Pub Date : 2023-08-05DOI: 10.1177/17499755231188808
M. Revers
Political backlash against liberal democracy and ubiquitous clashes between different versions of identity politics in recent years evoked a heightened awareness of political polarization. Rather than examining the mechanics of this process, social science predominantly conceives political polarization in a rather static manner and measures its prevalence and causes within and between societies. This article views political polarization as taking shape in the experience of political conflict. It proposes a cultural performance framework suitable to examine the social drama of political conflict and its connections to interpersonal political dispute. Performative polarization is premised upon antagonizing one public in order to win over and energize another public. It views political antagonism as constituted by (1) powerful performers and performances that provide the preparatory symbolic work and scripts and (2) divided publics who arbitrate their dramatic acts in ensuing performances and who collectively generate political divisions. The anti-Critical Race Theory campaign in the USA serves as a case study to work through the elements of this theoretical framework.
{"title":"Performative Polarization: The Interactional and Cultural Drivers of Political Antagonism","authors":"M. Revers","doi":"10.1177/17499755231188808","DOIUrl":"https://doi.org/10.1177/17499755231188808","url":null,"abstract":"Political backlash against liberal democracy and ubiquitous clashes between different versions of identity politics in recent years evoked a heightened awareness of political polarization. Rather than examining the mechanics of this process, social science predominantly conceives political polarization in a rather static manner and measures its prevalence and causes within and between societies. This article views political polarization as taking shape in the experience of political conflict. It proposes a cultural performance framework suitable to examine the social drama of political conflict and its connections to interpersonal political dispute. Performative polarization is premised upon antagonizing one public in order to win over and energize another public. It views political antagonism as constituted by (1) powerful performers and performances that provide the preparatory symbolic work and scripts and (2) divided publics who arbitrate their dramatic acts in ensuing performances and who collectively generate political divisions. The anti-Critical Race Theory campaign in the USA serves as a case study to work through the elements of this theoretical framework.","PeriodicalId":46722,"journal":{"name":"Cultural Sociology","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2023-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44727785","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 : 2023-07-17DOI: 10.1177/17499755231182764
Tracy Adams
This research focuses on the proposed UK National Holocaust Memorial and Learning Centre as a vibrant site of discursive contestation, investigating the heated public and political debate on this memory initiative that took place between 2019 and 2022 through a twofold analysis of elite intention and public reception. Findings demonstrate that Holocaust memory in the UK is infused with ambivalence and contradictory understandings of what the meanings of the past hold for the present. Bursting from the sphere-specific boundaries of memory, however, the debate soon turns into a social problem, one that illuminates broader societal issues that the contemporary British collective struggles with. Insofar as British Holocaust memory, in cultural terms, is bound within a sacralizing discourse, identified and characterized as linked to values such as freedom, democracy and equality, the proposed memory initiative breaks open a Pandora’s box that illuminates and underlines polluting qualities such as ambivalence, intolerance and inequality. The critical discussion currently going on in the UK around the memory initiative is so much more than merely a problem of commemoration or location; rather, it embodies the broader identity crisis that affects many in the British public nowadays. Contributing to memory studies and cultural sociology, this research demonstrates how a collective’s narrative of self is constantly negotiated, mediated through public discourse in ways that could potentially pave the way to civil repair.
