Habitat und Habitus – ein semantischer Gleichklang, aber auch ein Verweis auf ein fehlendes Glied in der breiten internationalen und interdisziplinären Rezeption und Diskussion rund um Bourdieus Habitus-Konzept. Bisher konzentrierte sich die Rezeption des »Habitus« fast ausschließlich auf die in La distinction, den »feinen Unterschieden« vorgetragene, wie Bourdieu es selbst nannte, »Ethnographie der französischen Gegenwartsgesellschaft«. Wie defizitär, genealogisch und theoretisch, dieser Eindruck war, erschließt sich erst durch einen Blick auf die »Anfänge« Bourdieus, seine algerische Erfahrung. In diesen grundlegenden ethnografischen Forschungen entwickelte Bourdieu nicht zuletzt dank des Blicks durch den Sucher seiner intensiv eingesetzten Kamera eine spezifische Perspektive auf die innige Korrespondenz zwischen der im Habitat der Menschen vergegenständlichten und in ihrem Habitus eingefleischten gesellschaftlichen Welt. In hunderten Fotos sicherte Bourdieu die Spuren einer durch koloniale Gewalt zerstörten traditionellen Lebensform, in der Habitat und Habitus ganz so wie Muschel und Auster eine geradezu naturwüchsige Einheit bildeten. Die visuellen Zeugnisse aus dieser Frühphase seines Schaffens dienten ihm bis ans Lebensende als Anschauungsmaterial für seine theoretischen Arbeiten. Bourdieus fotografische Zeugnisse führen vor Augen, wie sich der Verlust dieser angestammten Lebenswelt in einem gebrochen Habitus der Entwurzelten niederschlägt und welches Maß an zerstörerischer Gewalt in dem vom Kolonialismus ausgelösten Clash of Civilisations zur Geltung kommt.

This edited collection offers an in-depth analysis of the complex and changing relationship between the arts and their markets. Highly relevant to almost any sociological exploration of the arts, this interaction has long been approached and studied. However, rapid and far-reaching economic changes have recently occurred. Through a number of new empirical case studies across multiple artistic, historic and geographical settings, this volume illuminates the developments of various art markets, and their sociological analyses. The contributions include chapters on artistic recognition and exclusion, integration and self-representation in the art market, sociocultural changes, the role of the gallery owner, and collectives, rankings, and constraints across the cultural industries. Drawing on research from Japan, Switzerland, France, Italy, China, the US, UK, and more, this rich and global perspective challenges current debates surrounding art and markets, and will be an important reference point for scholars and students across the sociology of arts, cultural sociology and culture economy.

Mit seinem Werk "Die mannliche Herrschaft" und dessen schonungslosem Blick auf die anthropologischen Grundlagen und die historische Beharrungskraft des Machtungleichgewichts zwischen den Geschlechtern loeste Pierre Bourdieu in den 1990er Jahren eine starke Resonanz und kontroverse Debatten im Feld der Gender-Forschung aus. Wenig Beachtung fand dabei die Frage, woraus sich dieser radikale Blick Bourdieus denn eigentlich nahrte und von welchen konkreten empirischen Beobachtungen und Erfahrungen her er seine theoretischen Perspektiven entwickelte. Seit Bourdieus ersten Gehversuchen als junger Feldforscher im kolonialen Algerien (1957-1961) beschaftigte er sich mit dem Thema Geschlechterverhaltnisse, und dies gerade auf eine sehr anschauliche Weise in Form dichter ethnographischer Beobachtungen basierend auf dem Blick durch das Objektiv seiner Kamera. In hunderten von fotografischen Aufnahmen dokumentierte Bourdieu das alltagliche Verhalten von Frauen und Mannern - bei der Arbeit, bei alltaglichen Verrichtungen aller Art ob im privaten oder oeffentlichen Raum - und interessierte sich insbesondere fur die hierbei jeweils an den Tag gelegte geschlechtsspezifische "Haltung" im doppelten Sinne des Wortes, d.h. koerperliche Hexis auf der einen und Ethos auf der anderen Seite.Dies wird in diesem Band durch eine systematische Bild-Text-Kombination vor Augen gefuhrt. Die hier prasentierte fotografische Soziologie der Geschlechterverhaltnisse in Algerien, auf die sich Bourdieu beim Verfassen seiner Studie "Die mannliche Herrschaft" massgeblich stutzte, kann zugleich als Kristallisationskern fur die spatere Entwicklung seiner Habitus-Theorie angesehen werden.

