L’analyse des interventions des chercheurs et universitaires en sciences humaines et sociales dans la presse quotidienne nationale francaise durant les elections europeennes de mai 2014 permet d’interroger a nouveaux frais le developpement de « l’expertise » comme forme d’engagement des intellectuels dans l’espace public. On pourrait s’attendre a ce que les savants privilegient une telle forme d’engagement, mais le font-ils effectivement lorsqu’ils interviennent dans la presse generaliste nationale ? L’etude porte sur les articles qu’ils signent dans les journaux Le Monde, Liberation et Le Figaro, qu’il s’agisse de tribunes, d’interviews ou encore de chroniques et d’articles d’analyse. En faisant une etude a la fois qualitative et quantitative du contenu de ces differentes productions, on revele un ancrage des discours dans les disciplines d’appartenance des auteurs, mais egalement, et en particulier apres les resultats de l’election, une propension au prophetisme. Laissant peu d’espace a l’administration de la preuve, la legitimite de l’article de journal repose pourtant sur les competences expertes arborees par son auteur et collectivement garanties par la categorie professionnelle des chercheurs ; dans ce cadre contraint, les usages individuels de ce capital collectif exposent du meme coup au risque de son instrumentalisation et/ou de sa devalorisation.
{"title":"Les sciences humaines et sociales en campagne : entre expertise et prophétie","authors":"Constantin Brissaud, É. Brun","doi":"10.4000/bssg.659","DOIUrl":"https://doi.org/10.4000/bssg.659","url":null,"abstract":"L’analyse des interventions des chercheurs et universitaires en sciences humaines et sociales dans la presse quotidienne nationale francaise durant les elections europeennes de mai 2014 permet d’interroger a nouveaux frais le developpement de « l’expertise » comme forme d’engagement des intellectuels dans l’espace public. On pourrait s’attendre a ce que les savants privilegient une telle forme d’engagement, mais le font-ils effectivement lorsqu’ils interviennent dans la presse generaliste nationale ? L’etude porte sur les articles qu’ils signent dans les journaux Le Monde, Liberation et Le Figaro, qu’il s’agisse de tribunes, d’interviews ou encore de chroniques et d’articles d’analyse. En faisant une etude a la fois qualitative et quantitative du contenu de ces differentes productions, on revele un ancrage des discours dans les disciplines d’appartenance des auteurs, mais egalement, et en particulier apres les resultats de l’election, une propension au prophetisme. Laissant peu d’espace a l’administration de la preuve, la legitimite de l’article de journal repose pourtant sur les competences expertes arborees par son auteur et collectivement garanties par la categorie professionnelle des chercheurs ; dans ce cadre contraint, les usages individuels de ce capital collectif exposent du meme coup au risque de son instrumentalisation et/ou de sa devalorisation.","PeriodicalId":300699,"journal":{"name":"Biens Symboliques / Symbolic Goods","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132743947","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
By analysing the interventions of humanities and social sciences (HSS) researchers and academics in national daily newspapers during the 2014 European electoral campaign, this article sheds new light on the development of “expertise” as a form of engagement of intellectuals in public space. While these scholars may be expected to lend their expertise, are they effectively doing this when they contribute to national generalist newspapers? This study focuses on the pieces they authored in the prominent newspapers Le Monde, Liberation et Le Figaro – op-eds, interviews, columns, and analytical articles. The qualitative and quantitative study of the content of these productions reveals that discourses are rooted in the authors’ disciplines, but also, especially after the election results, that they manifest an inclination towards prophecy. While they leave little room for well-argued demonstration, newspaper articles draw their legitimacy from the expert competencies displayed by the author and collectively guaranteed by researchers as a professional body. In this limited framework, this collective capital point is at risk of being instrumentalized and/or devalued when used individually.
