000			02127cam a2200277 4500500
005			20250121142316.0
041			_afre
042			_adc
100	1	0	_aCrunel, Bérénice _eauthor
245	0	0	_aFrom worker pride to public stigma
260			_c2022.
500			_a27
520			_aWithin a prestigious cultural institution, the rebellious reputation and working-class image of technicians—especially stage hands—is the subject of a long-lasting struggle. This article particularly questions how the logics of (dis)qualification depend upon institutional, union, and managerial routines. On the one hand, this symbolic universe enables the reaffirmation of a collective sense of pride and dignity and maintains practical logics of politicization and contestation in the face of an institutional order tinged with class contempt. On the other hand, while these representations can legitimize a “class struggle”-based trade unionism among subaltern staff, they are also stigmatized by the management of the institution as reflecting a systematic, traditional, and outdated opposition. This symbolic disqualification is reinforced in the negotiation meetings, which are codified by “labor relations” policies. The material configuration of these meetings contributes to framing, restricting, or disqualifying the claims made by these heterodox trade unionists. In contrast to the stated “horizontality” between “social partners,” these mechanisms mainly contribute to maintaining both institutional and social order, and send technicians back to their subaltern position.
690			_aNew Public Management
690			_atrade unionism
690			_acultural autonomy
690			_asocial image
690			_asocial criticism
690			_aTrade unionism
690			_aCultural autonomy
690			_aSocial image
690			_aNew public management
690			_aSocial criticism
786	0		_nSociétés contemporaines | o 125 | 1 | 2022-09-12 | p. 91-115 | 1150-1944
856	4	1	_uhttps://shs.cairn.info/journal-societes-contemporaines-2022-1-page-91?lang=en&redirect-ssocas=7080
999			_c584280 _d584280