To one they had said me day moves with the Lala, that the Lulu to catch goes you. Only that they had not said to the phrase all, had asked for I to complete, a threat form. looks at that I only spoke with the Lala that it was Zem force, (inspired in the Sabrina of the Panic), therefore the Lala came back of the discouraged carnival to work, did not have badness, was a critical one. That some serious thing with the Lala in the carnival had only happened, it found that I had been knowing of some thing, and was zoando it. In this ‘ ‘ fight of cachorro’ ‘ , the Lulu, cannot only enter in the key of the badness where the dog of the hell always if writes first and still it is of bay. If the Lulu to find that it is if giving well until the semifinal a, in the end the dog of the hell certainly estra, and ‘ ‘ invicto’ ‘ , since that it extreiou in this championship. If the bad dog bites the proper owner, of the hell, the devil also not insurance! Laarga di you are viioolent i deix pasx prevaalece, was valid! Now I go to speak of the Juju Ajalux, for who has more privilege Our God and Father are the glory for all always.
In the text Heinich author, approaches the art not as a natural manifestation, but a phenomenon constructed by means of history and of the practical ones. In this way, the sociology of the art ‘ ‘ … must not more have petition necessity of principle for if interesting for the different public, for its morphology, its behaviors, its motivations, its emoes’ ‘ (pg 71). Thus the study of the reception it takes in them to one better understanding. The author, comments the workmanship of Pierre Bourdieu that became the starter of the research statistics for the world of the culture, making a critical one on the belief in the innate character of ‘ ‘ disposals cultivadas’ ‘ , to put in evidence the primordial paper of the familiar inculcao, relating the notion marxist of economic capital of cultural capital, denouncing the fact of that the museums, instead of being instruments of a possible democratization to the access to the art, aggravate the overcoming it enters not experts and initiates, in the same way that the universities, instead of working for the democratization of the access when knowing, only make to go deep in the distance between dominant and dominated. 1SOCIOLOGIA OF the TASTE In this chapter the author places the ideas of Bourdieu that understands as a system of durable disposals one ‘ ‘ structuralized structure estruturante’ ‘ , that is, a coherent set of capacities of habits and corporal markers, that the individual for the not conscientious inculcao and the internalization in ways of being proper of the way forms. Without this notion it would be difficult to apprehend what it makes true ‘ ‘ barrier to entrada’ ‘ in the places of high culture. cultural 1.1Prticas According to author the mensurao statistics of practical the cultural ones, mentions frequentao to it. Two interpretations are proposals for Bourdieu and cited by the author to explain the phenomenon: or if it deals with a democratization of the public, for the opening of the museums new social categories, more numerous less selected, or if it deals with an intensification of the practical one for the same social categories, attracted with more frequency for the museums for the multiplication of the expositions as well as for the increase of the time consecrated to the leisure.