{"title":"Holocaust Memory as Cultural Code: The UK National Holocaust Memorial and Learning Centre as Case Study","authors":"Tracy Adams","doi":"10.1177/17499755231182764","DOIUrl":"https://doi.org/10.1177/17499755231182764","url":null,"abstract":"This research focuses on the proposed UK National Holocaust Memorial and Learning Centre as a vibrant site of discursive contestation, investigating the heated public and political debate on this memory initiative that took place between 2019 and 2022 through a twofold analysis of elite intention and public reception. Findings demonstrate that Holocaust memory in the UK is infused with ambivalence and contradictory understandings of what the meanings of the past hold for the present. Bursting from the sphere-specific boundaries of memory, however, the debate soon turns into a social problem, one that illuminates broader societal issues that the contemporary British collective struggles with. Insofar as British Holocaust memory, in cultural terms, is bound within a sacralizing discourse, identified and characterized as linked to values such as freedom, democracy and equality, the proposed memory initiative breaks open a Pandora’s box that illuminates and underlines polluting qualities such as ambivalence, intolerance and inequality. The critical discussion currently going on in the UK around the memory initiative is so much more than merely a problem of commemoration or location; rather, it embodies the broader identity crisis that affects many in the British public nowadays. Contributing to memory studies and cultural sociology, this research demonstrates how a collective’s narrative of self is constantly negotiated, mediated through public discourse in ways that could potentially pave the way to civil repair.","PeriodicalId":46722,"journal":{"name":"Cultural Sociology","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2023-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47914375","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 : 2023-07-13DOI: 10.1177/17499755231175726
R. Eyerman, E. Woods
In this article, Eric Taylor Woods asks Ron Eyerman about the motivations, methods, and ideas that informed the writing of his recent book, The Making of White American Identity (2022). The conversation focuses particularly on the significance of racism, the Civil War, and popular culture in the founding and sustaining of white American identity as a mobilizing force in American politics. Along the way, Woods and Eyerman discuss the comparability of white American identity with other collective identities, including Northern Irish Unionism; Serbian Identity; and Afrikaner Identity. The aim of printing this conversation is to provoke further research and debate on the cultural sociology of white American identity.
{"title":"On The Making of White American Identity: Ron Eyerman and Eric Taylor Woods in Conversation","authors":"R. Eyerman, E. Woods","doi":"10.1177/17499755231175726","DOIUrl":"https://doi.org/10.1177/17499755231175726","url":null,"abstract":"In this article, Eric Taylor Woods asks Ron Eyerman about the motivations, methods, and ideas that informed the writing of his recent book, The Making of White American Identity (2022). The conversation focuses particularly on the significance of racism, the Civil War, and popular culture in the founding and sustaining of white American identity as a mobilizing force in American politics. Along the way, Woods and Eyerman discuss the comparability of white American identity with other collective identities, including Northern Irish Unionism; Serbian Identity; and Afrikaner Identity. The aim of printing this conversation is to provoke further research and debate on the cultural sociology of white American identity.","PeriodicalId":46722,"journal":{"name":"Cultural Sociology","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2023-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45525415","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 : 2023-07-07DOI: 10.1177/17499755231180182
N. Crossley
Musical activity in contemporary societies clusters in distinct ‘music worlds’, centred on such factors as style and/or locality. A number of studies have analysed these music worlds as networks of participants, linked in a variety of ways. This is useful but only captures some aspects of music worlds, neglecting others. In this article I introduce the concept of ‘event networks’ as a complement which allows us to capture much that ‘participant networks’ exclude. An event network is a sequence of events, such as gigs, certain pairs of which are linked by a flow of both participants (e.g. artists, audience members and support personnel) and the various resources and (evolving) conventions those participants carry with them. It forms an important part of the social structure of a music world and we can analyse it, empirically, using social network analysis (SNA). In the first part of the article I elaborate theoretically upon the concept of event networks and its significance in relation to music worlds. In the second part I develop this via an illustrative analysis of an empirical event network. The purpose of this analysis is to stimulate further discussion of event networks, of the interpretation of their properties and of possibilities for future analyses.
{"title":"Music Worlds and Event Networks: An Exposition","authors":"N. Crossley","doi":"10.1177/17499755231180182","DOIUrl":"https://doi.org/10.1177/17499755231180182","url":null,"abstract":"Musical activity in contemporary societies clusters in distinct ‘music worlds’, centred on such factors as style and/or locality. A number of studies have analysed these music worlds as networks of participants, linked in a variety of ways. This is useful but only captures some aspects of music worlds, neglecting others. In this article I introduce the concept of ‘event networks’ as a complement which allows us to capture much that ‘participant networks’ exclude. An event network is a sequence of events, such as gigs, certain pairs of which are linked by a flow of both participants (e.g. artists, audience members and support personnel) and the various resources and (evolving) conventions those participants carry with them. It forms an important part of the social structure of a music world and we can analyse it, empirically, using social network analysis (SNA). In the first part of the article I elaborate theoretically upon the concept of event networks and its significance in relation to music worlds. In the second part I develop this via an illustrative analysis of an empirical event network. The purpose of this analysis is to stimulate further discussion of event networks, of the interpretation of their properties and of possibilities for future analyses.","PeriodicalId":46722,"journal":{"name":"Cultural Sociology","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2023-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46410915","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 : 2023-06-14DOI: 10.1177/17499755231172825
C. Lane, M. P. Opazo
This article examines the strategies used by individuals within cultural fields to make a transition from previously low-status categories to high-status categories, in order to rise in the status hierarchy. Using the case of gastronomy in the global cities of London and New York, we investigate how the once strict boundary between high-end and ethnic restaurants is being breached, leading to field transformations. An analysis of the process of recategorization undertaken by chefs and restaurateurs reveals how strategies of category detachment and emulation are employed simultaneously: on the one side, to achieve a distancing from those held to be lower in the culinary hierarchy (ethnic restaurants/chefs) and, on the other side, to emulate those perceived to be above them in status (high-end restaurants). A third strategy identified is horizontal differentiation within the category – initiated by newcomers to ensure distinction and further secure their membership to the higher status category. Our analysis reveals the agency of producers in enacting status change by a focus on mainly material practices, while showing that recategorization is made possible by external societal and cultural transformations.
