Pub Date : 2023-04-21DOI: 10.1177/17499755231157111
Abigail Webster
missing. This seems related to a methodological limitation scrupulously acknowledged by the author: interviews were realised in the Japanese language by a foreigner and nonmusician researcher, aware of the limited confidence and trust deriving from one-time encounters: ‘Issues that I felt could be considered offensive or potentially uncomfortable, especially matters concerning finances, class origins or family matters . . . were skipped altogether unless raised voluntarily by my interviewees’ (p. 36). Overall, the book represents a well-informed and challenging contribution to those debates exploring the multilayered and intersectional nature of inequalities in artistic worlds, significantly affecting artists’ personal and professional lives.
{"title":"Book Review: Art Work: Invisible Labour and the Legacy of Yugoslav Socialism","authors":"Abigail Webster","doi":"10.1177/17499755231157111","DOIUrl":"https://doi.org/10.1177/17499755231157111","url":null,"abstract":"missing. This seems related to a methodological limitation scrupulously acknowledged by the author: interviews were realised in the Japanese language by a foreigner and nonmusician researcher, aware of the limited confidence and trust deriving from one-time encounters: ‘Issues that I felt could be considered offensive or potentially uncomfortable, especially matters concerning finances, class origins or family matters . . . were skipped altogether unless raised voluntarily by my interviewees’ (p. 36). Overall, the book represents a well-informed and challenging contribution to those debates exploring the multilayered and intersectional nature of inequalities in artistic worlds, significantly affecting artists’ personal and professional lives.","PeriodicalId":46722,"journal":{"name":"Cultural Sociology","volume":"17 1","pages":"414 - 416"},"PeriodicalIF":1.9,"publicationDate":"2023-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46430090","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-21DOI: 10.1177/17499755221149116
Henrik Fürst
black spaces beyond their studios developing an expressive realism rather than promotional portraits. These were also part of a rebellion against the staid mores of the older generation and which increasingly crossed racial divides. Even so, one of the most poignant photos in the book is of Louis Armstrong in 1960 taken by Herb Snitzer on his tour bus. Already the most famous entertainer in the USA, Armstrong had been refused entry to a whites-only bathroom in Connecticut. Isolated, since the background is blurred, the image draws the viewer into Armstrong’s eyes as he stares directly into the camera. Snitzer captured and froze the weary defiance but also hurt and injury of racism. Jazz is a broad genre, and even in the period considered here, ranged from swing to the abstract experimental work of John Coltrane, which raises the much-debated question of the boundary between jazz/not jazz. This is touched on in Chapter 10 looking forward to newer hybrid forms, but is not particularly developed. It might have been interesting to consider Adorno’s critique of ‘jazz’, which referred largely to white swing in Weimar. This does though raise a further issue in relation to both music and photography of the autonomy of art as opposed to the subjectivity of its maker. Many who try to resolve the problem of subjectivity and objective meanings end up leaning one way or the other. Sight Readings is informed by a bold project of transcending the dichotomy but its ‘central problem’ is the photographer’s intentions as a starting point for deep interpretation and historical reconstruction (p. 359). This is done consummately but, in the process, perhaps leans more to the agency of the photographer than how cultural products take on their own autonomous life beyond their makers, so that the meanings of the images and the music they represent have subsequently been transformed. Really though a minor quibble. Sight Readings is a milestone in research on photography and American jazz.
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Pub Date : 2023-04-17DOI: 10.1177/17499755221147610
L. Harris
This article takes a cultural approach to analysing the profound privatisation of the public in one of the many places in which it manifests: an art gallery. I argue that, as well as categories of political and economic bearing, ‘privateness’ and ‘publicness’ are cultural categories through which lived experiences are made meaningful. They are therefore performable by organisations that have dual public and private accountabilities. I draw on the cultural pragmatics understanding of ‘performance’ as well as a mesosociological attention to groups to study a private view as one example of such a performance. Through the manipulation of arenas, relations and histories I show how the art gallery staff managed to uphold the meanings of both privateness and publicness at this occasion, and manipulate them according to the different desired outcomes of social contexts. In conclusion, I argue that organisational performances of privateness and publicness are in a dynamic tension with one another; that the performative balancing act is a central part of the day-to-day work of such organisations; and that the cultural approach can help us unravel organisational strategies to paper over the social exclusions that characterise their ‘publics’.
