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Andreas Melldahl - One of the best experts on this subject based on the ideXlab platform.
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The Social Closure of the Cultural Elite. The Case of Artists in Sweden, 1945–2004
Researching Elites and Power, 2020Co-Authors: Martin Gustavsson, Andreas MelldahlAbstract:This chapter identifies and analyses Elites in a social domain where formal positions of power are few and far between – using the fine arts as an example – by combining Weberian closure theory with Pierre Bourdieu’s concept of ‘fields’. Based on a database of more than 14,000 artists, active during the period of 1945–2008, an Elite group of 627 is identified. When their social origins are analysed, a first main result of the inquiry is that this aesthetic Elite is strikingly similar to other Elites who are defined through formal positions of power: the Elite are disproportionally drawn from the upper tiers of society. A second main result is that the recruitment to leading – informal – positions in the Swedish field of art displays a process of social closure. Over time, the Elite are increasingly populated by individuals with origins in the ‘intellectual’ or ‘Cultural’ fractions of the middle and upper classes.
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the social closure of the Cultural Elite the case of artists in sweden 1945 2004
2020Co-Authors: Martin Gustavsson, Andreas MelldahlAbstract:This chapter identifies and analyses Elites in a social domain where formal positions of power are few and far between – using the fine arts as an example – by combining Weberian closure theory wit ...
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The Profane Basis of Sacred Power. Social Backgrounds of Swedish Artists in Dominant Positions 1945-2004
2013Co-Authors: Martin Gustavsson, Andreas Melldahl, Mikael BörjessonAbstract:In Elite studies, some Elites – such as political and economic Elites – tend to be more indisputable than others, while especially Cultural Elites hold a more ambiguous position. The reluctance to define the Cultural Elite as an Elite among others can be related to different factors, e.g. the self-definition of Cultural Elites as opponents to temporal powers and the methodological problems of defining the Cultural Elites. In our contribution, we set the self-definition of Cultural Elites aside and try to tackle the problem of defining one specific Cultural Elite, successful artists, by employing Bourdieu’s notion of field. After having carved out a sociological definition of the Elite artists, i.e. the artist occupying the most dominant positions within the field, we investigate the social origin of the group, and thereby, reveal the ‘secular’ basis for this ’spiritual’ Elite power. By using a large historical source material, presenting a wide number of dominant positions in the Swedish art field in the period 1945–2004, and prosopography as the main method, comprising a compilation of more than 645 artists’ career paths, we can both analyze structures at different times and change over time. Our main results suggest that Swedish leading artist mainly come from more privileged backgrounds and that popular classes are underrepresented. Furthermore, a shift has occurred in the recruitment patterns, where artists from Cultural fractions of the middle and dominant classes are increasing their share, while the economic fractions are decreasing.
Hilde Van Den Bulck - One of the best experts on this subject based on the ideXlab platform.
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public service television and national identity as a project of modernity the example of flemish television
Media Culture & Society, 2001Co-Authors: Hilde Van Den BulckAbstract:The aim of this article is to study the way in which PSB - as a typical modernist project of a certain Cultural Elite - has tried to create and maintain a national identity using a uniform, high culture as a vehicle to `educate' its audience into being `citizens' of the community. In particular, the analysis will concentrate on the policy in this regard of Flemish public service television. Our hypothesis is that the (Cultural Elite within) Flemish PSB - and particularly television - tried for a long time to contribute to the recognition and development of Flemish identity and culture by offering a uniform Felmish culture. An analysis of Flemish public television between 1953 and 1960 is used to illustrate this.
Jorn Ljunggren - One of the best experts on this subject based on the ideXlab platform.
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elitist egalitarianism negotiating identity in the norwegian Cultural Elite
Sociology, 2017Co-Authors: Jorn LjunggrenAbstract:The Cultural Elite are believed to be under siege due to significant changes in the ‘workings’ of Cultural capital. Despite such changes, there is very little information about the class subjectivities of the ‘Cultural Elite’ themselves. The present article seeks to contribute to this shortcoming by taking advantage of in-depth qualitative interviews with individuals possessing great levels of Cultural capital in a highly egalitarian country, Norway. This study shows that while the interviewees experience lack of recognition and honour from ‘the people’, they are far from passively descending. The main demarcation to other groups seems not to be Cultural taste, but instead the orientation towards culture, broadly defined. While egalitarian sentiments are voiced, this does not hinder Cultural Elite awareness, but rather dampens how this can be expressed in public – merged into a form of elitist egalitarianism.
