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Pierre Bourdieu

Biography and Influence on Art History

Ryan M

on 18 March 2013

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Transcript of Pierre Bourdieu

Pierre Bourdieu's Effect on Art History Habitus and the Artist HABITUS:
Bourdieu's over-arching theory

"The geometric locus of all the symbolic forms of expression of a particular society."

"It does not need to be intentionally expressed by anybody to express itself." DOXA
according to Bourdieu:

That which “goes without saying because it comes without saying”

A society's unquestioned truths. Habitus:
the cognitive
of social behavior Two worlds are tied by what? Bourdieu served in the
French colonial army in Algeria, then began his lecturing career there during its war for independence (1958).

While in Algeria he researched his first book, describing the indigenous people and the traditional elements within their society such as honor, family loyalty, and gender discrimination. Bourdieu translated
Erwin Panofsky's
Gothic Architecture and Scholasticism,
which analyzed the parallel developments of Gothic artisans and scholastic clergy during the Middle Ages.

His post-face to the translation
contains his first use of the
term habitus. Dates back to Aristotle and was used by many theorists prior to Bourdieu's formalization
of the term. The experience convinced him to study his home town in rural France, an unusual subject for fieldwork in the 1960s, leading to many of his theories on social class. Bourdieu summary
of habitus:

"It has the capacity to generate all the thoughts, perceptions, and actions characteristic of a culture, and nothing else." Bourdieu in his
afterword to Panofsky:

"Habitus is the internalization of the principles for clarification and reconciliation of contraries."
one's innate sense
of what belongs and
what doesn't CAPITAL
as Bourdieu used it:

Unlike Marx's economic theory Bourdieu incorporated forms of social capital that an individual can wield, such as prestige, networking, and even the command of attention. FIELDS
in Bourdieu's usage:

Structured social spaces with rules, schemes of domination, and standardized opinions such as the arts, education, politics, law, and industry. SYMBOLIC VIOLENCE
as originated by Bourdieu:

A form of soft power/discipline used against another member of society to confirm both individuals' place in the social hierarchy. The author Bruce Holsinger
described this unusual side project:

"It is here, in the obscure translator's afterword to a long essay written by Panofsky, that he develops for the first time what will become his central theoretical category for relating human subjects to the forces, histories, and structures that determine their forms of life and thought." Marichal as quoted by Bourdieu:

"It appears that scribes bevelled their quills [crafted their handwriting] by accident while the masons built vaults over the intersection of ribs, but it is not by accident that the two processes became so popular and gave birth to a style. They were the both the answer to a taste for angular forms, stretched-out heights, perspective effects, and plays of light and shadow that can be found in both the naves of cathedrals and the pages of manuscripts."

Panofsky on art history:
"The art historian differs from the naive spectator in that he is conscious of what he does."

Bourdieu on Panofsky:
"Panofsky reveals that he can do what he does only on the condition that at any given moment he should know what he is doing."

The art historian must be aware
of habitus, within the artist
and within herself. The following are components of habitus: Allen, Douglas and Paul Anderson. "Consumption and Social Stratification: Bourdieu's Distinction". Advances in Consumer Research Volume 21. Eds. Chris Allen and Deborah Roedder John. Pennsylvania State University: (1994). 70-74. Web. 7 Dec. 2012. <http://www.acrwebsite.org/search/view-conference-proceedings.aspx?Id=7565>.

Bourdieu, Pierre. Photography: A Middlebrow Art. Stanford, CA: Stanford University Press, 1965. Print.

---. "Postface to Erwin Panofsky, Gothic Architecture and Scholasticism." The Premodern Condition: Medievalism and the Making of Theory. Ed. Bruce Holsinger. Chicago: University of Chicago Press, 2005. 221-242. Print.

Brown, Nicholas, and Imre Szeman. eds. Pierre Bourdieu: Fieldwork in Culture. Lanham, MD: Rowman & Littlefield Publishers, 2000. Print.

Comte, Auguste. The Positive Philosophy. Kitchener: Batoche, 2000. Web. <http://socserv2.mcmaster.ca/~econ/ugcm/3ll3/comte/Philosophy1.pdf>.

Emerling, Jae. Theory for Art History. New York: Routledge, 2005. Print.

Holton, Robert. “Bourdieu and Common Sense.” Pierre Bourdieu: Fieldwork in Culture. Eds. Brown, Nicholas, and Imre Szeman. Lanham, MD: Rowman & Littlefield Publishers, 2000. 87-99. Print.

Lizardo, Omar. "Habitus." Forthcoming in Byron Kaldis (Ed.) Encyclopedia of Philosophy and the Social Sciences. London: Sage Publications: n. pag. Web. 7 Dec. 2012 <http://www.nd.edu/~olizardo/papers/habitus-entry.pdf>.

---. “The Cognitive Origins of Bourdieu's Habitus” University of Arizona: (2009). n. pag. Web. 7 Dec. 2012. <http://nd.edu/~olizardo/papers/jtsb-habitus.pdf>.

Manhattan. Dir. Woody Allen. Perf. Woody Allen, Mariel Hemingway, Diane Keaton, Michael Murphy. United Artists, 1979. Film.

Reed-Danahay, Deborah. Locating Bourdieu. Bloomington, IN. Indiana University Press, 2005. Print.

Wind, Edgar. “Warburg’s Concept of Kulturwissenschaft and its Meaning for Aesthetics”. The Art of Art History: A Critical Anthology. Ed. Donald Preziosi. New York: Oxford University Press, 2009. 189-194. Print.
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