Poetics最新文献

A world in movement is visible in the arena of the performing arts. Since the “long summer of migration” (also known as the 2015 “refugee crisis”), the field of performing arts for a young audience in Sweden has shown a growing interest in staging migration while elaborating new artistic strategies and modes of participation. Migrant/non-white youth share the stage-audience encounter with a white audience born in Sweden, while meeting and interacting with content, including the staging of identities, belonging, and experiences of being “other.” But knowledge about the meanings of these stage-audience encounters is lacking. This article aims to visualize and analyze the potential of repair processes through laughter in the stage-audience encounter of one specific play: Tre Streck. This analysis enables consideration of the main emotions in a civil repair process that addresses recognition gaps. The paper builds on ethnographic research and interviews and takes a theoretically informed approach, making it possible to analyze how individual audience members' emotions and self-understandings are linked to staged experiences. A theoretical contribution is suggested that involves developing civil sphere theory by conceptualizing the need to be sensitive to existential repair in micro-studies of civil repair processes.

This paper examines audience engagement at livestreamed concerts, a form of mediatised cultural consumption that saw an immense growth in popularity during the COVID-19 pandemic. Concerts, as events that draw large groups of people with similar intentions, are the perfect location for the establishment of large-scale interaction rituals – moments of group behaviour characterised by a highly intense collective emotion. Furthermore, as social occasions, concerts are organised around a set of routine interactions that construct and define the collective experience. We argue that in moving online, the definition of the (concert) situation is highly impaired due to a context collapse. In comparing two distinct audiences (classical and Dutch popular music), the first aim of this research is to explore how these differing audiences adapt their cultural behaviour to the virtual sphere. Secondly, by adopting a microsociological perspective, we aim to broaden the theoretical understanding of virtual large-scale interaction rituals, an area becoming increasingly important due to the growth in online communication. This paper uses discourse analysis of the synchronised comments, left on livestreamed concerts on Facebook Live (n = 2,075), to examine the interaction between audience members. We find that both classical and Dutch popular music audiences use a form of hyper-ritualised interaction. In an attempt to combat the plurality of meanings online, they explicitly refer back to the central conventions of the face-to-face concert. This emphasises not only the significance of genre conventions, but also presents a form of virtual interaction distinct form interpersonal interaction.

The impact of the first year of the COVID-19 pandemic on the arts sector resulted in acute, drastic drops in employment, revenue, and events. Career maintenance and persistence in the arts during this period involved substantially altered practices, particularly in terms of professional social interactions, which are known to be essential in artistic occupations. This research uses interview data from 66 U.S.-based arts graduates during the first year of the pandemic to establish how those in early, established, and late career stages experienced their professional social interactions. The findings show that the massive shift from in-person to almost solely online work and connectivity led to a drastic decrease in professional social interactions. Findings show that early career artists have the least social capital, established artists have the most, and late career artists begin to lose social capital unless they actively maintain it. Additionally, the “event-ized” nature of scheduling and attending work interactions digitally reduced feelings of community and collegiality.

This article analyses classificatory encounters in a unique library with integrated academic and public book collections. Employing Walter Benjamin's image of the organised bookshelf as a ‘magic circle’ of independently relating items, I follow the choreography of classification in library spaces: from the formality of the Dewey Decimal Classification (DDC) through which books are organised, to their resulting social life on the shelves, to the way they are subsequently engaged with by users. Through ethnographic analysis of interactions with the surprising juxtapositions found on the library's bookshelves, I provide insights into the power of classification, both for socially organising knowledge and for inviting intellectually and emotionally significant encounters of subtle reclassification. I argue that while formal classification schemes may seem to fix knowledge categories, the ‘magic circles’ created through such schemes on the shelves suggest a more vital, vibrant and invitational dynamic. Further, I highlight the centrality of library books as material cultural objects to the potency of these classificatory encounters for those involved in them. Combining insights from prominent lines of research in cultural sociology – regarding classification and materiality – the article shows how classification matters.

