Pub Date : 2023-04-10DOI: 10.1177/17499755231157440
Laura Eramian, P. Mallory, Morgan Herbert
While therapy culture has long been a part of the repertoires through which people think about and practice their romantic relationships, it has been less prominent in how they envision friendship. However, based on our interviews on experiences of friendlessness in an Atlantic Canadian city, we show that therapeutic styles increasingly shape how people orient to friendship, even as friends rarely seek formal therapy to manage their conflicts. This article focuses on how modern therapy culture, with its emphasis on individual wellbeing, self-knowledge, and ‘healthy’ rather than ‘toxic’ relationships, presents people with conflicting cultural imperatives for how to practice their friendships. On the one hand, therapy culture encourages people to seek out friends to whom they can disclose their most intimate feelings and experiences – friends who will offer support, understanding, and validation. On the other hand, therapy culture equally cautions that one must maintain ‘boundaries’ to protect oneself from friends’ personal revelations or ‘traumas.’ We ask what these dual imperatives mean for modern friendship and how people experience the tension between them. We argue that one reason modern friendship can be difficult is that divulging one’s intimate feelings or experiences to a friend can be interpreted as either building intimacy or burdening others with one’s problems, or crucially, both at the same time. Our findings lead us to ask how therapy culture might increasingly turn friendship into a reflexive object or something else to ‘optimize’ rather than providing an escape from relationships that demand ‘work.’
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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.
{"title":"Performing Identity or Performing Relationships? Rethinking Performance Theory in Social Media Studies","authors":"D. Kaplan","doi":"10.1177/17499755221149184","DOIUrl":"https://doi.org/10.1177/17499755221149184","url":null,"abstract":"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.","PeriodicalId":46722,"journal":{"name":"Cultural Sociology","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2023-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46378774","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 : 2023-03-18DOI: 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.
{"title":"Situating the Atrium: A Cultural Political Economy","authors":"Paul Jones","doi":"10.1177/17499755231157163","DOIUrl":"https://doi.org/10.1177/17499755231157163","url":null,"abstract":"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.","PeriodicalId":46722,"journal":{"name":"Cultural Sociology","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2023-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46195420","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 : 2023-03-08DOI: 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.
{"title":"Everything is in My Hands. Creative Subjectivities in Privileged Art School Students","authors":"Anna Uboldi","doi":"10.1177/17499755231152593","DOIUrl":"https://doi.org/10.1177/17499755231152593","url":null,"abstract":"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.","PeriodicalId":46722,"journal":{"name":"Cultural Sociology","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2023-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48132929","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 : 2023-03-07DOI: 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.
{"title":"Secret objects in the home: Potency, (in)visibility and everyday relationships","authors":"S. Woodward, Cornelia Mayr","doi":"10.1177/17499755231151203","DOIUrl":"https://doi.org/10.1177/17499755231151203","url":null,"abstract":"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.","PeriodicalId":46722,"journal":{"name":"Cultural Sociology","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45582862","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 : 2023-03-02DOI: 10.1177/17499755221147653
P. Levitt, Andreja Siliunas
While prior research foregrounds the economic and political conditions that shape cultural globalization, we focus on the effects of culture. We argue that diffusion itself is a cultural practice, and that two types of cultural schemas – ways of conceptualizing national belonging, on the one hand, and geopolitical ideologies, on the other – shape the people, policies, and infrastructures actors deploy to insert their cultural products into the global art and literary worlds. Based on fieldwork in Argentina, South Korea, and Lebanon, we show how two forms of trans-border nationalism – those that incorporate the diaspora based on ethnic or ancestral similarity, and those that incorporate regional neighbors based on common civic norms – are mobilized to circulate art and literature internationally. Who participates in these diasporic and regional networks, however, depends on diffusers’ ideological commitments. We identify two types of aspirational visions for a global (art) world order, which influence which people and institutions cultural makers and managers draw on to diffuse art and literature: a reformative vision, in which the core institutions in traditional centers of power maintain their centrality but become more inclusive of creators from historically underrepresented countries, and a transformative vision, in which the global art and literary world are restructured and power redistributed via new nodes and circuits that circumvent these traditional centers.
