Pub Date : 2022-10-06DOI: 10.1177/17499755221114453
L. Ray
to it in the absence of viable alternatives. Chibber’s theory does not dismiss the importance of ideology and culture in capitalism, but redefines it: rather than its essential endurance mechanism, ideology is the self-reinforcing consequence of the system’s stabilisation, allowing workers (and capitalists) to rationalise their place in it (p. 112). Neither does this framework entail, as Chibber successfully argues in Chapter IV, ‘Agency, Contingency and All That’, embracing a sort of functionalist structuralism turning culture into a complete determination or expression of political economy. So, how does capitalism manage to endure in spite of its antagonistic nature? Chapter V sums up Chibber’s answer: capitalism endures not on account of the cultural or ideological indoctrination of the subordinated groups at the expense of which the dominant class advances its own interests, but on account of the differentiated allocation of power, pressures, risks and costs imposed upon each social class: ‘The system locks the classes into an antagonistic relationship, but the unequal distribution of capacities ensures that the conflict, where it occurs, tends to be resolved in the employers’ favor’ (p. 160). In other words, capitalism manages to endure above all due to the working class’s precarity and limited political power, which in turn are a direct consequence of the class structure itself. In the latter, therefore, lies both the cause of the system’s conflictive nature and its self-stabilising mechanism. Chibber’s book provides consequential insights into political agency and class structure under capitalism. Its jargon-minimum style, together with its admirable argumentative clarity, makes it quite accessible for non-specialists and young students of culture and society – and for activists and organisers as well. While Chibber’s theory will probably be dismissed by many as ‘economicist’ or ‘class reductive’, it successfully evinces that ascribing explicative priority to class in order to understand capitalism’s endurance is not only justified, but that cultural theory can hugely benefit from a revival of materialism, provided, of course, it does not gloss over the theoretical headways of culturalism in the recent past.
{"title":"Book Review: Sight Readings Photographers and American Jazz, 1900–1960","authors":"L. Ray","doi":"10.1177/17499755221114453","DOIUrl":"https://doi.org/10.1177/17499755221114453","url":null,"abstract":"to it in the absence of viable alternatives. Chibber’s theory does not dismiss the importance of ideology and culture in capitalism, but redefines it: rather than its essential endurance mechanism, ideology is the self-reinforcing consequence of the system’s stabilisation, allowing workers (and capitalists) to rationalise their place in it (p. 112). Neither does this framework entail, as Chibber successfully argues in Chapter IV, ‘Agency, Contingency and All That’, embracing a sort of functionalist structuralism turning culture into a complete determination or expression of political economy. So, how does capitalism manage to endure in spite of its antagonistic nature? Chapter V sums up Chibber’s answer: capitalism endures not on account of the cultural or ideological indoctrination of the subordinated groups at the expense of which the dominant class advances its own interests, but on account of the differentiated allocation of power, pressures, risks and costs imposed upon each social class: ‘The system locks the classes into an antagonistic relationship, but the unequal distribution of capacities ensures that the conflict, where it occurs, tends to be resolved in the employers’ favor’ (p. 160). In other words, capitalism manages to endure above all due to the working class’s precarity and limited political power, which in turn are a direct consequence of the class structure itself. In the latter, therefore, lies both the cause of the system’s conflictive nature and its self-stabilising mechanism. Chibber’s book provides consequential insights into political agency and class structure under capitalism. Its jargon-minimum style, together with its admirable argumentative clarity, makes it quite accessible for non-specialists and young students of culture and society – and for activists and organisers as well. While Chibber’s theory will probably be dismissed by many as ‘economicist’ or ‘class reductive’, it successfully evinces that ascribing explicative priority to class in order to understand capitalism’s endurance is not only justified, but that cultural theory can hugely benefit from a revival of materialism, provided, of course, it does not gloss over the theoretical headways of culturalism in the recent past.","PeriodicalId":46722,"journal":{"name":"Cultural Sociology","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2022-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44038818","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 : 2022-10-06DOI: 10.1177/17499755221108607
Gale A. Watts, D. Houtman
The commentary on ‘workplace spirituality’ is deeply polarized. Among advocates, the integration of spirituality and work is hailed as the ultimate cure-all for the problems facing the modern work organization. Conversely, critics see it as yet another form of capitalist appropriation. This article advances a neo-Durkheimian cultural sociological analysis of these polarized responses. Proponents espouse a schema of purification, which holds that once the moral pollutions of bureaucracy and rationalization are excised from the workplace, the spheres of spirituality and work will be integrated, which will lead to the sacralization of the latter by the former. This is assumed to end the compartmentalization of workers’ professional lives and to imbue their workplaces with ethicality and existential meaning. By contrast, critics espouse a schema of pollution, which holds that any attempt to integrate spirituality and work is doomed to failure under capitalist conditions, for it will result in workers’ spiritual lives suffering from alienation, instrumentalization, and commodification, and their work being oppressive, manipulative, and inhuman. We conclude with a reflection on the implications our analysis holds for future research on ‘workplace spirituality’.