{"title":"Humanities and Social Sciences Scholars on the Campaign Trail: Between Expertise and Prophecy","authors":"C. Brissaud, E. Brun","doi":"10.4000/bssg.670","DOIUrl":"https://doi.org/10.4000/bssg.670","url":null,"abstract":"By analysing the interventions of humanities and social sciences (HSS) researchers and academics in national daily newspapers during the 2014 European electoral campaign, this article sheds new light on the development of “expertise” as a form of engagement of intellectuals in public space. While these scholars may be expected to lend their expertise, are they effectively doing this when they contribute to national generalist newspapers? This study focuses on the pieces they authored in the prominent newspapers Le Monde, Liberation et Le Figaro – op-eds, interviews, columns, and analytical articles. The qualitative and quantitative study of the content of these productions reveals that discourses are rooted in the authors’ disciplines, but also, especially after the election results, that they manifest an inclination towards prophecy. While they leave little room for well-argued demonstration, newspaper articles draw their legitimacy from the expert competencies displayed by the author and collectively guaranteed by researchers as a professional body. In this limited framework, this collective capital point is at risk of being instrumentalized and/or devalued when used individually.","PeriodicalId":300699,"journal":{"name":"Biens Symboliques / Symbolic Goods","volume":"191 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122583948","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Les litteratures de l'imaginaire, categorie editoriale qui regroupe science-fiction et fantasy, presentent des niveaux de legitimite variables selon les titres. Cet article propose une analyse des enjeux lectoraux lies a la legitimite ambigue de ces productions chez les lecteurs et lectrices, en decrivant comment cette lecture soupconnee d'illegitimite peut se transformer en une ressource sociale et culturelle. Apres avoir evoque les jugements auxquels font face les lecteurs et lectrices de science-fiction et fantasy, il montre comment la hierarchie de legitimite interne au genre rend possible la mise en place de strategies de distinction chez les individus a fort capital culturel, mais pas uniquement, a travers le choix des titres lus et les modes de lecture adoptes.
{"title":"Lectures légitimes, lectures illégitimes","authors":"É. Hommel","doi":"10.4000/bssg.579","DOIUrl":"https://doi.org/10.4000/bssg.579","url":null,"abstract":"Les litteratures de l'imaginaire, categorie editoriale qui regroupe science-fiction et fantasy, presentent des niveaux de legitimite variables selon les titres. Cet article propose une analyse des enjeux lectoraux lies a la legitimite ambigue de ces productions chez les lecteurs et lectrices, en decrivant comment cette lecture soupconnee d'illegitimite peut se transformer en une ressource sociale et culturelle. Apres avoir evoque les jugements auxquels font face les lecteurs et lectrices de science-fiction et fantasy, il montre comment la hierarchie de legitimite interne au genre rend possible la mise en place de strategies de distinction chez les individus a fort capital culturel, mais pas uniquement, a travers le choix des titres lus et les modes de lecture adoptes.","PeriodicalId":300699,"journal":{"name":"Biens Symboliques / Symbolic Goods","volume":"72 6","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113977618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The numerous monographs centred on the evolution of the repertoires of nineteenth–and twentieth–century opera houses make possible a statistical measure of the increasing ageing process of the most frequently performed operas. The canonisation of early successes takes place mainly from the second half of the 19th century onwards and becomes more pronounced in the 20th century. This refusal of novelty is due to the rising costs of performance, to the emergence of a pantheon of composers that has been little renewed over the generations, and to the growing influence of show organisers, singing stars and theatre directors. The dissemination of the most famous arias, which made certain composers particularly popular, notably in Italy (Verdi), France (Gounod, Bizet), Germany (Wagner), and later in Russia and Central Europe, also encouraged the repeated performances, for the widest possible audiences at festivals or in the media, of works gradually selected by posterity. This process is reminiscent of the emergence of the great masters of classical music or painting before the advent of modernity, but it has its own specific features due to the weight of a show mobilising several arts (theatre, set, costume, music, dance) and the early internationalisation of the most frequently performed works. A few reference scenes serve as test beds for the future canonisation process, which is rarely called into question, as can be the case for other arts that are less dependent on the major European cultural capitals’ institutions. However, this canon is never definitively stabilised: discontinuation may still happen, particularly when the conditions of production make it impossible to revive works that were once central. This marginal renewal implies a very strong selectivity for new works and significantly slows down the recognition of the most innovative ones.
