EXAM 3 – INSTRUCTIONS AND QUESTIONS Respond to two questions out of six; you mus

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EXAM 3 – INSTRUCTIONS AND QUESTIONS
Respond to two questions out of six; you must respond to one question from Part 1 (these questions focus on the entire course) and one question from Part 2 (these questions focus on the final module only)
Each of your responses should be approximately 450-650 words long (please, no shorter than 450 words – if you’re a bit longer than 650, that’s fine).
It’s an exam so there is no reason to use MLA or APA style, but do use a page number if you include direct quotations.
Upload your response as a Word file or pdf or just cut and paste your response into the text box on Canvas; please don’t upload Pages files because we don’t all have access to Pages.
Again, upload the exam before 11:59 am! Otherwise, you may miss the cut off.
PART 1 (respond to 1 question from this section)
1.) When Pierre Bourdieu maps out the “field of cultural production,” he only accounts for human social agents. That is, for Bourdieu, “position taking” in the field of cultural production” seems to entirely pivot around human actors, suggesting that humans alone are responsible for the production of culture. But is this a reasonable assumption? How and why might it be important to understand the “field of cultural production” in relation to non-human animals and or machines? To answer to this question, consider how two or more theorists encountered in Modules 2 and 3 (e.g., Dean, Haraway, Elder et al.) might respond.
2.) Nick Couldry’s argues that “cultural studies thinks of culture in relation to issues of power.” Having now completed Introduction to Cultural Studies, do you agree with this statement? Discuss in relation to three different theorists encountered on the course.
3.) How would cultural studies scholars Angela McRobbie and Stuart Hall respond to Adorno and Horkheimer’s “Culture Industry” essay? What parts of Adorno and Horkheimer’s central thesis would they support and on what basis might they critique Adorno and Horkheimer’s thesis on the cultural industry?
PART 2 (respond to 1 question from this section)
1.) According to Bourdieu, what is the “field of cultural production.” How do the “textual poachers” discussed by Jenkins and the creative laborers discussed by McRobbie disrupt the field of cultural production described by Bourdieu?
2.) “The work of art is an object which exists as such only by virtue of the (collective ) belief which knows and acknowledges it as a work of art.” On what basis does Bourdieu make this claim? Also, discuss how at least two other theorists on the final module of the course (i.e., McRobbie, Jenkins, and/or de Certeau) would respond to this claim. Would they agree or disagree with Bourdieu’s observation and why?
3.) How does Jenkins’s theory of “textual poachers” build on and depart from Hall’s theory of “encoding and decoding” and de Certeau’s theory on uses and consumption?

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