{"title":"Purification or Pollution? The Debate over ‘Workplace Spirituality’","authors":"Gale A. Watts, D. Houtman","doi":"10.1177/17499755221108607","DOIUrl":"https://doi.org/10.1177/17499755221108607","url":null,"abstract":"The commentary on ‘workplace spirituality’ is deeply polarized. Among advocates, the integration of spirituality and work is hailed as the ultimate cure-all for the problems facing the modern work organization. Conversely, critics see it as yet another form of capitalist appropriation. This article advances a neo-Durkheimian cultural sociological analysis of these polarized responses. Proponents espouse a schema of purification, which holds that once the moral pollutions of bureaucracy and rationalization are excised from the workplace, the spheres of spirituality and work will be integrated, which will lead to the sacralization of the latter by the former. This is assumed to end the compartmentalization of workers’ professional lives and to imbue their workplaces with ethicality and existential meaning. By contrast, critics espouse a schema of pollution, which holds that any attempt to integrate spirituality and work is doomed to failure under capitalist conditions, for it will result in workers’ spiritual lives suffering from alienation, instrumentalization, and commodification, and their work being oppressive, manipulative, and inhuman. We conclude with a reflection on the implications our analysis holds for future research on ‘workplace spirituality’.","PeriodicalId":46722,"journal":{"name":"Cultural Sociology","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2022-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47834636","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 : 2022-09-09DOI: 10.1177/17499755221108243
David Wästerfors
There is a vivid interest in so-called epimilitary narratives of war that depart from heroic themes and zoom out from the armed forces. This article joins this direction by analyzing two variants of cultural narratives of the war in Bosnia-Hercegovina during the 1990s and the siege of Sarajevo: the videogame This War of Mine and Bosnian citizens’ personal stories told in qualitative interviews. Both variants portray war as an uncontrollable condition devoid of grand meanings, as an arena for survival skills and moral work rather than heroic deeds or moral tests, and as an object for detailed analysis rather than categorical positioning. To highlight this type of narrative across diverse manifestations may sensitize researchers to capture how the mundane and emotional content of war is articulated outside political scripts.
{"title":"Sad and Absurd Representations of War in Gameplay and Interviews","authors":"David Wästerfors","doi":"10.1177/17499755221108243","DOIUrl":"https://doi.org/10.1177/17499755221108243","url":null,"abstract":"There is a vivid interest in so-called epimilitary narratives of war that depart from heroic themes and zoom out from the armed forces. This article joins this direction by analyzing two variants of cultural narratives of the war in Bosnia-Hercegovina during the 1990s and the siege of Sarajevo: the videogame This War of Mine and Bosnian citizens’ personal stories told in qualitative interviews. Both variants portray war as an uncontrollable condition devoid of grand meanings, as an arena for survival skills and moral work rather than heroic deeds or moral tests, and as an object for detailed analysis rather than categorical positioning. To highlight this type of narrative across diverse manifestations may sensitize researchers to capture how the mundane and emotional content of war is articulated outside political scripts.","PeriodicalId":46722,"journal":{"name":"Cultural Sociology","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2022-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49175031","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 : 2022-09-01DOI: 10.1177/17499755211052361
Z. Al Azmeh
This article unsettles what the literature describes as the ‘central paradox’ of cultural trauma theory: the idea that while atrocities are most prevalent in the ‘non-western world’, successful cultural traumas have primarily emerged in western societies. Examining the engagement of exiled Syrian intellectuals with the traumatic events of the 2011 revolution-turned-war in their country, the author argues that it is not a failure in the ‘cultural trauma process’ itself that prevents horrific events in non-western contexts from becoming recognised as cultural traumas. Instead, it is the failure to translate narratives of wrongdoing into formal acknowledgements and material or symbolic reparations. This failure is articulated by Syrian intellectuals as a ‘denial of meaning’. Many Syrian intellectuals construed the emancipatory demands of the Syrian uprising as claims for a right to meaning, that is, demands to restore language and existential purpose through public engagement and the revival of politics and speech. Equally, they saw as ‘denial of meaning’ the reality that their trauma work did not prevent the endurance and gradual rehabilitation of the regime but was met instead with the relegation of the movement to the agenda of the War on Terror. Thus, building on the discourses of exiled Syrian intellectuals, the article presents the idea of the right to meaning as a framework for understanding global inequality. Such a framework rests on a perceived dichotomy between those entitled to ‘meaning’ and those whose lives are accepted and treated as devoid of it or denied it.