{"title":"The Creation of an Operatic Canon in Nineteenth-Century Europe","authors":"C. Charle","doi":"10.4000/bssg.655","DOIUrl":"https://doi.org/10.4000/bssg.655","url":null,"abstract":"The numerous monographs centred on the evolution of the repertoires of nineteenth–and twentieth–century opera houses make possible a statistical measure of the increasing ageing process of the most frequently performed operas. The canonisation of early successes takes place mainly from the second half of the 19th century onwards and becomes more pronounced in the 20th century. This refusal of novelty is due to the rising costs of performance, to the emergence of a pantheon of composers that has been little renewed over the generations, and to the growing influence of show organisers, singing stars and theatre directors. The dissemination of the most famous arias, which made certain composers particularly popular, notably in Italy (Verdi), France (Gounod, Bizet), Germany (Wagner), and later in Russia and Central Europe, also encouraged the repeated performances, for the widest possible audiences at festivals or in the media, of works gradually selected by posterity. This process is reminiscent of the emergence of the great masters of classical music or painting before the advent of modernity, but it has its own specific features due to the weight of a show mobilising several arts (theatre, set, costume, music, dance) and the early internationalisation of the most frequently performed works. A few reference scenes serve as test beds for the future canonisation process, which is rarely called into question, as can be the case for other arts that are less dependent on the major European cultural capitals’ institutions. However, this canon is never definitively stabilised: discontinuation may still happen, particularly when the conditions of production make it impossible to revive works that were once central. This marginal renewal implies a very strong selectivity for new works and significantly slows down the recognition of the most innovative ones.","PeriodicalId":300699,"journal":{"name":"Biens Symboliques / Symbolic Goods","volume":"382 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122842442","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The notion of cultural legitimacy has had many incarnations and been subject to many criticisms over the years. However, few studies have set out to construct it empirically and quantify it at the national level and over several cultural practices. In spite of the intense theoretical debates, one question remains particularly neglected – given that the scale of cultural legitimacy is defined by the homology between the ordering of tastes and the ordering of social groups, which social space does it actually refer to? Here we propose an empirical approach to statistically account for the intersection of social power relations which many ethnographic studies have observed at the level of individuals and social groups. The goal is to analyse the relations between variables related to social status; education, age, and gender are the ones we look at here. We avoid the unfruitful trap of simply constructing hierarchies of effects, and instead consider the interactions between them. We therefore observe that, at the macro level where our analysis is situated, the scale of cultural legitimacy is simultaneously associated with the three social relations studied, opposing bourgeois (intellectual) culture to popular culture, feminine culture to masculine culture, and established culture to new emerging culture. Ultimately, the scale of cultural legitimacy is made up of three main echelons, associated with three configurations of social characteristics: intellectual, feminine, and established at the “top” of the legitimacy scale, intellectual, masculine, and emerging at the “middle” and, finally, popular, feminine, and established, at the “bottom”. A sociological interpretation allows us to distinguish two variations of legitimate culture that are more or less well established, feminine, and intellectual, and three variations of illegitimate culture depending on gender and age variables (a taste for “outdated” or “sentimental” working class genres, a preference for “mass public” products that are widely available on radio, television, or in magazines, and a taste for emerging “virile” genres [science-fiction, rap, hard rock, etc.], that are sometimes constituted as juvenile subcultures subject to processes of legitimation). Beyond this nascent typology, we seek above all to establish the existence of these interactions, to propose certain statistical tools that are useful for studying them and to demonstrate the benefit of analysing the distribution of cultural practices in intersectional terms.
