se those with fewer economic means try to get the maximum culture for their money. On the other hand, the rich must always have the best, the most classic, and the most widely known. No avant garde theatre for them. Throughout this chapter, Bordieu uses teachers as representatives of those with an interest in high culture and low economic means, and industrial/commercial employers for those who would go for run-of-the-mill culture that's really expensive. These rich employer types like to appropriate art for the sake of having it. When one appropriates a work of art in this manner, he assets himself as the exclusive owner of the object and the taste for that object. He ''negates all those unworthy of appropriating that object'' (280). The appropriation of art is a symbol of status for the rich because it shows off that they have time to waste on such frivolities, or would go to ''any expense'' to own such a beautiful work or art. On the other hand, the dominated classes must appropriate symbolically, be it through knowledge of art, a cheap reprint, etc. Often, they recreate what is thought of as art for their community (intellectuals, artists). They turn pop-culture artifacts such as graffiti and cartoons into distinguished works of culture. For those with low economic capital, gaining educational capital can help them gain cultural capital (teachers). These people's tastes become opposed to the luxury tastes of ''professionals.'' Because teachers don't have the means to materially obtain things which reflect their cultural taste, they develop ''aesthetic asceticism.'' (289) Their ethical choices reflect their aesthetic choices. (ie liking Sartre means being a left winger). They protest the social order that restricts their entry into the bourgeoisie and the world of luxury art. Whereas their art and world views reflect social pessimism, the art and world view of the rich reflect sumptuousness and social optimism. Intellectuals expect a...
