Background: Pierre Felix Bourdieu (French: [buRdjo]; 1 August 1930 - 23 January 2002) was a French sociologist, anthropologist, philosopher, and public intellectual. Bourdieu's work was primarily concerned with the dynamics of power in society, and especially the diverse and subtle ways in which power is transferred and social order maintained within and across generations. In conscious opposition to the idealist tradition of much of Western philosophy, his work often emphasized the corporeal nature of social life and stressed the role of practice and embodiment in social dynamics.
Context: Bourdieu "was, for many, the leading intellectual of present-day France... a thinker in the same rank as Foucault, Barthes and Lacan". His works have been translated into two dozen languages and have affected the whole gamut of disciplines in the social sciences and the humanities. They have also been used in pedagogy. Several works of his are considered classics, not only in sociology, but also in anthropology, education, and cultural studies. Distinction: A Social Critique of the Judgement of Taste (La Distinction) was named as one of the 20th century's ten most important works of sociology by the International Sociological Association. The Rules of Art has significantly affected sociology, history, literature and aesthetics. In France, Bourdieu was seen not as an ivory tower academic or "cloistered don" but as a passionate activist for those he believed to be subordinated by society. In 2001, a documentary film about Bourdieu - Sociology is a Martial Art - "became an unexpected hit in Paris. Its very title stressed how much of a politically engaged intellectual Bourdieu was, taking on the mantle of Emile Zola and Jean-Paul Sartre in French public life and slugging it out with politicians because he thought that was what people like him should do." For Bourdieu, sociology was a combative effort, exposing the un-thought structures beneath the physical (somatic) and thought practices of social agents. He saw sociology as a means of confronting symbolic violence and exposing those unseen areas where one could be free. Bourdieu's work continues to be influential. His work is widely cited, and many sociologists and other social scientists work explicitly in a Bourdieusian framework. One example is Loic Wacquant, who persistently applies the Bourdieusian theoretical and methodological principles to subjects such as boxing, employing what Bourdieu termed participant objectivation (objectivation participante), or what Wacquant calls "carnal sociology." In addition to publishing a book on Bourdieu's lasting influence, novelist Edouard Louis uses the legacy of Pierre Bourdieu as a literary device. Bourdieu also played a crucial role in the popularisation of correspondence analysis and particularly multiple correspondence analysis. Bourdieu held that these geometric techniques of data analysis are, like his sociology, inherently relational. "I use Correspondence Analysis very much, because I think that it is essentially a relational procedure whose philosophy fully expresses what in my view constitutes social reality. It is a procedure that 'thinks' in relations, as I try to do it with the concept of field," Bourdieu said, in the preface to The Craft of Sociology.
Question: When was it published?
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Background: Ernst Theodor Amadeus Hoffmann (commonly abbreviated as E. T. A. Hoffmann; born Ernst Theodor Wilhelm Hoffmann; 24 January 1776 - 25 June 1822) was a Prussian Romantic author of fantasy and Gothic horror, a jurist, composer, music critic, draftsman and caricaturist. His stories form the basis of Jacques Offenbach's famous opera The Tales of Hoffmann, in which Hoffmann appears (heavily fictionalized) as the hero. He is also the author of the novella The Nutcracker and the Mouse King, on which Pyotr Ilyich Tchaikovsky's ballet The Nutcracker is based. The ballet Coppelia is based on two other stories that Hoffmann wrote, while Schumann's Kreisleriana is based on Hoffmann's character Johannes Kreisler.
Context: From 1796 Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August--Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznan) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery. From June 1800 to 1803 he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute." His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Plock in New East Prussia, the former capital of Poland (1079-1138), where administrative offices were relocated from Thorn (Torun). He visited the place to arrange lodging, before returning to Posen where he married "Mischa" (Maria, or Marianna Tekla Michalina Rorer, whose Polish surname was Trzcinska). They moved to Plock in August 1802. Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimuthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Cora Hatt in Konigsberg. At the beginning of 1804 he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Cora Hatt's daughters. He was never to return to Konigsberg.
Question: What happened once he was promoted?
Answer:
where administrative offices were relocated from Thorn (Torun). He visited the place to arrange lodging, before