{"title":"From Ethnic to High-End Cuisine: Recategorization and Status Change Among Restaurants in Global Cities","authors":"C. Lane, M. P. Opazo","doi":"10.1177/17499755231172825","DOIUrl":"https://doi.org/10.1177/17499755231172825","url":null,"abstract":"This article examines the strategies used by individuals within cultural fields to make a transition from previously low-status categories to high-status categories, in order to rise in the status hierarchy. Using the case of gastronomy in the global cities of London and New York, we investigate how the once strict boundary between high-end and ethnic restaurants is being breached, leading to field transformations. An analysis of the process of recategorization undertaken by chefs and restaurateurs reveals how strategies of category detachment and emulation are employed simultaneously: on the one side, to achieve a distancing from those held to be lower in the culinary hierarchy (ethnic restaurants/chefs) and, on the other side, to emulate those perceived to be above them in status (high-end restaurants). A third strategy identified is horizontal differentiation within the category – initiated by newcomers to ensure distinction and further secure their membership to the higher status category. Our analysis reveals the agency of producers in enacting status change by a focus on mainly material practices, while showing that recategorization is made possible by external societal and cultural transformations.","PeriodicalId":46722,"journal":{"name":"Cultural Sociology","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2023-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44714132","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 : 2023-06-01DOI: 10.1177/17499755211062654
Marie-Lise Drapeau-Bisson
Culture scholars have shown that cultural intermediaries play a crucial role in the reproduction of inequalities in consecration (Corse and Westervelt, 2002; Maguire Smith and Matthews, 2012; Miller, 2014; Ridgeway, 2011; Steinberg, 1990 cited in Bourdieu, 2010). However, the analysis of gender inequalities in reception and canonization has focused on individual bias, neglecting the contribution of scholars of hegemonic masculinity about the importance of patterned practices in the reproduction of men's dominance over women (Connell and Messerschmidt, 2005). Given that art worlds are not settings where typical markers of hegemonic masculinity are valued, such as money and physical prowess, what are the tools of hegemonic masculinity in art worlds? I answer this question through a comparative analysis of the reception of two iconic Canadian feminist novels: L'Euguélionne (2012 [1976]) by Louky Bersianik and The Handmaid's Tale (1985) by Margaret Atwood. Building on feminist scholarship, I find that the discursive apparatus of hegemonic masculinity in art worlds consists of a derogatory method of reading employed by critics in newspapers. This method of reading is founded on three discursive components: (i) a reductive reading of feminist politics; (ii) a man-centred assessment of feminism and (iii) a questioning of women's creative credibility which belittles the contribution of feminist authors. By translating the concept of boys' club (Delvaux, 2019) and identifying its derogatory method of reading, I propose a framework that illuminates how critical appraisal shapes discursive resources available for both professional and non-professional readers to draw upon for evaluation and classification of women's cultural productions and feminist engagements.
