Will the Real Dominatrix Please Stand Up: Artistic Purity and Professionalism in the S&M Dungeon1
2010; Wiley; Volume: 25; Issue: 3 Linguagem: Inglês
10.1111/j.1573-7861.2010.01197.x
ISSN1573-7861
Autores Tópico(s)Fashion and Cultural Textiles
ResumoSociological ForumVolume 25, Issue 3 p. 588-606 Will the Real Dominatrix Please Stand Up: Artistic Purity and Professionalism in the S&M Dungeon1 Danielle Lindemann, Danielle Lindemann ISERP—Columbia University, 420 West 118th Street, Mail Code 3355, Room 820, New York, New York 10027; e-mail: Djl2103@Columbia.edu.Search for more papers by this author Danielle Lindemann, Danielle Lindemann ISERP—Columbia University, 420 West 118th Street, Mail Code 3355, Room 820, New York, New York 10027; e-mail: Djl2103@Columbia.edu.Search for more papers by this author First published: 02 August 2010 https://doi.org/10.1111/j.1573-7861.2010.01197.xCitations: 17 1 The author thanks Peter Bearman, Paul DiMaggio, and Priscilla Ferguson for feedback on earlier drafts. All errors are the author's own. Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Abstract Professional dominatrices (pro-dommes) are a group that has received little sociological attention. I use Pierre Bourdieu's claims about art as a tool for illuminating important tensions within this corner of social life, where I find evidence of an embattled purity regime that has implications beyond the walls of the dominatrix's "dungeon." In particular, I argue that pro-dommes' discourse resonates with Bourdieu's description of the "anti-'economic' economy of pure art," employed by relatively autonomous avant-garde artists who disavow economic criteria for success as a means to legitimate themselves and symbolically distance themselves from the commercial end of the art world. Using this theory as a structural analogy for pro-domme/client relationships sheds light on claims to professionalism and the microdynamics of control within service-industry interactions more generally. Citing Literature Volume25, Issue3September 2010Pages 588-606 RelatedInformation
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