{"title":"The Multidimensional Structure of Taste","authors":"C. Noûs, N. Robette, Olivier Roueff","doi":"10.4000/bssg.625","DOIUrl":"https://doi.org/10.4000/bssg.625","url":null,"abstract":"The notion of cultural legitimacy has had many incarnations and been subject to many criticisms over the years. However, few studies have set out to construct it empirically and quantify it at the national level and over several cultural practices. In spite of the intense theoretical debates, one question remains particularly neglected – given that the scale of cultural legitimacy is defined by the homology between the ordering of tastes and the ordering of social groups, which social space does it actually refer to? Here we propose an empirical approach to statistically account for the intersection of social power relations which many ethnographic studies have observed at the level of individuals and social groups. The goal is to analyse the relations between variables related to social status; education, age, and gender are the ones we look at here. We avoid the unfruitful trap of simply constructing hierarchies of effects, and instead consider the interactions between them. We therefore observe that, at the macro level where our analysis is situated, the scale of cultural legitimacy is simultaneously associated with the three social relations studied, opposing bourgeois (intellectual) culture to popular culture, feminine culture to masculine culture, and established culture to new emerging culture. Ultimately, the scale of cultural legitimacy is made up of three main echelons, associated with three configurations of social characteristics: intellectual, feminine, and established at the “top” of the legitimacy scale, intellectual, masculine, and emerging at the “middle” and, finally, popular, feminine, and established, at the “bottom”. A sociological interpretation allows us to distinguish two variations of legitimate culture that are more or less well established, feminine, and intellectual, and three variations of illegitimate culture depending on gender and age variables (a taste for “outdated” or “sentimental” working class genres, a preference for “mass public” products that are widely available on radio, television, or in magazines, and a taste for emerging “virile” genres [science-fiction, rap, hard rock, etc.], that are sometimes constituted as juvenile subcultures subject to processes of legitimation). Beyond this nascent typology, we seek above all to establish the existence of these interactions, to propose certain statistical tools that are useful for studying them and to demonstrate the benefit of analysing the distribution of cultural practices in intersectional terms.","PeriodicalId":300699,"journal":{"name":"Biens Symboliques / Symbolic Goods","volume":"111 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114248862","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
La notion de legitimite culturelle a connu de nombreuses declinaisons et de nombreuses critiques. Pourtant, peu de travaux s’emploient a la construire de maniere empirique et quantifiee a l’echelle d’un espace national et pour plusieurs pratiques culturelles. Malgre des debats theoriques intenses, une question demeure en particulier en jachere : l’echelle de legitimite culturelle etant definie par l’homologie entre l’ordonnancement des gouts et celui des groupes sociaux, de quel espace social est-il question ? Nous proposons une demarche empirique pour tenir compte statistiquement de l’intersectionnalite des rapports sociaux de pouvoir, que de nombreuses enquetes ethnographiques ont etablie a l’echelle des individus et des groupes sociaux. Il s’agit essentiellement d’analyser les relations entre les variables de position sociale – le diplome, l’âge et le sexe, pour celles que nous retiendrons – sans tomber dans le piege improductif de la hierarchisation des effets mais en les considerant plutot en termes d’interactions. Nous etablissons ainsi que, au niveau macro ou se situe l’analyse, l’echelle de legitimite culturelle est associee simultanement aux trois rapports sociaux etudies, opposant le bourgeois (lettre) au populaire, le feminin au masculin et l’ancien a l’emergent. Au final, l’echelle de legitimite est constituee de trois echelons principaux, associes a trois configurations de proprietes sociales : une culture lettree, feminine et ancienne en « haut » de l’echelle, une culture lettree, masculine et emergente au « milieu » et une culture populaire, feminine et ancienne en « bas ». L’interpretation sociologique permet ensuite de distinguer deux variations de la culture legitime, plus ou moins ancienne, feminine et lettree, et trois variations de la culture illegitime en fonction des variables de sexe et d’âge : le gout pour les genres populaires « ringards » et « sentimentaux » se distingue du gout pour les produits « grand public » les plus accessibles par la radio, la television ou les magazines comme du gout pour les genres emergents et « virils » (science-fiction, rap ou hard rock…) qui sont parfois constitues en sous-cultures juveniles et disponibles a des entreprises de legitimation. Au-dela de cette esquisse de typologie, nous cherchons surtout a etablir l’existence de ces interactions, a proposer quelques outils statistiques utiles pour les etudier et a montrer l’interet qu’il y a a analyser la distribution des pratiques culturelles en termes intersectionnels.