{"title":"Critical Appraisal and Masculine Authority: The Boys Clubs' Derogatory Method of Reading Canadian Feminist Speculative Fiction.","authors":"Marie-Lise Drapeau-Bisson","doi":"10.1177/17499755211062654","DOIUrl":"https://doi.org/10.1177/17499755211062654","url":null,"abstract":"<p><p>Culture scholars have shown that cultural intermediaries play a crucial role in the reproduction of inequalities in consecration (Corse and Westervelt, 2002; Maguire Smith and Matthews, 2012; Miller, 2014; Ridgeway, 2011; Steinberg, 1990 cited in Bourdieu, 2010). However, the analysis of gender inequalities in reception and canonization has focused on individual bias, neglecting the contribution of scholars of hegemonic masculinity about the importance of patterned practices in the reproduction of men's dominance over women (Connell and Messerschmidt, 2005). Given that art worlds are not settings where typical markers of hegemonic masculinity are valued, such as money and physical prowess, what are the tools of hegemonic masculinity in art worlds? I answer this question through a comparative analysis of the reception of two iconic Canadian feminist novels: <i>L'Euguélionne</i> (2012 [1976]) by Louky Bersianik and <i>The Handmaid's Tale</i> (1985) by Margaret Atwood. Building on feminist scholarship, I find that the discursive apparatus of hegemonic masculinity in art worlds consists of a derogatory method of reading employed by critics in newspapers. This method of reading is founded on three discursive components: (i) a reductive reading of feminist politics; (ii) a man-centred assessment of feminism and (iii) a questioning of women's creative credibility which belittles the contribution of feminist authors. By translating the concept of boys' club (Delvaux, 2019) and identifying its derogatory method of reading, I propose a framework that illuminates how critical appraisal shapes discursive resources available for both professional and non-professional readers to draw upon for evaluation and classification of women's cultural productions and feminist engagements.</p>","PeriodicalId":46722,"journal":{"name":"Cultural Sociology","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC10265287/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"10646879","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1177/17499755221092888
Anastasia Loukianov
Materializing Difference: Consumer Culture, Politics, and Ethnicity among Romanian Roma is a fascinating foray into the role of silver beakers and roofed tankards in the prestige economies, politics and in the ethnic and patrilineal identities of the Gabor Roma and, to a lesser extent, of the Cǎrhar Roma. To someone with no previous knowledge of Gabor Roma culture, it has proved both engaging and accessible. The monograph is primarily based on 33 months of multi-sited ethnographic fieldwork in Transylvania conducted over 20 years. Highlighting the lack of research on the ideologies and practices which organize inequalities among Roma people, the book sets out to understand the workings of the politics of difference. The book is organized in three parts, the first of which focuses on the importance of beakers and tankards in Gabor Roma intra-ethnic relationships and politics. Berta begins with an exposé of the strategies used by Gabors to establish hierarchies of prestige, namely, the consumption of patina-based (beakers and tankards) as well as of novelty-based (modern western consumer goods) prestige objects, marriage politics, and participation in the ethics of sociability (Chapter 1). Beakers and tankards must have particular characteristics to be considered prestige objects, which differ from those valued on antique markets. When acquired on antique markets, they must follow a process of deastheticization and dehistoricization before being reaestheticized and ethnicized to become proper prestige objects (Chapters 3 and 4). Along with aesthetic characteristics relating to decorations, size, age and material, the Gabor Roma value the ethnicized ownership history of beakers and tankards (Chapters 2 and 4). Ideally passed down from father to son for eternity, these objects are not only prestige markers but also symbols of ethnic and patrilineal identity (Chapter 4). Yet, as financial circumstances change, this state of inalienability is rarely achieved for extended periods of time and owners must part with a tankard or beaker. Among the Gabors, these retail for considerable sums (Chapter 2) and Berta covers sale management (Chapter 5). As the renown and prestige hierarchies are both fluid and only recognized by the Gabor Roma, the Gabors have to ensure a balance between politics of difference and ethics of sociability (Chapter 6). 1092888 CUS0010.1177/17499755221092888Cultural SociologyBook Reviews book-review2022
