Commodification of Motherhood.An ethnographic study about aesthetical practices from professional Mombloggers

计划中的项目旨在调查女性微型企业，并试图研究最近在德国数字领域出现的Momblogging现象。民族志研究将有助于揭示和描绘所谓的创意产业中当代工作和劳动的逻辑和做法。基于“审美资本主义”的概念（Reckwitz，2012），该项目以“创造性”和“审美”的方式解决了母性的商品化以及利用和商业化母性和熟悉的日常生活的相关做法。考虑到后福特主义的逻辑，从性别分析的角度消除和模糊工作和生活之间的界限，研究探讨了如何母亲已经转变为创业的起点，利用母亲的生活方式展示。在这样做的过程中，女性博主通过她们的博客分享关于母亲和家庭生活的风格化图片和图像。按照以行动者为中心的办法，妇女的观点将得到集中和优先考虑。产妇企业家的动机和合法化，以及冲突和不一致的民族志调查的工作母亲的流行思想的背景下。通过探索和反映他们融合美学工作和家庭住所（冲突）需求的日常谈判，该项目开始讨论“新常态”（Tylor和Luckman，2018）的观察，这是指创意产业和数字经济中美学“正常化”但不稳定的工作的新兴过程。在这样做的过程中，概述的研究不仅有助于劳动民族志，而且还讨论了性别，母性以及最后但并非最不重要的数字化研究的学科联系。

The planned project is aimed at investigating female micro-entrepreneurship and seeks to examine the recently emerging phenomenon of Momblogging within a German digital scene. The ethnographic study will contribute to revealing and depicting logics and practices of contemporary work and labour within the so-called creative industries. Based on the concept of „aesthetical capitalism“ (Reckwitz, 2012) this project addresses the commodification of motherhood and related practices of utilizing and commercializing maternal and familiar daily lives in a „creative“ and „aesthetical“ manner. Considering post-Fordist logics of removing and blurring the boundary between work and life from a gender-analytical perspective, the research examines how motherhood has been transformed into a starting point of entrepreneurship, which exploits a displayed lifestyle of motherhood. In doing so, female bloggers share stylized pictures and images of motherhood and family life via their blogs. Following an actor-centered approach, the female perspectives are to be centralized and prioritized. Maternal entrepreneurs’ motivations and legitimizations as well as conflicts and inconsistencies will be ethnographically investigated within a context of prevailing ideas of working mothers. By exploring and reflecting their daily negotiations of merging the (conflicting) needs of aesthetical work and family shelter, the project sets out to discuss the observation of a “new normal” (Tylor and Luckman, 2018), which refers to the emerging process of „normalizing“ aesthetical, yet precarious work in creative industries and digital economy. In doing so, the outlined research will not only contribute to the ethnography of labour but also discuss disciplinary connections to studies of gender, motherhood and, last but not least, digitalization.