Martin Gustavsson - One of the best experts on this subject based on the ideXlab platform.
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The Social Closure of the Cultural Elite. The Case of Artists in Sweden, 1945–2004
Researching Elites and Power, 2020Co-Authors: Martin Gustavsson, Andreas MelldahlAbstract:This chapter identifies and analyses Elites in a social domain where formal positions of power are few and far between – using the fine arts as an example – by combining Weberian closure theory with Pierre Bourdieu’s concept of ‘fields’. Based on a database of more than 14,000 artists, active during the period of 1945–2008, an Elite group of 627 is identified. When their social origins are analysed, a first main result of the inquiry is that this aesthetic Elite is strikingly similar to other Elites who are defined through formal positions of power: the Elite are disproportionally drawn from the upper tiers of society. A second main result is that the recruitment to leading – informal – positions in the Swedish field of art displays a process of social closure. Over time, the Elite are increasingly populated by individuals with origins in the ‘intellectual’ or ‘Cultural’ fractions of the middle and upper classes.
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the social closure of the Cultural Elite the case of artists in sweden 1945 2004
2020Co-Authors: Martin Gustavsson, Andreas MelldahlAbstract:This chapter identifies and analyses Elites in a social domain where formal positions of power are few and far between – using the fine arts as an example – by combining Weberian closure theory wit ...
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The Profane Basis of Sacred Power. Social Backgrounds of Swedish Artists in Dominant Positions 1945-2004
2013Co-Authors: Martin Gustavsson, Andreas Melldahl, Mikael BörjessonAbstract:In Elite studies, some Elites – such as political and economic Elites – tend to be more indisputable than others, while especially Cultural Elites hold a more ambiguous position. The reluctance to define the Cultural Elite as an Elite among others can be related to different factors, e.g. the self-definition of Cultural Elites as opponents to temporal powers and the methodological problems of defining the Cultural Elites. In our contribution, we set the self-definition of Cultural Elites aside and try to tackle the problem of defining one specific Cultural Elite, successful artists, by employing Bourdieu’s notion of field. After having carved out a sociological definition of the Elite artists, i.e. the artist occupying the most dominant positions within the field, we investigate the social origin of the group, and thereby, reveal the ‘secular’ basis for this ’spiritual’ Elite power. By using a large historical source material, presenting a wide number of dominant positions in the Swedish art field in the period 1945–2004, and prosopography as the main method, comprising a compilation of more than 645 artists’ career paths, we can both analyze structures at different times and change over time. Our main results suggest that Swedish leading artist mainly come from more privileged backgrounds and that popular classes are underrepresented. Furthermore, a shift has occurred in the recruitment patterns, where artists from Cultural fractions of the middle and dominant classes are increasing their share, while the economic fractions are decreasing.
Umut Korkut - One of the best experts on this subject based on the ideXlab platform.
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Nationalism versus internationalism: The roles of political and Cultural Elites in interwar and communist Romania
Nationalities Papers, 2006Co-Authors: Umut KorkutAbstract:This paper has two main goals. First, it illuminates continuities between the ideas of “true Romanian-ness” as held by both the Romanian Cultural Elite and the Romanian political regimes in the interwar and communist periods. A manufactured definition of a “true” Romanian—as a Romanian Orthodox Christian, natively Romanian-speaking, and ethnically Romanian—formed the core of Romanian nationalism, regardless of the ruling ideology. This definition did not include the Roman and Greek Catholics of Romanian ethnicity on the grounds that they were not Orthodox Christians. It goes without saying that these criteria also excluded Hungarians, Germans and other ethnic minorities on the basis of ethnicity, language and religion. Second, the paper demonstrates that the principal ideas of Romanian nationalism developed in overt contrast to the internationalist ideological movements of both periods. Both the liberals and the Marxists misunderstood nationalism, claimed Ernest Gellner in 1964: liberals assumed that nationalism was a doomed legacy of outmoded irrationalism, superstition and savagery, and Marxists considered it a necessary but temporary stage in the path to global socialism. Gellner's comments are evidently appropriate to Romania, where nationalist responses developed first to the Westernization of the interwar period and second to communist internationalism after 1948.