{"title":"Cultures of Cultural Globalization: How National Repertoires and Political Ideologies Affect Literary and Artistic Circulation","authors":"P. Levitt, Andreja Siliunas","doi":"10.1177/17499755221147653","DOIUrl":"https://doi.org/10.1177/17499755221147653","url":null,"abstract":"While prior research foregrounds the economic and political conditions that shape cultural globalization, we focus on the effects of culture. We argue that diffusion itself is a cultural practice, and that two types of cultural schemas – ways of conceptualizing national belonging, on the one hand, and geopolitical ideologies, on the other – shape the people, policies, and infrastructures actors deploy to insert their cultural products into the global art and literary worlds. Based on fieldwork in Argentina, South Korea, and Lebanon, we show how two forms of trans-border nationalism – those that incorporate the diaspora based on ethnic or ancestral similarity, and those that incorporate regional neighbors based on common civic norms – are mobilized to circulate art and literature internationally. Who participates in these diasporic and regional networks, however, depends on diffusers’ ideological commitments. We identify two types of aspirational visions for a global (art) world order, which influence which people and institutions cultural makers and managers draw on to diffuse art and literature: a reformative vision, in which the core institutions in traditional centers of power maintain their centrality but become more inclusive of creators from historically underrepresented countries, and a transformative vision, in which the global art and literary world are restructured and power redistributed via new nodes and circuits that circumvent these traditional centers.","PeriodicalId":46722,"journal":{"name":"Cultural Sociology","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2023-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41435951","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 : 2023-02-24DOI: 10.1177/17499755231153766
O. Koskinen
The affective turn has highlighted the need to study emotions, visceral reactions and embodied experiences within social sciences, and its importance has also been recognized within theories of practice. However, practice theoretical discussions of affects, especially empirically grounded ones, are still sparse and fragmented. This article seeks to further these nascent discussions by arguing that affective practices present one fruitful avenue forward. Originally introduced by Margaret Wetherell within social psychology, affective practices are theoretically developed further in this article within sociological research on consumption practices. This is done by suggesting that affective practices can be operationalized as meanings, materials and competences, following Shove, Pantzar and Watson’s work. To explore how these three interdependent elements fit within affective practices, the article utilizes examples of disgust as an affective practice from a research project on everyday meat consumption practices among Finnish consumers. This provides a rich area of enquiry, since meat consumption mobilizes many affects in these times of mounting sustainability, health and animal rights concerns, and disgust within it entangles with visceral reactions as well as moral aversion. Altogether, the article provides a conceptualization for studying how affects themselves are constituted practically (affects as practices), to compliment previous research that has considered affects or emotions as parts of certain practices (affects within practices). Approaching affects as practices makes it possible to see affects’ ontological variability and trajectories over time, as well as their relations to cultural and social values and feeling rules.
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Pub Date : 2023-02-22DOI: 10.1177/17499755231151216
J. Clark
There exists a rich corpus of literature exploring some of the diverse roles – positive and negative – that music can play in war. This interdisciplinary article makes a novel contribution to this literature, and to research on the sociology of music more broadly, through its particular emphasis on resilience. Scholarship on resilience has increasingly moved beyond person-centred, psychology-based approaches towards more complex relational and multi-systemic framings that situate the concept in the interactions between individuals and their social ecologies (environments). However, it has given little attention to the sensory dimensions of these ecologies, including their acoustic dimensions. Focusing on the war in Ukraine and drawing primarily on media sources (including several online videos) to develop its analysis, the article argues that music can be a form and expression of resilience (and resistance) in war situations that directly acts on the acoustic ecology – a concept that to date has mainly been discussed within ecology and conservation research. Specifically, the article frames music as a form of ‘soundscaping’, in the sense of an active aligning of sound and wellbeing.
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