即需要人数少并同多数人斗争。” (查看原文)
    苜蓿 2017-03-03 15:20:13
    —— 引自第46页
  • The survey on which the work was based was carried out in 1963, after a preliminary survey by extended interview and ethnographic observation,on a sample of 692 subjects (both sexes) in Paris, Lille and a small provincial town. To obtain a sample large enough to make it possible to analyse variations in practices and opinions in relation to sufficiently ho mogeneous social units, a complementary survey was carried out in 1967-68, bringing the total number of subjects to 1,217 (see table A.l). Because the survey measured relatively stable dispositions, this time-lag does not seem to have affected the responses (except perhaps for the question on singers, an area of culture where fashions change more rapidly).l (查看原文)
    Janus 1赞 2014-03-30 10:39:07
    —— 引自章节:Reflection in Research Method.
  • 文化贵族的定义是一场斗争的赌注……占统治地位的合法占有文化和艺术作品的方式的定义,甚至在学校领域,都有利于那些有教养家庭里的人,他们很早就在学校教育科目之外接触到合法文化;其实,这个定义为了赞扬直接的经验和单纯的愉悦,将知识和博学的阐释贬低为“书呆子的”,甚至是“卖弄学问的”。 (查看原文)
    袖手人约翰 1赞 2016-10-29 10:33:01
    —— 引自第2页
  • the cognitive structures which social agents implement in their practical knowledge of the social world are internalized, ‘embodied’ social structures. The practical knowledge of the social world that is presupposed by ‘reasonable’ behaviour within it implements classificatory schemes, historical schemes or perception and appreciation which are the product of the objective division into classes. And which function below the level of consciousness and discourse. Being the product of the incorporation of the fundamental structures of a society, these principles of division are common to all the agents of the society and make possibe the production of a common, meaningful world, a common-sense world. (查看原文)
    剧旁 3回复 2013-04-05 10:58:25
    —— 引自第468页
  • ...the dominant definition of the legitimate way of appropriating culture and works of art favors those who have had early access to legitimate culture, in a cultured household, outside of scholastic disciplines, since even within the educational system it devalues scholarly knowledge and interpretation as 'scholastic' or even 'pedantic' in favor of direct experience and simple delight. (查看原文)
    小宇@白兰地 2013-05-19 15:15:59
    —— 引自第2页
  • …as regards its social definition, 'musical culture' is something other than a quantity of knowledge and experiences combined with the capacity to talk about them. Music is the most 'spiritual' of the arts of the spirit and a love of music is a guarantee of 'spirituality'. For a bourgeois world which conceives its relation to the populace in terms of the relationship of the soul to the body, 'insensitivity to music' doubtless represents a particularly unallowable form of materialist coarseness. Music is the 'pure' art par excellence. It says nothing and has nothing to say. Music represents the most radical and most absolute form of the negation of the world, and especially the social world, which the bourgeois ethos tends to demand of all forms of art. (查看原文)
    小宇@白兰地 1回复 2013-05-22 16:38:40
    —— 引自第19页
  • The production of an 'open work', intrinsically and deliberately polysemic, can thus be understood as the final stage in the conquest of artistic autonomy by poets and, following in their footsteps, by painters, who had long been reliant on writers and their work of 'showing' and 'illustrating'. (查看原文)
    HHb 2017-03-06 00:05:50
    —— 引自第3页
  • cultural needs are the product of upbringing and education; practices and preferences are closely linked to educational level adn social origin. The influence of sicoal origin is strongest. This predisposes tastes to function as markers of class. culture aslo has its titles of nobility-awarded by the educational system-and its pedigrees, measured by seniority in admission to the nobility. consumption is an act of deciphering decoding a work of art has meaning and interest only for someone who possesses the cultural copetence, that is, the code, into which it is encoded. (查看原文)
    Lolita 2019-04-02 05:30:51
    —— 引自第1页
  • popular naturalism recognizes beauty in the image of a beautiful thing or more rarely in a beautiful image of a beautiful thing: she is a beautiful woman. a beautiful woman always looks good in a photo (查看原文)
    Lolita 2019-04-02 06:01:29
    —— 引自第2页
  • Taste are the practical affirmation of an inevitable difference (查看原文)
    Lolita 2019-04-02 06:01:29
    —— 引自第2页
