Vincent DuBois - Böcker

Vocational occupations are attractive not so much for their material rewards as for the prestige and self-fulfillment they confer. They require a strong personal commitment, which can be subjectively experienced in terms of passion and selflessness. The choice of a career in the cultural sector provides a good example of this. What are the terms of this calling? What predisposes individuals to answer it? What are the meanings of such a choice? To answer these questions, this book focuses on would-be cultural managers. By identifying their social patterns, by revealing the resources, expectations and visions of the world they invest in their choice, it sheds new light on these occupations. In these intermediary and indeterminate social positions, family heritages intersect with educational strategies, aspirations of upward mobility with tactics against downward mobility, and social critique with adjustment strategies. Ultimately the study of career choices in cultural management suggests a new take on the analysis of social reproduction and on the embodiment of the new spirit of capitalism. The empirical findings of this research conducted in France are set in a broader comparative perspective, at the European level and with the USA.

Despite the musical and social roles they play in many parts of the world, wind bands have not attracted much interest from sociologists. The Sociology of Wind Bands seeks to fill this gap in research by providing a sociological account of this musical universe as it stands now. Based on a qualitative and quantitative survey conducted in northeastern France, the authors present a vivid description of the orchestras, the backgrounds and practices of their musicians, and the repertoires they play. Their multi-level analysis, ranging from the cultural field to the wind music subfield and to everyday life relationships within bands and local communities, sheds new light on the social organisation, meanings and functions of a type of music that is all too often taken for granted. Yet they go further than merely portraying a musical genre. As wind music is routinely neglected and socially defined in terms of its poor musical quality or even bad taste, the book addresses the thorny issue of the effects of cultural hierarchy and domination. It proposes an imaginative and balanced framework which, beyond the specific case of wind music, is an innovative contribution to the sociology of lowbrow culture.

Welfare offices usually attract negative descriptions of bureaucracy with their queues, routines, and impersonal nature. Are they anonymous machines or the locus of neutral service relationships? Showing how people experience state public administration, The Bureaucrat and the Poor provides a realistic view of French welfare policies, institutions and reforms and, in doing so, dispels both of these myths. Combining Lipsky's street-level bureaucracy theory with the sociology of Bourdieu and Goffman, this research analyses face-to-face encounters and demonstrates the complex relationship between welfare agents, torn between their institutional role and their personal feelings, and welfare applicants, required to translate their personal experience into bureaucratic categories. Placing these interactions within the broader context of social structures and class, race and gender, the author unveils both the social determinations of these interpersonal relationships and their social functions. Increasing numbers of welfare applicants, coupled with mass unemployment, family transformations and the so-called 'integration problem' of migrants into French society deeply affect these encounters. Staff manage tense situations with no additional resources - some become personally involved, while others stick to their bureaucratic role; most of them alternate between involvement and detachment, assistance and domination. Welfare offices have become a place for 're-socialisation', where people can talk about their personal problems and ask for advice. On the other hand, bureaucratic encounters are increasingly violent, symbolically if not physically. More than ever, they are now a means of regulating the poor.

Vocational occupations are attractive not so much for their material rewards as for the prestige and self-fulfillment they confer. They require a strong personal commitment, which can be subjectively experienced in terms of passion and selflessness. The choice of a career in the cultural sector provides a good example of this. What are the terms of this calling? What predisposes individuals to answer it? What are the meanings of such a choice? To answer these questions, this book focuses on would-be cultural managers. By identifying their social patterns, by revealing the resources, expectations and visions of the world they invest in their choice, it sheds new light on these occupations. In these intermediary and indeterminate social positions, family heritages intersect with educational strategies, aspirations of upward mobility with tactics against downward mobility, and social critique with adjustment strategies. Ultimately the study of career choices in cultural management suggests a new take on the analysis of social reproduction and on the embodiment of the new spirit of capitalism. The empirical findings of this research conducted in France are set in a broader comparative perspective, at the European level and with the USA.

Welfare offices usually attract negative descriptions of bureaucracy with their queues, routines, and impersonal nature. Are they anonymous machines or the locus of neutral service relationships? Showing how people experience state public administration, The Bureaucrat and the Poor provides a realistic view of French welfare policies, institutions and reforms and, in doing so, dispels both of these myths. Combining Lipsky's street-level bureaucracy theory with the sociology of Bourdieu and Goffman, this research analyses face-to-face encounters and demonstrates the complex relationship between welfare agents, torn between their institutional role and their personal feelings, and welfare applicants, required to translate their personal experience into bureaucratic categories. Placing these interactions within the broader context of social structures and class, race and gender, the author unveils both the social determinations of these interpersonal relationships and their social functions. Increasing numbers of welfare applicants, coupled with mass unemployment, family transformations and the so-called 'integration problem' of migrants into French society deeply affect these encounters. Staff manage tense situations with no additional resources - some become personally involved, while others stick to their bureaucratic role; most of them alternate between involvement and detachment, assistance and domination. Welfare offices have become a place for 're-socialisation', where people can talk about their personal problems and ask for advice. On the other hand, bureaucratic encounters are increasingly violent, symbolically if not physically. More than ever, they are now a means of regulating the poor.

Despite the musical and social roles they play in many parts of the world, wind bands have not attracted much interest from sociologists. The Sociology of Wind Bands seeks to fill this gap in research by providing a sociological account of this musical universe as it stands now. Based on a qualitative and quantitative survey conducted in northeastern France, the authors present a vivid description of the orchestras, the backgrounds and practices of their musicians, and the repertoires they play. Their multi-level analysis, ranging from the cultural field to the wind music subfield and to everyday life relationships within bands and local communities, sheds new light on the social organisation, meanings and functions of a type of music that is all too often taken for granted. Yet they go further than merely portraying a musical genre. As wind music is routinely neglected and socially defined in terms of its poor musical quality or even bad taste, the book addresses the thorny issue of the effects of cultural hierarchy and domination. It proposes an imaginative and balanced framework which, beyond the specific case of wind music, is an innovative contribution to the sociology of lowbrow culture.