This edited collection offers an in-depth analysis of the complex and changing relationship between the arts and their markets. Highly relevant to almost any sociological exploration of the arts, this interaction has long been approached and studied. However, rapid and far-reaching economic changes have recently occurred. Through a number of new empirical case studies across multiple artistic, historic and geographical settings, this volume illuminates the developments of various art markets, and their sociological analyses. The contributions include chapters on artistic recognition and exclusion, integration and self-representation in the art market, sociocultural changes, the role of the gallery owner, and collectives, rankings, and constraints across the cultural industries. Drawing on research from Japan, Switzerland, France, Italy, China, the US, UK, and more, this rich and global perspective challenges current debates surrounding art and markets, and will be an important reference point for scholars and students across the sociology of arts, cultural sociology and culture economy.

As a soldier in the French army, Pierre Bourdieu took thousands of photographs documenting the abject conditions and suffering (as well as the resourcefulness, determination, grace, and dignity) of the Algerian people as they fought in the Algerian War (1954--1962). Sympathizing with those he was told to regard as "enemies," Bourdieu became deeply and permanently invested in their struggle to overthrow French rule and the debilitations of poverty.

Upon realizing the inability of his education to make sense of this wartime reality, Bourdieu immediately undertook the creation of a new ethnographic-sociological science based on his experiences -- one that became synonymous with his work over the next few decades and was capable of explaining the mechanics of French colonial aggression and the impressive, if curious, ability of the Algerians to resist it.

This volume pairs 130 of Bourdieu's photographs with key excerpts from his related writings, very few of which have been translated into English. Many of these images, luminous aesthetic objects in their own right, comment eloquently on the accompanying words even as they are commented upon by them. Bourdieu's work set the standard for all subsequent ethnographic photography and critique. This volume also features a 2001 interview with Bourdieu, in which he speaks to his experiences in Algeria, its significance on his intellectual evolution, his role in transforming photography into a means for social inquiry, and the duty of the committed intellectual to participate in an increasingly troubled world.

As a soldier in the French army, Pierre Bourdieu took thousands of photographs documenting the abject conditions and suffering (as well as the resourcefulness, determination, grace, and dignity) of the Algerian people as they fought in the Algerian War (1954--1962). Sympathizing with those he was told to regard as enemies, Bourdieu became deeply and permanently invested in their struggle to overthrow French rule and the debilitations of poverty. Upon realizing the inability of his education to make sense of this wartime reality, Bourdieu immediately undertook the creation of a new ethnographic-sociological science based on his experiences -- one that became synonymous with his work over the next few decades and was capable of explaining the mechanics of French colonial aggression and the impressive, if curious, ability of the Algerians to resist it. This volume pairs 130 of Bourdieu's photographs with key excerpts from his related writings, very few of which have been translated into English. Many of these images, luminous aesthetic objects in their own right, comment eloquently on the accompanying words even as they are commented upon by them.Bourdieu's work set the standard for all subsequent ethnographic photography and critique. This volume also features a 2001 interview with Bourdieu, in which he speaks to his experiences in Algeria, its significance on his intellectual evolution, his role in transforming photography into a means for social inquiry, and the duty of the committed intellectual to participate in an increasingly troubled world.

Until recently still a blank spot on the world map of art, China today occupies one of the top positions in the rankings of the global art market and has moved into the center of the speculations and the covetousness of its protagonists. But what is really happening on the spot, beyond the ethnocentric distortions of the Western viewpoint? What social representations and uses of art can be identified? A research team from the University of St. Gallen has taken up such questions in an ethnographical field research project which enables the actors in this emergent and nonetheless already market-dominated art field to have their say.