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Bourdieu and Data Analysis

Methodological Principles and Practice

Edited By Michael Grenfell and Frédéric Lebaron

Uniquely amongst the numerous publications to appear on the work of the French social theorist Pierre Bourdieu, this book deals with data analysis, examining a range of techniques and instruments. After an introductory chapter outlining the key principles of Bourdieu’s theory, the book presents detailed examples of data being collected and analysed in a Bourdieusian way across various social science contexts. Both qualitative and quantitative methods are addressed, including analysis of the strengths and weaknesses of each method, as are common data collection procedures such as interview, observation and questionnaire. Examples of Multiple Correspondence Analysis are an important feature of the book, since this was an approach particularly favoured by Bourdieu. In each case study, the pros and cons of different approaches are highlighted and the qualitative/quantitative debate is thoroughly explored. Overall, the book offers readers a blueprint to develop their own methodological plans for using Bourdieu in research practice.
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Re-presenting the Social World: Bourdieu and Graphic Illustrations of Field


← 76 | 77 → CHERYL HARDY

Re-presenting the Social World:Bourdieu and Graphic Illustrations of Field


This chapter discusses the methods and procedures that may be gone through in order to undertake a practical analysis of a field context within a social space. It offers a particular empirical analysis of an artistic field to illustrate how the different models and methods can be applied. I broadly follow the type of methodology set out in Part I of this book; thus, with a consideration of the way the research object is constructed, levels of focus for mapping and studying fields and issues around participant objectivation. My approach is ‘qualitative’, in that I am working descriptively, without large scale statistics and with descriptive data collected on my chosen topic. That topic is the artistic field of St Ives, Cornwall, UK. Much has been written about this artistic movement (for example, Bird 2009) which, at one time in the 1940s, might be considered to be the ‘epi-centre of the art world’. It is a useful example since it is relatively small, bounded, and includes a series of generational shifts (simply recognizable). The data I am working with is initially biographical. However, information about a number of institutional, contextual, and social details is also needed if the field is to be studied in terms of its relations, and thus the field structures, and symbolic values (capital) that constitute this field. It is these details which are analysed for correspondences...

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