Structuralist Marxism and the labor process: Where have the dialectics gone?

Theory and Society -     

The strength of weak programs in cultural sociology: A critique of Alexander’s critique of Bourdieu

Jeffrey Alexander’s recent book on cultural sociology argues that sociologists must grant the realm of ideas autonomy to determine behavior, unencumbered by interference from instrumental or material factors. He criticizes the sociology of Pierre Bourdieu as “weak” for failing to give autonomy to culture by reducing it to self-interested behavior that immediately reflects class position. However, Alexander’s arguments seriously distort and misstate Bourdieu’s theory, which provides for the relative autonomy of culture through the concepts of habitus and field. Because habitus is a set of durable dispositions conditioned by past structures, it may contradict the changed structures of the present. Further, the influence of the habitus is always mediated by the structure and strategies of the field of contest in which it is deployed, so that the same habitus may motivate different actions in different circumstances. However, Alexander is correct to argue that in Bourdieu’s theory culture generally serves to reproduce, not contradict social structures. Yet Bourdieu addresses this and other problems in his later work, in which he argues for the existence of certain cultural universals transcending particular structures.

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Bourdieu and Adorno: Converging theories of culture and inequality

The theories of Pierre Bourdieu and Theodor Adorno both conceive culture as legitimating the inequalities of modern societies. But they postulate different mechanisms of legitimation. For Bourdieu, modern culture is a class culture, characterized by socially ranked symbolic differences among classes that make some seem superior to others. For Adorno, modern culture is a mass culture, characterized by a socially imposed symbolic unity that obscures class differences behind a facade of leveled democracy. In his later writings, however, Bourdieu’s theory converges with that of Adorno. He too begins to privilege the high culture of intellectuals over mass culture by employing the universal standard of autonomy from economic interests. But there remains one vital difference between these theories. Bourdieu grounds the origins of a critical, autonomous culture in specific social structures, while Adorno grounds it in technology.     

Bourdieu's Theory of Cultural Change: Explication, Application, Critique

Pierre Bourdieu's theory of cultural change is more powerful and comprehensive than other recent theories, which neglect one or another of the important dimensions of cultural markets. Bourdieu's theory conceptualizes both the supply and demand sides of the market, as well as specifying their interaction with external social factors. Two cases from American culture are developed to demonstrate the explanatory power of Bourdieu's theory of cultural change: the demise of tail fins in automobile design and the fall of modernism in architecture. These cases reveal, however, that Bourdieu's theory fails to account for the leveling of cultural hierarchies and the emergence of pluralized cultural fields. The general conditions for such leveling and pluralization are developed from a comparison of the two cases.     

POSTMODERNISM; OR,THE CULTURAL LOGIC OF POST-FORDISM?

This article examines attempts by Marxist thinkers such as Fredric Jameson and David Harvey to explain the cultural transition from modernism to postmodernism by the economic transition from Fordism to post-Fordism. They argue that the movement of advanced industrial societies from standardized mass production to diverse flexible production has created a new culture that stresses difference, superficiality, and ahistoricality. But in their attempts to portray a synchronous development of economy and culture, these thinkers ignore the uneven developments between and within each realm. I argue that in the United States the popular arts like automobile design developed postmodern traits long before the high arts like architecture. Instead of this change in popular culture resulting from post-Fordism, it dialectically influenced this economic change.