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Bourdieu A CRITICAL
INTRODUCTION
Bourdieu
Bourdieu
A CRITICAL INTRODUCTION
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Symbolic power
Bourdieu (1978) argues that societies and cultures that pre-date the
advent of capitalism were characterized predominantly by a system
of symbolic exchange whereby access to power, forms of dependence
and affiliation, hierarchical structures, and socio-cultural relations and
obligations were determined by, played out within and explicable in
terms of a regime of reciprocity that was largely unacknowledged and
misrecognized. This symbolic system functioned to allocate and differ-
entiate subjects in time and space, and to organize the set of relations
that bound them together: it was simultaneously a generalized natural
order, ‘the way of the world’, and the specific social fabric that consti-
tuted the ‘between us’ of the community. The need to maintain the
fiction that the symbolic order was predominantly non-tendentious—a
manifestation of nature-as-society—meant that it usually articulated
itself ‘in other words’—that is, in orders of discourse that called upon
some external authority (religion, tradition, mythology-as-history) as
the origin of or point of departure for, and as constitutive of, social
conventions, hierarchies and relations of power. An example of how
symbolic regimes foreclose their economic status can be seen in
Bourdieu’s story, taken from his work in Kabylia (Bourdieu 1978), of
the decision taken by a mason to ask that his work be remunerated
financially. Under normal circumstances, his time and labour would
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There are two main questions that need to be posed here. First,
to what extent is the hard and fast distinction that Bourdieu and
Austin make between authorized and unauthorized performances
necessarily valid? Second, and by implication, is the separation
that they presume between discursive utterances and institutional-
ized authority theoretically sustainable? With regard to the relation
between authorization, social magic and the felicity of speech acts,
we can point to the example we referred to in an earlier paragraph
of ‘the uniform that attests to the person’s bona fides’ as an indica-
tion that the symbols, markers and signs of authority (a uniform,
bodily hexis, a historical text) are basically discursive performances
valorized by other discursive performances. In the classic 1960s
Hong Kong film version of the Chinese folk tale The Butterfly Lovers,
which involves a young upper class woman disguising herself as a
man in order to receive a scholarly education, the impersonation
succeeds because the woman is much more of a culturally literate,
confident and convincing man than any of her fellow (male) students.
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Conclusion
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