  • agents are not completely defined by the properties they possess at a given time, whose conditions of acquisiton persist in the habitus; and on the other hand, the relationsnhip between initial capital and present capital, or, to put it another way, between the initial and present positions in social space, is statistical relationship of very variable intensity this new type of culture intensive craftsmanship and commerce enables profit to be drawn from the cultural heritage trasmitted directly by the family, it is predisposed to serve as a refuge for those sons and daughters of the dominant class who are eliminated by the educational system. (查看原文)
    Lolita 2019-04-05 20:42:42
    —— 引自第2页
  • social space is to the practical space of everyday life; ordinary experience, wiht its gaps and discontinuities. the habitus is both the generative principle of objectively classifiable judgements and the system of classification of these practices. different conditions of existence produce different habitus lify styles are thus the systematic products of habitus, which, perceived in their mutual relations through the schemes of the habitus, become sign systems that are socially qualified/distinguished the systme of matching properties, which includes people—one speaks of a well-matched couple, and friends like to say they have the same tastes—is organized by taste, a system of claasificatory schemes (查看原文)
    Lolita 2019-04-05 20:59:08
    —— 引自第3页
  • in the ordinary situations of bourgeois life, banlities about art, literature or cinema are in separable from the steady tone, the slow , casual diction, the distant or self-assured smile, the measured gesture, the well-tailored suit and the bourgeois salon of the person who pronounces them as can be seen whenever a change in social position puts the habitus into new conditions, so that its specific efficacy can be ioslated, it is taste. the taste of necessity or the taste of luxury and not high or low income which commands the prctices objectively adjusted to these resoureces. (查看原文)
    Lolita 2019-04-05 20:59:08
    —— 引自第3页
  • tastes in food also depend on the idea each class has of the body and of the effects of food on the body, that is on its strength, health and beauty, and on the categories it uses to evaluate these effects. working classes are more attentive to the strength of the male body than its shape, and tend to go for products that are both cheap and nutritious, the professions prefer products that are tasty, healthe-giving, light and not fattening. (查看原文)
    Lolita 2019-04-05 20:59:08
    —— 引自第3页
  • The producers are led by th logic of competition with other producers and by the specific interests linked to their position in the field of producation to produce distincet products which meet the different cultural interests which the consumers owe to their class conditions and position, thereby offering them a real possibility of being satisfied. (查看原文)
    Lolita 2019-05-07 19:59:11
    —— 引自第4页
  • so the search for distinction has no need to see itself for what it is and all the intolerances of noise crods inculcated by a bourgeois upbringing are generally sufficient to provoke the changes of terrain or object which, in work as in leisure, lead towards the objects places or activities rarest at a given moment. those who are held to be distinguished have the privilege of not worrying about their distinction; they can leave it to the objective mechanisms which provide their distinctive properties and to the sense of distincetion which steers them away from everything common. where the petit bourgeois or nounveau riche overdoes it, betraying his own insecurity, bourgeois discretion signals its presence by a sort of ostentatious discretion, sobriety and understatement, a rufusal of ever... (查看原文)
    Lolita 2019-05-08 06:15:45
    —— 引自第4页
  • he buys because it pleases him at that moment. i live for the sake of living. and so far as possible, i tru to lve for the present moment. it isn't always easy (查看原文)
    Lolita 2019-05-09 02:52:23
    —— 引自第5页
  • The ideology of natural taste owes its plausibility and its efficacy to the fact that, like all the ideological strategies generated in the everyday class struggle, it naturalizes real differences, converting differences in the mode of acquisition of culture into differences of nature; it only recognizes as legitimate the relation to culture (or language) which least bears the visible marks of its genesis, which has nothing ‘academic’, ‘scholarsitic’, ‘bookish’, ‘affected’ or ‘studied’ about it, but manifest its ease and naturalness that true culture is nature -- a new mystery of immaculate conception. (查看原文)
    Loser阿丢 2019-07-02 11:29:06
    —— 引自第61页
  • 一个达到高度自主程度的生产场的生产所要求的审美配置,与一种特定的文化才能密不可分:这种历史文化作为一种相关性原则而起作用,这种原则能够让人们在呈现给目光的因素中,识别所有区分的特征,而且仅仅识别这些特征,并有意无意地将这些特征与可替代的可能性的空间相联系。 (查看原文)
    [已注销] 2020-04-21 12:57:51
    —— 引自章节:导言
  • 实际上,与现实和虚构发生关系、相信虚构或虚构模拟的现实的过多或少超脱的或疏远的不同方式,借助于这些方式所假定的经济和社会条件,与社会空间中不同的可能位置密切相关,并由此被严格纳入不同阶级和阶层的特有配置(习性(habitus))系统中。 (查看原文)
    [已注销] 2020-04-21 13:26:26
    —— 引自章节:导言