{"title":"The Right to Meaning: A Syrian Case Study","authors":"Z. Al Azmeh","doi":"10.1177/17499755211052361","DOIUrl":"https://doi.org/10.1177/17499755211052361","url":null,"abstract":"This article unsettles what the literature describes as the ‘central paradox’ of cultural trauma theory: the idea that while atrocities are most prevalent in the ‘non-western world’, successful cultural traumas have primarily emerged in western societies. Examining the engagement of exiled Syrian intellectuals with the traumatic events of the 2011 revolution-turned-war in their country, the author argues that it is not a failure in the ‘cultural trauma process’ itself that prevents horrific events in non-western contexts from becoming recognised as cultural traumas. Instead, it is the failure to translate narratives of wrongdoing into formal acknowledgements and material or symbolic reparations. This failure is articulated by Syrian intellectuals as a ‘denial of meaning’. Many Syrian intellectuals construed the emancipatory demands of the Syrian uprising as claims for a right to meaning, that is, demands to restore language and existential purpose through public engagement and the revival of politics and speech. Equally, they saw as ‘denial of meaning’ the reality that their trauma work did not prevent the endurance and gradual rehabilitation of the regime but was met instead with the relegation of the movement to the agenda of the War on Terror. Thus, building on the discourses of exiled Syrian intellectuals, the article presents the idea of the right to meaning as a framework for understanding global inequality. Such a framework rests on a perceived dichotomy between those entitled to ‘meaning’ and those whose lives are accepted and treated as devoid of it or denied it.","PeriodicalId":46722,"journal":{"name":"Cultural Sociology","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65574859","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 : 2022-09-01DOI: 10.1177/17499755221112625
Christopher Thorpe, D. Inglis
What constitutes the field of ‘cultural sociology’ today? Where has it come from, and where is it going? And how has the journal Cultural Sociology played a role in the field over the journal’s 15 years of existence? This article comprises a dialogue between one of the current editors, Christopher Thorpe, and one of the founding editors, David Inglis. Reflecting on these questions, the dialogue also touches on major issues in cultural sociology today; these include the continuing legacy of Bourdieu, the presence of Actor Network Theory, differences between critical-theoretical and Yale School conceptions of cultural autonomy, neo-liberalization processes, the status of postcolonial sociological ideas in the field, attempts to decolonize sociological accounts of culture, and the interplay between mainstream and ‘productively weird’ kinds of cultural sociology.
{"title":"What’s Up with Cultural Sociology? From Bourdieu and the Mainstream to ‘Productive Weirdness’","authors":"Christopher Thorpe, D. Inglis","doi":"10.1177/17499755221112625","DOIUrl":"https://doi.org/10.1177/17499755221112625","url":null,"abstract":"What constitutes the field of ‘cultural sociology’ today? Where has it come from, and where is it going? And how has the journal Cultural Sociology played a role in the field over the journal’s 15 years of existence? This article comprises a dialogue between one of the current editors, Christopher Thorpe, and one of the founding editors, David Inglis. Reflecting on these questions, the dialogue also touches on major issues in cultural sociology today; these include the continuing legacy of Bourdieu, the presence of Actor Network Theory, differences between critical-theoretical and Yale School conceptions of cultural autonomy, neo-liberalization processes, the status of postcolonial sociological ideas in the field, attempts to decolonize sociological accounts of culture, and the interplay between mainstream and ‘productively weird’ kinds of cultural sociology.","PeriodicalId":46722,"journal":{"name":"Cultural Sociology","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42336542","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 : 2022-08-18DOI: 10.1177/17499755221108135
M. Halewood
This article argues that all judgements or statements about social class are inherently moral in that they implicitly advocate how people should (or should not) act. The argument extends Bourdieu’s linking of social class and representation by introducing Dewey’s intertwining of morality and habit. It is suggested that Kant’s apparently distinct critiques have set up three domains – knowledge, morality, aesthetics – which modern thought has treated as radically discrete. Although successful in linking the objective and the aesthetic (social class and its representation), Bourdieu was unable to incorporate the moral. Dewey’s reconceptualization of morality and habit is presented as able to overcome this limitation. The introduction of morality is intended to reflect the contingent and complex operations of social class. The article aims to destabilize contemporary conceptions of social class by clarifying the enduring moral aspect which supports its conceptualization and existence.
