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Adorno's jazz essays have attracted considerable notoriety not only for their negative and dismissive evaluation of jazz as music but for their outright dismissal of all the claims made on behalf of jazz by its exponents and admirers, even of claims concerning the black origins of jazz music. This paper offers a critical exposition of Adorno's views on jazz and outlines an alternative theory of the culture industry as the basis of a critique of Adorno's critical theory. Adorno's arguments are discussed in the context of his wider theoretical commitment to a model of structuration—in both musical and social relations—that establishes a dividing line between a moral aesthetic praxis that can be approved as having "truth-value" and one that betrays and subverts the truth. In Adorno's analysis, jazz finds itself positioned on the wrong side of that line and, accordingly, is condemned. It is argued that it is Adorno's commitment to a formalist model of art works that has been superseded by modern aesthetic practice in both so-called "serious" art as well as in the works of the culture industries that binds him to a regressive model of aesthetic praxis. An alternative theory of the culture industry is outlined that explores its positive functions in enhancing the resources available for culture creation through its transmission of aesthetic codes, and in mediating relations between so-called high and low art.

I address the problem of constructing a sociology of the artwork through analyzing one particular painting—Manet's Olympia. The painting is an acknowledged icon of modernist art and has been variously located in discourses concerning modernity, gender, and sexuality in the modern world. My purpose is to locate this painting and modernist painting generally in the social formation. While the interpretation of a particular work of art plays a central part, here the ground of that interpretation lies in social theory. Modernist art, and Manet's work in particular, is seen as a response to the growing disjunction between "instrumental" and "solidary" social relations—a disjunction fully acknowledged in the development of classical social theory. This changing relationship is reflected in the construction of discourses centered on value and motive. It is argued that Manet's modernism instantiates a spiritual resistance to the corruption of value by motive inherent in modernity and marked by a whole range of sociological discourses— commodification, alienation, rationality, disenchantment, and so forth. I identify a specific cultural configuration at the heart of bourgeois ideology involving gender and social class, and seek to show how Manet's painting subverts and deconstructs this configuration as a discourse of social formation. The semiotic possibilities made available by a modernist "presentationalcode"—the cultivation of flatness, the suppression of modelling and interaction, the use of dense allusive cultural reference, and the adaption of foreign and exotic pictorial techniques, etc.—are all seen as key to the deconstructive work that the painting accomplishes.

This paper seeks to argue that the widely accepted `class-culture conflict model' is not adequate in describing the relationship between children of different social classes to the social structure of the school. It leads to a number of inferences about the psychological dispositions of working-class children which are questionable. In an empirical study of pupil attitudes towards in general, and the English lesson in particular, it was predicted, in contradiction to what might be expected using the `class-culture conflict model', that these social classes would not differ in respect of general orientation to school but that working-class children would evaluate the English lesson more positively than middle-class children. Hypotheses were also entertained in respect of the influence of type of school on positive evaluation. The results largely confirmed the predictions.