Оглавление
Luc Boltanski. Enrichment
CONTENTS
Figures
Guide
Pages
Enrichment. A Critique of Commodities
Acknowledgments
Translator’s Note
Foreword
What has happened?
Introduction
Notes
1 The Age of the Enrichment Economy. The deindustrialization of Western Europe
Old and new sites of prosperity
The omnipresence of enriched objects
The rise of luxury
Heritage creation
The development of tourism
The expansion of cultural activities
The art trade
Arles: from railroad shops to contemporary art exhibits
An economic reorientation toward the wealthy
Notes
2 Toward Enrichment. The characteristics of an enrichment economy
Dormant resources in the enrichment economy
Changes in French cultural policy
A new perspective in economic analysis
A shift to different scales
From ornamental patrimony to heritage creation
Local mutations in global capitalism
Partisans of things73
Notes
3 Commerce in Things
The commodity condition
On the circulation of things
Changing hands
The process of determination
Price and metaprice
Critiquing the price
Value as justification for a price
Price as an element in the construction of reality
Notes
4 Forms of Valuation. Structure and transformation group of forms of valuation
Analytic and narrative presentations of things
The problem of valuation by means of images
On the reproduction of things
Lacks, totalities, and scarcity
Institutions and forms of valuation
Structuralism and capitalism
Competition from a systemic viewpoint
Capitalism and markets
The role of the capacity to reflect
The structure of the forms of valuation
Notes
5 The Standard Form. The model for the standard form
The standard form and industrial production
Prototypes and specimens
The proliferation of things without persons
The internal tensions of the standard form
The unease created by the standard form
Notes
6 Standardization and Differentiation. The historical dimension of the forms of valuation
From trade in things to the circulation of commodities
The effect of standardization on the constitution of forms of valuation
Material economies, immaterial economies
Notes
7 The Collection Form. The modernity of the collection form
Systematic collection as an arrangement for valuation
Collectors’ items
Price and value of collectors’ items
The fields of collectables
The structure of the collection form
Notes
8 Collection and Enrichment. The usefulness of useless things
Collecting in thrall to marketing
Marketing as know-how for valorizing commodities
The narrative presentation
The constraints of the collection form for luxury objects
On the use of the collection form by luxury firms
From lumber to luxury goods: the transformation of the Pinault group into Kering
Capturing the wealth of the wealthiest
Values and prices of luxury product brands
Standard products with a “collector effect” and collectors’ items
The collection form and contemporary art
The contradiction of the enrichment economy
Notes
9 The Trend Form. Trend, sign, and distinction
The structure of the trend form
The economic constraints of the trend form
From the trend form to the collection form
Luxury and the constraints of the trend form from the standpoint of marketing36
Notes
10 The Asset Form. Characteristics of the asset form
Art objects as assets11
On the liquidity of things as assets
The commercial potential of assets
Notes
11 Profit in a Commercial Society. Competition and differentiation
Surplus work value and profit
Surplus market value and profit
Displacing commodities or displacing buyers
Shifts among forms of valuation
Profiting from the wealthy in the capitalist cosmos
Notes
12 The Enrichment Economy in Practice
An enriched village: Laguiole in Aubrac
The transformation of habitats through heritage creation
New “traditional festivals” in the village
Heritage creation around food
A landscape to contemplate
Cutlery valorized by the collection form
The “artisanal” manufacture of a knife in Laguiole
A collectable knife
Museification as a means of commercialization
The problem of the origin of materials
Distinguishing Laguiole’s knives from those made elsewhere
“A name, a brand, a village”
How the residents lost the ability to dispose freely of the name of their village
A geographic indication to “highlight the treasures of the territories”
Notes
13 The Shape of the Enrichment Society. The organization of things and persons
Who can profit from an enrichment economy?
“Losers” and “servants”
The return of “rentiers”
Notes
14 Creators in the Enrichment Society. The economic condition of culture workers
Self-promotion by creators
The constraint of self-exploitation
The circumstances behind the crystallization of social classes
Troubled critiques
Notes
Conclusion: Action and Structures. The enrichment economy and a critique of capitalism
On pragmatic structuralism
Notes
AppendixAn Experiment in Formalizing the Structures of Commodity Exchange
Some basic elements of the language of category theory
Definition 1
Definition 2
Definition 3
Definition 4
Definition 5
Definition 6
Definition 7
Forms of commodity valuations
The Standard Form
The Trend Form
The Collection Form
The Asset Form
Some comments on this formalization
Transitions between the forms
Possible openings
Notes
References
Index. A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
POLITY END USER LICENSE AGREEMENT
Отрывок из книги
For Dominique
Translated by Catherine Porter
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In this spirit, many studies in the field of tourist management seek to highlight the “cultural assets” of a country such as France, where tourist facilities are expensive, so as to distinguish their own country from less expensive ones: not only those of the southern hemisphere, which are reputed, according to this marketing logic, to have “nothing to offer but sea and sun,” but also those of Southern Europe, which can boast of both cultural offerings and an attractive climate.62 To “mass tourism,” which has undergone a process of standardization inspired by industrial norms, marketing agencies thus contrast “cultural tourism,” associated with the definition of “world heritage,” whose conception and promotion have benefited from the interest of major international organizations – for example, UNESCO, the World Tourism Organization, and the International Council on Monuments and Sites (ICOMOS) – and which has been associated with the definition of “world heritage.”63 Constructed in opposition to “mass tourism,” which is denigrated on the basis of its indifference to “cultural” properties and the fact that, given a favorable climate, its touristic offerings can be realized almost anywhere provided sufficient investments are made, “cultural tourism” is supposed to add to the features generally associated with tourism – comfort, availability, and security – personal involvement and experience, a sense of adventure, surprises, unexpected encounters, and so on, characteristics that have nourished the imagery of “travel” since the Romantic era.64 Initially organized around the “cult” of “historical monuments,” seen as concentrations of culture, the notion of cultural tourism has been extended to a much broader range of places by the use of the term “culture” in a sense close to the one it has in ethnology and folklore studies. According to that logic, attested by the Cultural Tourism Charter developed by ICOMOS in 1999 (replacing the 1976 charter focused on monumentality), cultural tourism is linked to an expansive definition of patrimony, so that it now includes “all aspects considered proper to a society and an environment,” with a stress on the themes of diversity (including biodiversity) and identity.65
The marketing of cultural tourism has closely followed this institutional turn, and it is no longer oriented exclusively toward officially recognized sites or “monuments”; while these have the advantage of making it less possible to substitute other products for those on offer and thus limiting the competition, they are relatively few in number. Tourist agencies have definitively expanded the term “culture.” Thus, in a brochure published by the Malaga Chamber of Commerce designed to promote cultural tourism in the Mediterranean region, we find this definition: “Cultural tourism means traveling to places that are different from one’s usual residence, motivated by the desire to know, understand, and study other cultures: a voyage rich in experiences through cultural activities.”66 In the case of international tourism, one of the goals of cultural tourism is to increase the proportion of profits that go to service providers from the destination country in relation to the proportion destined for the companies – generally based in the country of origin – that organize the trip or the visit. While a tourist staying in a vacation camp or traveling entirely under the auspices of an international tourism company contributes little to the destination country, tourists seeking “authentic” cultural experiences must move about in a more autonomous fashion, so that their expenses will be distributed throughout the territory they visit.
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