{"title":"‘Class is Always a Matter of Morals’: Bourdieu and Dewey on Social Class, Morality, and Habit(us)","authors":"M. Halewood","doi":"10.1177/17499755221108135","DOIUrl":"https://doi.org/10.1177/17499755221108135","url":null,"abstract":"This article argues that all judgements or statements about social class are inherently moral in that they implicitly advocate how people should (or should not) act. The argument extends Bourdieu’s linking of social class and representation by introducing Dewey’s intertwining of morality and habit. It is suggested that Kant’s apparently distinct critiques have set up three domains – knowledge, morality, aesthetics – which modern thought has treated as radically discrete. Although successful in linking the objective and the aesthetic (social class and its representation), Bourdieu was unable to incorporate the moral. Dewey’s reconceptualization of morality and habit is presented as able to overcome this limitation. The introduction of morality is intended to reflect the contingent and complex operations of social class. The article aims to destabilize contemporary conceptions of social class by clarifying the enduring moral aspect which supports its conceptualization and existence.","PeriodicalId":46722,"journal":{"name":"Cultural Sociology","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2022-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46472334","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 : 2022-07-27DOI: 10.1177/17499755221096186
Guro von Germeten, S. Karlsen
This article focuses on the notion of cultural omnivorousness, as coined by Richard Peterson, to explore its various manifestations within the American musical, commonly known as the Broadway musical. Through two interconnected research questions, we explore how patterns of cultural omnivorousness are manifested within the American musical, contemporarily and in a historical perspective, and scrutinize what these omnivorous features demand from performers, more specifically, what it takes to perform what we name the omnivorous voice. Using the American musical as a site for exploration, the article aims to show that the omnivorousness is not only enjoyed by its audiences, but produced, brought about and enjoyed by its composers, producers and performers alike. Consequently, the article’s main argument is that the phenomenon of cultural omnivorousness not only concerns cultural consumption but is to be regarded as a matter of cultural production as well, manifested ultimately as specific artistic and embodied practices. The article conveys a theoretically informed discussion, drawing on works written within the fields of cultural sociology, musicology and voice studies, while incorporating illustrative references to specific recorded musical works and the vocal behaviours of named performers.
{"title":"Voicing Omnivorousness, Assembling the Omnivorous Voice: The American Musical Explored","authors":"Guro von Germeten, S. Karlsen","doi":"10.1177/17499755221096186","DOIUrl":"https://doi.org/10.1177/17499755221096186","url":null,"abstract":"This article focuses on the notion of cultural omnivorousness, as coined by Richard Peterson, to explore its various manifestations within the American musical, commonly known as the Broadway musical. Through two interconnected research questions, we explore how patterns of cultural omnivorousness are manifested within the American musical, contemporarily and in a historical perspective, and scrutinize what these omnivorous features demand from performers, more specifically, what it takes to perform what we name the omnivorous voice. Using the American musical as a site for exploration, the article aims to show that the omnivorousness is not only enjoyed by its audiences, but produced, brought about and enjoyed by its composers, producers and performers alike. Consequently, the article’s main argument is that the phenomenon of cultural omnivorousness not only concerns cultural consumption but is to be regarded as a matter of cultural production as well, manifested ultimately as specific artistic and embodied practices. The article conveys a theoretically informed discussion, drawing on works written within the fields of cultural sociology, musicology and voice studies, while incorporating illustrative references to specific recorded musical works and the vocal behaviours of named performers.","PeriodicalId":46722,"journal":{"name":"Cultural Sociology","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2022-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43267615","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 : 2022-07-27DOI: 10.1177/17499755221085153
Philip Smith, F. Stoll
An enduring feature of public life has been the social death of prominent artists, impresarios and entertainers after moral transgressions. But not everyone is shunned. Often fans and general audiences continue to consume, advocate and revere the artistic product of tainted but gifted individuals. How is this love of the ‘evil genius’ possible? The article provides answers with reference to the paradigm case of Richard Wagner and the Bayreuth Festival that he founded. The composer and event remain contaminated by deep association with antisemitism, Hitler and the Third Reich. We draw from an interview study with Wagner fans and opera connoisseurs to report on the interpretative techniques, justifications and folk-logics through which Wagner’s operas can still be listened to and found pleasurable in light of a troubled history. These involve articulations between and over four domains: (i) self (ii) artwork (iii) artist and (iv) history. These are variously connected and disconnected. We speculate that this four-factor model will be applicable in other domains where art, politics and morality make for uneasy bedfellows and the ‘evil genius’ remains culturally salient.
