英国论文代写：文化资本

英国论文代写：文化资本

布迪厄文化生产在他的体质状态的文化资本形成visble外观和一个看不见的内部。可见的是有形的,这将决定它隐藏不可见。在某些方面表现一直有形文化产品和dramaticization社会生产的。在研究传统和精英的青年感知艺术与大众和大众文化艺术发现高危青年是不同的在他们如何评价剧院及其产品与另一群中产阶级青年。[1]青年剧院在这里观察更与中产阶级青年的背景,高风险的年轻人。青年剧院没有给高风险的人很多选择来表达他们处理在日常生活。如上所述,布尔迪厄只有人口增长的环境中,产生的文化资本,从而构筑了文化资本可以表示,文化资本将增加。然而当年轻人不感兴趣的文化资本由于他们的生活情况,当他们认为剧院等文化资本只有二次生活的一部分,然后的同化和收购同样的停止。可能会有明显的领先不感兴趣。这将阻止文化资本生产和也将阻止文化资本的制度化。这个更大的意义上意味着这一切的社会主体也将失去的象征性权力。

英国论文代写：文化资本

Bourdieu in his habitus for cultural production states that the cultural capital formations have a visble exterior and an invisible interior. The visible is tangible and this will hide the invisible that determines it. In some ways cultural productions and performances have been tangible dramaticization of the society that it was produced out of. In a study conducted on the youth perception of traditional and elite art as opposed to popular and mass cultural art it was seen that high risk youths were different in how they rated the theatre and its productions as opposed to another group of middle class youth.[1]Youth Theatre here was observed to be more in connection with that of the middle class youth background that that of the high risk youth. The youth theatre did not give the high risk people many choices to express what they were dealing with in their daily life. As stated by Bourdieu only when the population grows in an environment that produces cultural capital and hence institutionalizes cultural capital can it be said that cultural capital will grow. However when the youth are not interested in the cultural capital as a result of their life situations and when they view cultural capital such as the theatre as only a secondary part of the life, then the assimilation and acquisition of the same stops. There may be evident disinterestedness leading. This will stop the cultural capital production and will also stop the institutionalizing of cultural capital. This in the greater sense will mean the society that all this is subject too will lose in terms of symbolic power also.