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Inspired by Bourdieu's thought, this book explores the notion of
cultural capital, offering insights into its various definitions,
its evolution and the critical theories that engage with it.
Designed for use by students and teachers, it addresses the
limitations and expansion of Bourdieu's theory of capital and
power, considering the relationship between cultural, social and
human capital, the distinctions between capital and capitalism, and
the conflicts that exist among theories that have emerged in
response to - or can be brought to bear on - Bourdieu's work.
Engaging with the thought of Max Weber, Fernand Braudel, Daniel
Bell, Herbert Marcuse, Jean Baudrillard, Theodore Adorno, Max
Horkheimer and Gilles Lipovetsky, Cultural capital and Creative
Communication represents the first book to develop a field of
research and study that is devoted to cultural capital. Richly
illustrated with empirical examples and offering assessment
exercises, it will appeal not only to scholars and students of
sociology, philosophy and social theory, but also to corporate
communities who seek to develop training modules on the increase of
their cultural capital.
This book reflects the most recent research devoted to a
systematized perspective and a critical (re)construction of
previous theoretical attempts of explaining, justifying and
continuing Kuhn's ingenious hypothesis in arts. Hofstadter, Clignet
and Habermas revealed to be the most engaged scholars in solving
this aesthetic "puzzled-problem". In this context, the structural
similarities between science and arts are attentively evaluated,
thus satisfying an older concern attributed to the historical
Kuhn-Kubler dispute, extensively commented along the pages of this
book. How can we track the matter of rationality and truth in art
and aesthetics, inspired by scientific perspectives? Are artistic
styles similar to scientific paradigms? Are we entitled to pursue
paradigms and masterpieces as rational models in science,
respectively in arts? On what possible grounds can we borrow from
science notions such as progress and predictability, in the study
of the evolution of art and its aesthetic backgrounds? Are the
historical dynamics of science and art affected by political
factors in the same manner? This book will be of interest to
philosophers, but also to historians of science and historians of
art alike in the reassessment it provides of recent debates on
reshaping the art world using Kuhn's "paradigm shift".
This edited collection examines alternative or entangled
modernities as competitive narratives that blend ethics,
aesthetics, and critical thinking to depict the human condition. It
includes chapters covering the rivalry between scientific and
aesthetic revolutions; contemporary trends in postmodernity; and
study-cases on visual arts and cinema. The collection applies a
philosophical view of visual arts and cinema, and competitive
narratives of (post)modernity that arise from ethics and aesthetics
as complementary fields. Key audiences for the book are students,
PhD candidates, and scholars from the field of philosophy,
aesthetics and cultural studies. This volume emerges from
contributions held at the International Conference Rethinking
Modernity: Transitions and Challenges, organized by the Research
Center for the History and Circulation of Philosophical Ideas of
the University of Bucharest.
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