{"title":"Book Review: Materializing Difference: Consumer Culture, Politics, and Ethnicity among Romanian Roma","authors":"Anastasia Loukianov","doi":"10.1177/17499755221092888","DOIUrl":"https://doi.org/10.1177/17499755221092888","url":null,"abstract":"Materializing Difference: Consumer Culture, Politics, and Ethnicity among Romanian Roma is a fascinating foray into the role of silver beakers and roofed tankards in the prestige economies, politics and in the ethnic and patrilineal identities of the Gabor Roma and, to a lesser extent, of the Cǎrhar Roma. To someone with no previous knowledge of Gabor Roma culture, it has proved both engaging and accessible. The monograph is primarily based on 33 months of multi-sited ethnographic fieldwork in Transylvania conducted over 20 years. Highlighting the lack of research on the ideologies and practices which organize inequalities among Roma people, the book sets out to understand the workings of the politics of difference. The book is organized in three parts, the first of which focuses on the importance of beakers and tankards in Gabor Roma intra-ethnic relationships and politics. Berta begins with an exposé of the strategies used by Gabors to establish hierarchies of prestige, namely, the consumption of patina-based (beakers and tankards) as well as of novelty-based (modern western consumer goods) prestige objects, marriage politics, and participation in the ethics of sociability (Chapter 1). Beakers and tankards must have particular characteristics to be considered prestige objects, which differ from those valued on antique markets. When acquired on antique markets, they must follow a process of deastheticization and dehistoricization before being reaestheticized and ethnicized to become proper prestige objects (Chapters 3 and 4). Along with aesthetic characteristics relating to decorations, size, age and material, the Gabor Roma value the ethnicized ownership history of beakers and tankards (Chapters 2 and 4). Ideally passed down from father to son for eternity, these objects are not only prestige markers but also symbols of ethnic and patrilineal identity (Chapter 4). Yet, as financial circumstances change, this state of inalienability is rarely achieved for extended periods of time and owners must part with a tankard or beaker. Among the Gabors, these retail for considerable sums (Chapter 2) and Berta covers sale management (Chapter 5). As the renown and prestige hierarchies are both fluid and only recognized by the Gabor Roma, the Gabors have to ensure a balance between politics of difference and ethics of sociability (Chapter 6). 1092888 CUS0010.1177/17499755221092888Cultural SociologyBook Reviews book-review2022","PeriodicalId":46722,"journal":{"name":"Cultural Sociology","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47099156","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 : 2023-05-22DOI: 10.1177/17499755231172828
Mads Krogh
If processes of categorization are central to cultural sociology, then current developments as regards genre formation in the realm of music-streaming services call for attention. A double process of computerized genre analysis (producing a potentially infinite array of categories) and increasingly context-specific music recommendation (accommodating a vision of limitless personalization) challenges established, scene- and identity-based ideas about genre, as developed in popular-music studies. Drawing on Reckwitz’s (2020) theory of the society of singularities, this article argues for considering this double process as the intersection of the logics of, respectively, the general and the particular. These logics are mediated by a dynamic sense of abstraction, involved in processes of labelling, enabling levels of generality while manifesting a potential for concretion. The increased scope, acceleration, and dynamicity of such abstraction mark genre formation in digital times. The article makes this argument looking particularly at the case of Spotify – market leader and front runner in the noted developments – as a basis for engaging broader questions about musical genre theory in the context of digitized culture and current conditions of musical life.
{"title":"Rampant Abstraction as a Strategy of Singularization: Genre on Spotify","authors":"Mads Krogh","doi":"10.1177/17499755231172828","DOIUrl":"https://doi.org/10.1177/17499755231172828","url":null,"abstract":"If processes of categorization are central to cultural sociology, then current developments as regards genre formation in the realm of music-streaming services call for attention. A double process of computerized genre analysis (producing a potentially infinite array of categories) and increasingly context-specific music recommendation (accommodating a vision of limitless personalization) challenges established, scene- and identity-based ideas about genre, as developed in popular-music studies. Drawing on Reckwitz’s (2020) theory of the society of singularities, this article argues for considering this double process as the intersection of the logics of, respectively, the general and the particular. These logics are mediated by a dynamic sense of abstraction, involved in processes of labelling, enabling levels of generality while manifesting a potential for concretion. The increased scope, acceleration, and dynamicity of such abstraction mark genre formation in digital times. The article makes this argument looking particularly at the case of Spotify – market leader and front runner in the noted developments – as a basis for engaging broader questions about musical genre theory in the context of digitized culture and current conditions of musical life.","PeriodicalId":46722,"journal":{"name":"Cultural Sociology","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2023-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47910385","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}
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