Cultural Capital and Elective Belonging: A British Case Study

2014 ◽  
Author(s):  
Mike Savage
Keyword(s):  
Cultural Capital ◽  
British Case

Administrative Leadership Mindset and Philosophical Approaches

2021 ◽  
pp. 89-121
Author(s):  
Susan S. Reutter
Keyword(s):  
Qualitative Research ◽  
Cultural Capital ◽  
Study Data ◽  
Administrative Leadership ◽  
Structured Interviews ◽  
Study Approach ◽  
Theoretical Approaches ◽  
Prison Wardens ◽  
Fourth Theme

Corrections is a multi-layered business containing all aspects of life for the employees, clients/inmates, and the general public. Therefore, the findings of the study are transferable to many types of administrators. The chapter uses a case study approach and qualitative research methods. The study findings focuses on corrections administrative leadership mindset, philosophical approaches, and practice policies.. The conceptual and theoretical approaches included effective corrections administrators are promoting the growth of social capital (e.g., social skills and relationships), human capital (employable skills), and cultural capital (e.g., community and public safety). Four state prison wardens/administrators participated in this study. Data was collected via Creswell's in-depth portrait of cases: three-part series of semi-structured interviews. Four themes emerged during data analysis. This chapter focuses on the fourth theme and the conceptual framework.

scholarly journals The Myths Refugees Live By: Memory and history in the making of Bengali refugee identity

2013 ◽  
Vol 48 (1) ◽  
pp. 37-76 ◽  
Author(s):  
UDITI SEN
Keyword(s):  
Cultural Identity ◽  
Cultural Capital ◽  
Social Status ◽  
Collective Memory ◽  
West Bengal ◽  
Complex Nature ◽  
Partition Of India ◽  
Refugee Experience

AbstractWithin the popular memory of the partition of India, the division of Bengal continues to evoke themes of political rupture, social tragedy, and nostalgia. The refugees or, more broadly speaking, Hindu migrants from East Bengal, are often the central agents of such narratives. This paper explores how the scholarship on East Bengali refugees portrays them either as hapless and passive victims of the regime of rehabilitation, which was designed to integrate refugees into the socio-economic fabric of India, or eulogizes them as heroic protagonists who successfully battled overwhelming adversity to wrest resettlement from a reluctant state. This split image of the Bengali refugee as both victim and victor obscures the complex nature of refugee agency. Through a case-study of the foundation and development of Bijoygarh colony, an illegal settlement of refugee-squatters on the outskirts of Calcutta, this paper will argue that refugee agency in post-partition West Bengal was inevitably moulded by social status and cultural capital. However, the collective memory of the establishment of squatters’ colonies systematically ignores the role of caste and class affiliations in fracturing the refugee experience. Instead, it retells the refugees’ quest for rehabilitation along the mythic trope of heroic and masculine struggle. This paper interrogates refugee reminiscences to illuminate their erasures and silences, delineating the mythic structure common to both popular and academic refugee histories and exploring its significance in constructing a specific cultural identity for Bengali refugees.

scholarly journals The appropriation cycle: novice and expert consumers

2018 ◽  
Vol 52 (9/10) ◽  
pp. 1886-1908 ◽  
Author(s):  
Georgia Stavraki ◽  
Emmanuella Plakoyiannaki ◽  
Jackie Clarke
Keyword(s):  
Cultural Capital ◽  
Performing Arts ◽  
Aesthetic Experience ◽  
Current Knowledge ◽  
Single Case ◽  
Multiple Sources ◽  
Content Type ◽  
Aesthetic Experiences

Purpose Recognizing the value and limitations of current knowledge of the appropriation process in the consumption of aesthetic experiences, this research aims to generate a localized account for novice and expert consumers of the varying role of cultural capital in the appropriation cycles and interpretative responses of an aesthetic experience. Design/methodology/approach This research uses a single case study design of Miró’s blockbuster exhibition, and draws on multiple sources of evidence, notably 50 in-depth visitor interviews, observations and archival records. Findings An evidence-based framework of the appropriation process for novice and expert consumers of aesthetic experiences is offered. This framework highlights the significance of appropriation pace and personal versus communal interpretations – amongst other features – in distinguishing distinct versions of the appropriation process in accordance with the varied accumulation of consumer cultural capital. Research limitations/implications The transferability of the findings to other aesthetic or experience-based consumption contexts such as performing arts or sports is discussed, alongside the relevance of the proposed framework for researchers of aesthetic experiences. Practical implications The empirical investigation of the understudied connection between visitors’ cultural capital and their museum experiences provides insights into curatorial and marketing practices in terms of broadening, diversifying and engaging museum audiences. Originality/value This research provides new theoretical insights into the literature of appropriation process and consumption of art experiences by bringing together consumers’ cultural capital with the appropriation process and interpretive responses to an aesthetic experience.

Urban Redevelopment, Cultural Philanthropy and the Commodification of Artistic Authenticity in Toronto

2019 ◽  
Vol 18 (1) ◽  
pp. 173-194 ◽  
Author(s):  
Alison L. Bain ◽  
Loren March
Keyword(s):  
Cultural Capital ◽  
Urban Redevelopment ◽  
Real Estate Market ◽  
Property Development ◽  
The Real Estate ◽  
The Real Estate Market ◽  
Art Scene ◽  
Arts And Culture

This article offers a multiscalar, sociohistoric account of the spatial struggles of Toronto artists from 1970 until the present to secure affordable living and work space downtown that foregrounds the contemporary role of the cultural philanthropist–developer. It argues that the cultural capital of artists to identify and embody authenticity facilitated temporary spatial claims that supported the development of a local art scene on Queen Street West, but one that became dependent upon, yet vulnerable to, the sociospatial unevenness of cultural philanthropy. Benevolence in arts and culture is not distributed evenly across time and space. Instead, as the case study of the 401 Richmond arts hub reveals, benevolence in its alliances with the real estate market and property development is concentrated in individualized commitments to particular neighborhoods, buildings, and local relationships, which temporally and operationally constrains its policy–transforming potential.

‘Death by Twitter’: Understanding false death announcements on social media and the performance of platform cultural capital

First Monday ◽  
2019 ◽  
Author(s):  
Bjorn Nansen ◽  
Dominic O'Donnell ◽  
Michael Arnold ◽  
Tamara Kohn ◽  
Martin Gibbs
Keyword(s):  
Social Media ◽  
Cultural Capital ◽  
Study Analysis ◽  
Online Identity ◽  
Case Study Analysis ◽  
Public Figures ◽  
Digital News ◽  
Cultural Responses

In this paper, we analyse false death announcements of public figures on social media and public responses to them. The analysis draws from a range of public sources to collect and categorise the volume of false death announcements on Twitter and undertakes a case study analysis of representative examples. We classify false death announcements according to five overarching types: accidental; misreported; misunderstood; hacked; and hoaxed. We identify patterns of user responses, which cycle through the sharing of the news, to personal grief, to a sense of uncertainty or disbelief. But we also identify more critical and cultural responses to such death announcements in relation to misinformation and the quality of digital news, or cultures of hoax and disinformation on social media. Here we see the performance of online identity through a form that we describe, following Bourdieu as ‘platform cultural capital’.

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