文化合法性的概念经历了多次衰落和批评。然而，很少有研究以实证的方式构建它，并在一个国家空间的规模和几种文化实践中进行量化。尽管有激烈的理论争论，但有一个问题仍然存在:文化合法性的尺度是由品味和社会群体之间的同源性定义的，我们谈论的是哪个社会空间?我们提出了一种实证方法，在统计上考虑社会权力关系的交叉性，这是许多民族志调查在个人和社会群体的规模上建立的。从本质上说，这是一个分析社会地位变量(学历、年龄和性别)之间关系的问题，而不是陷入对影响进行排名的非生产性陷阱，而是从相互作用的角度来考虑它们。因此，在分析所处的宏观层面上，文化合法性的尺度同时与所研究的三种社会关系相关联，即资产阶级(字母)与大众、女性与男性、旧与新。最终提名的是三大echelons交予,只是混了三年的配置:lettree风气,在那样的社会特性和古老的高级«»(lettree风气、男性和in the middle»和«一个大众文化中,女性和古老的«»底部。社会学解释允许区分合法文化的两种变化，或多或少的古老，女性和识字文化，以及根据性别和年龄变量的三种变化:热门流派来说喜欢多愁善感盖«»和«»滋味》脱颖而出的产品最容易引起公众«»通过电台、电视或杂志如《滋味对于emergents流派和男子气概«»(说唱、科幻或hard rock ...),有时在亚文化和少年a公司可用的示意图。除了这一类型学大纲之外，我们还试图确定这些相互作用的存在，提出一些有用的统计工具来研究它们，并表明从交叉的角度分析文化实践的分布的兴趣。
{"title":"La structure multidimensionnelle des goûts","authors":"C. Noûs, Nicolas Robette, O. Roueff","doi":"10.4000/bssg.598","DOIUrl":"https://doi.org/10.4000/bssg.598","url":null,"abstract":"La notion de legitimite culturelle a connu de nombreuses declinaisons et de nombreuses critiques. Pourtant, peu de travaux s’emploient a la construire de maniere empirique et quantifiee a l’echelle d’un espace national et pour plusieurs pratiques culturelles. Malgre des debats theoriques intenses, une question demeure en particulier en jachere : l’echelle de legitimite culturelle etant definie par l’homologie entre l’ordonnancement des gouts et celui des groupes sociaux, de quel espace social est-il question ? Nous proposons une demarche empirique pour tenir compte statistiquement de l’intersectionnalite des rapports sociaux de pouvoir, que de nombreuses enquetes ethnographiques ont etablie a l’echelle des individus et des groupes sociaux. Il s’agit essentiellement d’analyser les relations entre les variables de position sociale – le diplome, l’âge et le sexe, pour celles que nous retiendrons – sans tomber dans le piege improductif de la hierarchisation des effets mais en les considerant plutot en termes d’interactions. Nous etablissons ainsi que, au niveau macro ou se situe l’analyse, l’echelle de legitimite culturelle est associee simultanement aux trois rapports sociaux etudies, opposant le bourgeois (lettre) au populaire, le feminin au masculin et l’ancien a l’emergent. Au final, l’echelle de legitimite est constituee de trois echelons principaux, associes a trois configurations de proprietes sociales : une culture lettree, feminine et ancienne en « haut » de l’echelle, une culture lettree, masculine et emergente au « milieu » et une culture populaire, feminine et ancienne en « bas ». L’interpretation sociologique permet ensuite de distinguer deux variations de la culture legitime, plus ou moins ancienne, feminine et lettree, et trois variations de la culture illegitime en fonction des variables de sexe et d’âge : le gout pour les genres populaires « ringards » et « sentimentaux » se distingue du gout pour les produits « grand public » les plus accessibles par la radio, la television ou les magazines comme du gout pour les genres emergents et « virils » (science-fiction, rap ou hard rock…) qui sont parfois constitues en sous-cultures juveniles et disponibles a des entreprises de legitimation. Au-dela de cette esquisse de typologie, nous cherchons surtout a etablir l’existence de ces interactions, a proposer quelques outils statistiques utiles pour les etudier et a montrer l’interet qu’il y a a analyser la distribution des pratiques culturelles en termes intersectionnels.","PeriodicalId":300699,"journal":{"name":"Biens Symboliques / Symbolic Goods","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133401866","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the collaboration between ONCEIM—an orchestra made up of about thirty musicians specialised in musical improvisation —and the pianist and improviser John Tilbury, from whom ONCEIM commissioned a piece entitled Sans. This process of musical creation was remarkable in that all participants had to work with a high degree of uncertainty regarding the nature of the project and, therefore, the distribution of roles and creative authority. This uncertainty permeated all aspects of the collaborative work that led up to the first public performance of Sans. The present paper is based on an ethnographic study of all the rehearsals John Tilbury and ONCEIM held together, as well as on semi-directed interviews conducted with various orchestra members. We first illustrate the deep ambivalence of John Tilbury’s attitude and preliminary instructions to the orchestra, which oscillated between two regulating approaches to musical activity. Next, we examine the various “prescriptive impulses” of some members of ONCEIM, which sought to fill the “vacuum of power” left by John Tilbury. Finally, within this largely indeterminate context of interaction, we show how musicians based their musical choices on deontic as well as organizational criteria.