{"title":"Why Fans of the Evil Genius Remain Fans: The Case of Richard Wagner and the Bayreuth Festival","authors":"Philip Smith, F. Stoll","doi":"10.1177/17499755221085153","DOIUrl":"https://doi.org/10.1177/17499755221085153","url":null,"abstract":"An enduring feature of public life has been the social death of prominent artists, impresarios and entertainers after moral transgressions. But not everyone is shunned. Often fans and general audiences continue to consume, advocate and revere the artistic product of tainted but gifted individuals. How is this love of the ‘evil genius’ possible? The article provides answers with reference to the paradigm case of Richard Wagner and the Bayreuth Festival that he founded. The composer and event remain contaminated by deep association with antisemitism, Hitler and the Third Reich. We draw from an interview study with Wagner fans and opera connoisseurs to report on the interpretative techniques, justifications and folk-logics through which Wagner’s operas can still be listened to and found pleasurable in light of a troubled history. These involve articulations between and over four domains: (i) self (ii) artwork (iii) artist and (iv) history. These are variously connected and disconnected. We speculate that this four-factor model will be applicable in other domains where art, politics and morality make for uneasy bedfellows and the ‘evil genius’ remains culturally salient.","PeriodicalId":46722,"journal":{"name":"Cultural Sociology","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2022-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44085060","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 : 2022-07-23DOI: 10.1177/17499755211068656
Ricardo Campos, Leda Barbio, Á. Sequeira
This article focuses on contemporary urban art in the city of Lisbon. We understand urban art as an art world that has developed through a historical process that, in Portugal, is essentially three decades old. It began with the emergence of the subculture of graffiti in Portugal and it culminates in the gradual artification, commodification and institutionalization of graffiti and street art. We believe this was caused by a particular historical arrangement during the previous decade that produced extremely favourable conditions for the emergence of a set of artists in this field. This arrangement is characterized internationally by the expansion and recognition of street art and, on a national level (especially in Lisbon), by the actions of a number of agents (media, municipalities, art world, commercial entities, academia) that contributed to a higher visibility and legitimacy of this artistic community. Thus, we argue that a structure of opportunities was created that a allowed a number of actors to establish and define a strategy of professionalization in this field. In this article we analyse three types of opportunities: practice opportunities, symbolic, and financial. We consider the social actors that generate these opportunities as well as the way in which artists perceive them and adapt.
{"title":"Urban Art in Lisbon: Emerging Opportunities and Career Aspirations","authors":"Ricardo Campos, Leda Barbio, Á. Sequeira","doi":"10.1177/17499755211068656","DOIUrl":"https://doi.org/10.1177/17499755211068656","url":null,"abstract":"This article focuses on contemporary urban art in the city of Lisbon. We understand urban art as an art world that has developed through a historical process that, in Portugal, is essentially three decades old. It began with the emergence of the subculture of graffiti in Portugal and it culminates in the gradual artification, commodification and institutionalization of graffiti and street art. We believe this was caused by a particular historical arrangement during the previous decade that produced extremely favourable conditions for the emergence of a set of artists in this field. This arrangement is characterized internationally by the expansion and recognition of street art and, on a national level (especially in Lisbon), by the actions of a number of agents (media, municipalities, art world, commercial entities, academia) that contributed to a higher visibility and legitimacy of this artistic community. Thus, we argue that a structure of opportunities was created that a allowed a number of actors to establish and define a strategy of professionalization in this field. In this article we analyse three types of opportunities: practice opportunities, symbolic, and financial. We consider the social actors that generate these opportunities as well as the way in which artists perceive them and adapt.","PeriodicalId":46722,"journal":{"name":"Cultural Sociology","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2022-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44595233","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 : 2022-07-07DOI: 10.1177/17499755221110296
Vasco Ramos
{"title":"Book Review: Working Class Experiences of Social Inequalities in (Post-) Industrial Landscapes. Feelings of Class","authors":"Vasco Ramos","doi":"10.1177/17499755221110296","DOIUrl":"https://doi.org/10.1177/17499755221110296","url":null,"abstract":"","PeriodicalId":46722,"journal":{"name":"Cultural Sociology","volume":null,"pages":null},"PeriodicalIF":1.9,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47025258","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：