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Cultural Capital

Different amounts of cultural capital produce different structures of taste. Let's consider two main ones: popular and high aesthetics (in the book, different combinations of inherited and acquired cultural capital, and different types of cultural capital, produce a more complicated schema). The 'popular aesthetic' is 'based on a continuity between art and life', a similarity between 'ordinary dispositions' and aesthetic ones. It favours functions over form, it dislikes experimentation, it likes, for example, logical and ordered plots in plays or films, as in life. It features a deep-rooted demand for participation, a strong desire to be able to enter the fictional world and identify with the characters. Any denial of that demand is likely to lead to 'strong feelings of hostility', 'panic mixed with revolt', because experimental art is seen as an affront to common sense and to all sensible people. --David Harris, P. Bourdieu's Sociology of Taste, making sense of strange movies

Subcultural capital

It is relatively easy to assign cultural value to rock and other counter-cultural musics-hip-hop, techno, reggae, grunge, dance-hall, and so on-because their value derives directly from the degree of their opposition to high culture. A resistant cultural practice has a certain cachet, what Sarah Thornton has termed "subcultural capital." Subcultural capital is insider knowledge, a kind of proof of membership in a counter-culture. For example, when I talk about counter-culture music practices in my classes, I display my subcultural capital and get that cachet transferred onto me. That is, my students think I'm "cool." And this subcultural capital operates over time as well. At the age of thirty-eight, I not only derive my subcultural capital from knowing about techno and hardcore, but also from owning all of Pink Floyd and much of the Velvet Underground in first edition, on vinyl. I can also speak with some authority about, for instance, how South Asians in the UK took hip-hop and mixed it up with classical Indian and Hindi-pop vocal practices to make bhangra. I can introduce students to Lillian Allen's uses of reggae musical materials in her politically fierce dub poetry. By displaying all this subcultural capital, I accrue cool points. --Anahid Kassabian, http://www.drake.edu/swiss/popularandbusiness.html

Social capital

Social capital "refers to the collective value of all 'social networks' and the inclinations that arise from these networks to do things for each other." (Robert Putnam) The term "capital" is used by analogy with other forms of economic capital.

Social capital can be thought of as being positive or negative. Horizontal networks of individual citizens and groups that enhance community productivity and cohesion are said to be positive social capital assets whereas self-serving exclusive gangs and hierarchical patronage systems that operate at cross purposes to communitarian interests can be thought of as negative social capital burdens on society.

The concept of social capital in a Chinese social context has been closely linked with the concept of guanxi. --http://en.wikipedia.org/wiki/Social_capital, Feb 2004

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