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Pub Date : 2023-04-17DOI: 10.1177/17499755231160692
Luuc Brans, G. Kuipers
What happens when politics enters strongly aesthetic cultural fields? This article proposes a novel conceptual framework, which we propose to call ideologization, to understand how political-ideological considerations influence cultural legitimation. We build on theories of legitimation and cultural intermediaries to examine the strategic case of fashion as a cultural production field at the intersection of aesthetics and economics. Combining an analysis of frames in fashion magazines since the 1980s with critical discourse analysis of British Vogue in turning-point year 2020, we theorize ideologization as consisting of three elements: aesthetic agenda-setting; the reimagination of relations between producers, consumers and intermediaries; and the generation of discursive contradictions. This process of ideologization, which we see across cultural fields since the late 2010s, has strong implications for intermediaries who act as framers and brokers of legitimate culture. We conclude by proposing future research to further develop the ideologization framework and detail the long-term impact of political-ideological logics on cultural fields.
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Pub Date : 2023-04-10DOI: 10.1177/17499755231157115
Sociological research richly documents the many ways through which education becomes a form of convertible capital, but focuses less on the cultural schemas that graduates possess and use to respond to disruptions of capital conversion processes. Using the case of international degree holders in Hong Kong, this article draws upon Bourdieu’s theory of practice to interrogate the cultural schemas that valorize international degrees when their conversion pathways to economic capital are subjectively perceived to weaken. This article unearths the role of social networks in embedding cultural schemas and their effects on relations within the field: when faced with diminishing economic returns, international degree holders hold fast to their schemas vis-à-vis fellow international graduates and reconceptualize their degrees as symbolic capital to cope with the loss by enacting symbolic violence against domestic degree holders. Class boundaries are ultimately entrenched when international degree graduates valorize their cultural capital gains and legitimate their economic capital losses. Doing so compromises their class interests by forcing themselves into an interstitial position between different fields: though they occupy dominating homologous positions in the cultural field, they choose to overlook their dominated homologous positions in the economic field.
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Pub Date : 2023-03-31DOI: 10.1177/17499755231160037
Audrey Tuaillon Demésy
Chez Narcisse is a bar located on the threshold of the southern Vosges, in the east of France, that has been run by the same family for over 120 years. Its particularity lies in the fact that since the mid 1980s, it has included a concert hall in the garden behind the bar, which punk bands use to play. This place brings together a bar that is anchored in the daily life of the village and these festive events, which always take place on Sunday evenings. Chez Narcisse thus appears as a ‘double’ space that emphasizes the search for independence and culture in a rural environment. An ethnographic research carried out in this place since January 2017 highlights how the DIY ethos is as much a way of doing things as a purpose. The punk ethos of DIY is claimed by the owners, volunteers, musicians and stakeholders of Chez Narcisse in order to build its identity as an ‘alternative’ place well known in the contemporary French punk scene. By taking up James C. Scott’s work, the aim is to understand how Chez Narcisse is a social site of resistance and the role that DIY plays in it. To do this, I will first present the construction of this alternative place which articulates both a local and rural level and a global one (the concerts and the venue attract punks from all over France). A performance upstage testifies to a veiled but very present resistance, based on a family imaginary. The second part aims at highlighting the daily forms of resistance at Chez Narcisse expressed through the use of DIY. Thus, this place would be less ‘punk’ through programmed music than through the use of DIY as a value to defend and a project to share.
Chez Narcisse是一家位于法国东部南部沃斯日门槛上的酒吧，由同一家族经营了120多年。它的特殊性在于，自20世纪80年代中期以来，它在酒吧后面的花园里有一个音乐厅，朋克乐队用来演奏。这个地方汇集了一个酒吧，它植根于村庄的日常生活和这些节日活动，这些活动总是在周日晚上举行。因此，Chez Narcisse作为一个“双重”空间出现，强调在农村环境中寻求独立和文化。自2017年1月以来，在这个地方进行的一项民族志研究强调了DIY精神既是一种做事方式，也是一种目的。Chez Narcisse的所有者、志愿者、音乐家和利益相关者声称，DIY的朋克精神是为了建立其作为当代法国朋克界知名的“另类”场所的身份。通过学习詹姆斯·C·斯科特的作品，目的是了解Chez Narcisse是一个抵抗的社会场所，以及DIY在其中所扮演的角色。为此，我将首先介绍这个替代场所的建设，它既体现了当地和农村层面，也体现了全球层面（音乐会和场地吸引了来自法国各地的朋克）。一场抢风头的表演证明了一种基于家庭想象的隐蔽但非常现实的抵抗。第二部分旨在强调Chez Narcisse通过DIY表达的日常抵抗形式。因此，通过编程音乐，这个地方将不再是“朋克”，而是通过将DIY作为一种价值观来捍卫和分享。
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Pub Date : 2023-03-18DOI: 10.1177/17499755221149184
D. Kaplan
Much of the discussion of performance and collective action presupposes a hierarchical performer–audience structure along the lines of Durkheimian public events intended to reaffirm a collective identity. Scholars have generally overlooked an alternative, horizontal formulation of ‘performance of relationships’ in which viewers serve as a third party to the social exchange. While such a performance is central to social media interactions, most studies of performance on social media focus on the presentation of self and the affirmation of personal identity rather than the performance of relationships. To demonstrate and address this gap, this article provides a typology of four theoretical approaches to performance: performing the self, performing values, performing friendship, and performing complicity. These approaches are placed along two dimensions – an individual versus collective focus and an identity versus relationship focus – and employed in relation to recent studies on social media and collective action. The article suggests that the performance of relationship approach might equally account for societal solidarity, understood not only as a byproduct of identity affirmation but also as a direct consequence of concrete social relationships.
