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创业，并试图研究德国数字环境中最近出现的妈妈博客现象。人种学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实践。基于“美学资本主义”的概念（Reckwitz, 2012），该项目以“创造性”和“美学”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实践。考虑到从性别分析的角度消除和模糊工作和生活之间界限的后福特主义逻辑，该研究考察了母性如何转变为利用母性生活方式的创业起点。通过这种方式，女性博主通过博客分享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方法，将集中和优先考虑女性的观点。母亲企业家的动机和合法性以及冲突和不一致将在工作母亲的普遍观念的背景下进行人种学研究。通过探索和反映他们对美学工作和家庭庇护（相互冲突的）需求合并的日常谈判，该项目开始讨论对“新常态”的观察（taylor和Luckman， 2018），这是指在创意产业和数字经济中“正常化”美学但不稳定的工作的新兴过程。在此过程中，概述的研究不仅将有助于劳动民族志，还将讨论与性别、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.