{"title":"An Orchestra Faces the Test of Indeterminacy","authors":"C. Canonne, A. Robert","doi":"10.4000/bssg.643","DOIUrl":"https://doi.org/10.4000/bssg.643","url":null,"abstract":"This article examines the collaboration between ONCEIM—an orchestra made up of about thirty musicians specialised in musical improvisation —and the pianist and improviser John Tilbury, from whom ONCEIM commissioned a piece entitled Sans. This process of musical creation was remarkable in that all participants had to work with a high degree of uncertainty regarding the nature of the project and, therefore, the distribution of roles and creative authority. This uncertainty permeated all aspects of the collaborative work that led up to the first public performance of Sans. The present paper is based on an ethnographic study of all the rehearsals John Tilbury and ONCEIM held together, as well as on semi-directed interviews conducted with various orchestra members. We first illustrate the deep ambivalence of John Tilbury’s attitude and preliminary instructions to the orchestra, which oscillated between two regulating approaches to musical activity. Next, we examine the various “prescriptive impulses” of some members of ONCEIM, which sought to fill the “vacuum of power” left by John Tilbury. Finally, within this largely indeterminate context of interaction, we show how musicians based their musical choices on deontic as well as organizational criteria.","PeriodicalId":300699,"journal":{"name":"Biens Symboliques / Symbolic Goods","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124702610","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Rassemblement Democratique Revolutionnaire [Revolutionary Democratic Rally] (RDR) was a political venture created in France in 1948 with the aim of defending a neutralist position, refusing the either-or alternatives between the Atlantic and Soviet blocs. This article begins with a sociographic presentation of the militant intellectuals who founded this original political initiative; then, we address the political activism and positionings of this distinctive partisan milieu, where intellectuals were characteristically overrepresented. We analyse the RDR’s methods of establishing a new position within the political and intellectual fields, as well as the way in which their forms of intervention and positionings were influenced by their members’ social profiles and trajectories as activists. Lastly, we question how the RDR’s members intervened within the domain of ideological production - both as a partisan venture and a collective intellectual - and to what extent the search for such a fragile equilibrium impacted its success or failure.
{"title":"Creating a Collective Intellectual in the Political Field","authors":"B. Amiel","doi":"10.4000/bssg.679","DOIUrl":"https://doi.org/10.4000/bssg.679","url":null,"abstract":"The Rassemblement Democratique Revolutionnaire [Revolutionary Democratic Rally] (RDR) was a political venture created in France in 1948 with the aim of defending a neutralist position, refusing the either-or alternatives between the Atlantic and Soviet blocs. This article begins with a sociographic presentation of the militant intellectuals who founded this original political initiative; then, we address the political activism and positionings of this distinctive partisan milieu, where intellectuals were characteristically overrepresented. We analyse the RDR’s methods of establishing a new position within the political and intellectual fields, as well as the way in which their forms of intervention and positionings were influenced by their members’ social profiles and trajectories as activists. Lastly, we question how the RDR’s members intervened within the domain of ideological production - both as a partisan venture and a collective intellectual - and to what extent the search for such a fragile equilibrium impacted its success or failure.","PeriodicalId":300699,"journal":{"name":"Biens Symboliques / Symbolic Goods","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117018254","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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