How does an artwork's referencing of creative content affect its peer recognition? Artists constantly seek to balance the tension between originality and conformity. Previous research argues that peers tend to reward socially well-embedded artists that signal community involvement and literacy of established conventions. Another stream of sociological research argues that the criteria for peer recognition are not fixed but depend on a cultural field's legitimacy. This paper examines the emerging and shifting standards of peer recognition throughout 70 years in U.S. American filmmaking. I ask whether and to what extent a film's referencing of artistic content from earlier films, such as snippets of dialog or camera shots, conditions its chances of being referenced. I analyze reference styles of 5,555 U.S. American movies released between 1930 and 1995 and show how artistic standards emerged during the New Hollywood movement in the 1960s. While films of the New Hollywood (1960–1979) and Blockbuster Era (1980–1995) were rewarded for signaling cultural literacy and openness in their reference styles, these standards did not apply yet to Golden Age filmmakers (1930–1959). These findings offer new insights for sociologists of culture and organizations who ask how an artwork's embeddedness into the cultural space affects its recognition by contemporary peer audiences.

The emergence of individualization in contemporary Chinese society has transformed parent–child dynamics. This article examines one frequently acknowledged, but rarely scrutinized, individualizing force in this process: the consumption of Western popular media. Based on 29 in-depth interviews with college students in Beijing in 2009–2010, I investigate how members of China's first only-child generation reflexively engaged American television shows to assess their own parent–child relationships during a pivotal time of social change in China. While watching US TV inspired a desire among respondents for the individualistic and democratic family dynamics featured on screen, many were critical of what they saw and came to appreciate Chinese family practices more. Beyond comparing their lived realities with specific narratives on US TV, respondents often extrapolated individual circumstances to broader social issues and cultural traditions. Thus, US TV presented new alternatives for family life that fostered a reflexive “social imagination” among young Chinese, allowing them a deeper understanding of personal experiences by situating them within a constellation of social institutions, economic systems, and cultural values. By analyzing viewers’ meaning-making of American television shows within a Chinese context, this article illuminates how parent–child relationships have been shaped by an interplay between local norms and global possibilities.

Encounters with literary texts can lead to deeply cherished memories, some of which readers may ascribe powerful and enduring functions to in terms of acquired life insights, behavioral changes, consolation, and well-being. The present article charts how texts relate to readers’ experiences and how these text-experiences are related to how they are remembered. In the context of a Shared Reading group for people living with cancer, a multiple-case study was conducted, tracing examples of enduring impressions and how these are perceived as transformative and valuable resources for the participants in coping with their disease. Qualitative and quantitative data from four readers were collected at different points in time and were analyzed through the grounded theory method and a temporality framework. The results clarify how, in the long run, literature, and in particular Shared Reading, can affect personal growth and resilience.

Researchers have advanced two opposing accounts of the relationship between status and cultural innovation. We aim to reconcile these views – and their conflicting findings that either high- or low-status cultural producers are more likely to innovate – by adopting a dynamic view of status. We argue that changes in status – at the individual and the field level – affect the relationship between status and innovation. Focusing on the national American television industry over the period 1956–2010, we found that increases and decreases in producers’ status moderated the effect of their current status on the innovativeness of their shows. We also found that the degree of instability in the overall status hierarchy of producers conditioned the impact of status on show innovativeness. When the status hierarchy was relatively stable, high-status producers tended to create more innovative shows than low-status producers. Greater levels of instability, however, decreased the show innovativeness of high-status producers but increased that of low-status producers. By exposing the pressures and opportunities that cultural producers experience as a result of changes in both their status and the status hierarchy, we reveal that the relationship between status and innovation is more nuanced than prior studies suggested.

This study investigates the use of coagents in the book industry. To reach international markets, domestic publishers typically license a title’s rights to third-party international publishers, a practice known as 'selling rights’. Rights sellers can either choose to work directly in a local market or with intermediaries known as coagents. Using a data set of over 2000 international rights sales for Australian-authored titles of a major publisher, we examine whether employing the services of a coagent leads to superior outcomes as measured by the size of the advance. We find a positive relationship between the use of coagents and the size of the advance. This result is robust to a variety of contract lengths and international market conventions. The evidence suggests that, on average, coagents help secure better outcomes for authors and domestic publishers. More broadly, our study suggests that international intermediaries may play an important role in the export of cultural goods.