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Pub Date : 2023-03-18DOI: 10.1177/17499755231157163
Paul Jones
Effectively a double-height or larger void internal to a building, the atrium is a familiar architectural feature the world over. The global popularity of the space in contemporary urban buildings – including hotels, shopping malls, casinos, hospitals, museums, galleries, libraries, schools, office blocks, and universities – is a somewhat puzzling development, and one ripe for sociological analysis. Cultural political economy (CPE) helps to explain this affinity. Using this perspective guards against reductionisms of various stripes, while rigorously situating the atrium vis-a-vis the production and circulation of material and symbolic surplus value. By facilitating inquiry into how this architectural form stabilises and furthers capitalist arrangements, CPE allows for interrogation of the atrium’s distinctive role in adding momentum and cultural meaning to contemporary urban accumulative strategies. In particular, the article draws out the atrium space’s paradoxical relationships to (i) the intensification of rentiership in very tall buildings, and (ii) with respect to the demarcation of insider–outsider boundaries underpinning elite consumption. Positioning the atrium as being reflective of attempts to both intensify and embed capitalism in the built environment, key arguments concern the meaningful, experiential and out-of-the ordinary nature of the space, As such, the article contributes to and draws from sociologies of architecture, reconciling the atrium’s materiality and meaning in a way that does not reduce either to the other.
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Pub Date : 2023-03-08DOI: 10.1177/17499755231152593
Anna Uboldi
How do privileged young people engage in artistic fields? Are the arts classified and classifying for educational paths? To examine these questions, I propose observations and reflections from a study of secondary art schools in Italy. Artistic education has received focused but limited attention from sociology, as part of an increasing interest towards cultural labour. However, Italian artistic schools remain a neglected research theme. The proposed study on secondary art schools aims to examine certain early dynamics of creative fields in Milan. This article interrogates the educational experiences of privileged students at art schools. The research is based on discursive interviews and focus groups with these students. Students’ class culture is investigated focusing on diverse scholastic dispositions and different outlooks on the future. The Bourdieusian notions of cultural capital and habitus allow certain dynamics of the aspiring young creatives’ process of self-formation to be examined. The analysis reveals privileged individuals who are ambitious, self-confident and with great forward-thinking skills, but who are also academically negligent. The trust in individual enterprise and success is deeply interiorised by interviewees. These neoliberal and entrepreneurial ideas are infused with moral, and often tacit, considerations on class boundaries. The analysis reveals some aspects of the symbolic boundary-making; dynamics in which a meritocratic ethos plays a key role in legitimating social divisions.
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Pub Date : 2023-03-07DOI: 10.1177/17499755231151203
S. Woodward, Cornelia Mayr
This article argues that the material dimensions of secrecy, which have been neglected within academic research into consumption and into material culture, are ripe for sociological analysis and attention. We draw on two empirical projects – one using qualitative interviews to talk to women about their sex toys and the other ethnographically informed research into things people keep but are no longer using - to explore secret things within the home. By taking a facet methodology approach, we consider secret objects in relation to each other and interrogate how secrets are made (in)visible through strategies and practices around objects within the home and how the potency of secret objects is managed. We make two key arguments: first, considering the relationship between secrecy and intimacy, we argue that there are three dimensions of secrecy (which do not always coalesce): what is known about, what is verbalised, and what is materialised. Second, we redirect the idea of relational work to material things, looking at where things are kept, who they are revealed to and the silences around things, and argue that these practices are part of the work of everyday relationships and intimacies. The article demonstrates that objects are vital in understanding how secrecy, intimacy and everyday relationships are lived and forms part of a wider argument for the sociology of culture to centre the unnoticed and mundane.
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