Pub Date : 2025-10-15DOI: 10.1016/j.poetic.2025.102058
Kristin Van Damme, Tom Evens
Digitisation has not only impacted how media are created and distributed, but also how they are consumed. Consequently, media use has become an elusive concept. This challenges researchers, media organisations, and the audience measurement industry to conceptualize what it means to ‘use media’. The primary objective of this paper is to present a comprehensive taxonomy for delineating the various articulations that constitute media use. To do so, we extend the concept of quadruple articulation by deconstructing and operationalizing the four articulations (i.e. content, platform, object and context) as a taxonomy to study media use. We introduce the notion of ‘individual media use moments’, which we define as discrete, situated instances of media engagement shaped by content, platform, object, and context. This taxonomy complements media repertoires or ensembles approaches, as the different media use moments serve as the building blocks for media repertoires (i.e. the sum of people's frequently occurring media use moments). Although the taxonomy is rooted in digital media environments, its articulations can be extended to analogue media use when applied thoughtfully.
{"title":"Extending the quadruple articulation framework to study media use moments: Deconstructing content, platform, device and context","authors":"Kristin Van Damme, Tom Evens","doi":"10.1016/j.poetic.2025.102058","DOIUrl":"10.1016/j.poetic.2025.102058","url":null,"abstract":"<div><div>Digitisation has not only impacted how media are created and distributed, but also how they are consumed. Consequently, media use has become an elusive concept. This challenges researchers, media organisations, and the audience measurement industry to conceptualize what it means to ‘use media’. The primary objective of this paper is to present a comprehensive taxonomy for delineating the various articulations that constitute media use. To do so, we extend the concept of quadruple articulation by deconstructing and operationalizing the four articulations (i.e. content, platform, object and context) as a taxonomy to study media use. We introduce the notion of ‘individual media use moments’, which we define as discrete, situated instances of media engagement shaped by content, platform, object, and context. This taxonomy complements media repertoires or ensembles approaches, as the different media use moments serve as the building blocks for media repertoires (i.e. the sum of people's frequently occurring media use moments). Although the taxonomy is rooted in digital media environments, its articulations can be extended to analogue media use when applied thoughtfully.</div></div>","PeriodicalId":47900,"journal":{"name":"Poetics","volume":"113 ","pages":"Article 102058"},"PeriodicalIF":1.7,"publicationDate":"2025-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145325262","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-10-10DOI: 10.1016/j.poetic.2025.102056
Federico Brandmayr
Social scientists increasingly rely on ethnographic methods to study political groups. To a greater extent than other researchers, political ethnographers grapple with dilemmas about maintaining appropriate distance from their subjects. Being too close can turn an ethnographer into an uncritical advocate, but being too far comes with the risk of reinforcing stereotypes and overlooking the complexity of their subjects. When they make decisions about research design, fieldwork, and writing, ethnographers consider the expectations their peers have about the correct distance to establish with informants, which are learned in training and informal interaction. This distance, however, is not the same for all types of informants. Informants perceived by the prevailing assumptions of the knowledge community as morally polluted, such as right-wing activists, require a greater distance than subjects that are morally pure or neutral. The article analyzes how political ethnographers use a variety of “distancing devices” to manage how readers perceive the distance they establish with their informants and preempt political and ethical challenges to their work. It does so by drawing on a content analysis of 82 ethnographic articles about left-wing and right-wing groups published since 1998. Overall, the results confirm the existence of profound asymmetries in how distance is constructed between the two types of informants.
{"title":"The left and the right in the ethnographic imagination","authors":"Federico Brandmayr","doi":"10.1016/j.poetic.2025.102056","DOIUrl":"10.1016/j.poetic.2025.102056","url":null,"abstract":"<div><div>Social scientists increasingly rely on ethnographic methods to study political groups. To a greater extent than other researchers, political ethnographers grapple with dilemmas about maintaining appropriate distance from their subjects. Being too close can turn an ethnographer into an uncritical advocate, but being too far comes with the risk of reinforcing stereotypes and overlooking the complexity of their subjects. When they make decisions about research design, fieldwork, and writing, ethnographers consider the expectations their peers have about the correct distance to establish with informants, which are learned in training and informal interaction. This distance, however, is not the same for all types of informants. Informants perceived by the prevailing assumptions of the knowledge community as morally polluted, such as right-wing activists, require a greater distance than subjects that are morally pure or neutral. The article analyzes how political ethnographers use a variety of “distancing devices” to manage how readers perceive the distance they establish with their informants and preempt political and ethical challenges to their work. It does so by drawing on a content analysis of 82 ethnographic articles about left-wing and right-wing groups published since 1998. Overall, the results confirm the existence of profound asymmetries in how distance is constructed between the two types of informants.</div></div>","PeriodicalId":47900,"journal":{"name":"Poetics","volume":"113 ","pages":"Article 102056"},"PeriodicalIF":1.7,"publicationDate":"2025-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145267206","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-10-08DOI: 10.1016/j.poetic.2025.102055
Adrian Leguina , Anna Zsubori , Carlos Poblete-Lagos
Issues around diversity in the arts have been widely examined, revealing significant inequalities in public funding and the concentration of resources. However, studies on cultural production logics and their impact on programming diversity are limited. This paper uses Bourdieusian field analysis to provide an organisational overview of cultural production, examining how the distribution of key economic, material, and symbolic resources within cultural organisations shapes the diversity of their programming. Using survey data from publicly funded Arts Council England's (ACE) National Portfolio Organisations (NPOs), we construct a field of NPO cultural production. Through multiple correspondence analysis, we investigate two key questions: (1) How are NPOs distributed in terms of resources, disciplines, and their organisational structure within the field of NPO production? (2) How strong is the association, or homology, between positions in the field of NPO cultural production and the programming of activities for diverse audiences? The resulting field is primarily shaped by economic resilience and precarity, as well as by disciplinary and organisational differences. Our analysis reveals that larger, more economically resilient organisations show a lower commitment to diversity, while these efforts are concentrated among smaller and less resilient organisations. Despite strategic calls for diversity from funding bodies, the diversity of cultural offerings is predominantly structured around economic principles. Except for programming oriented to LGBTQ+, small organisations appear to bear a heavier burden than legacy institutions in catering to groups traditionally excluded and underrepresented in the arts.
{"title":"Power, precarity and diversity in the field of publicly funded arts and culture: An analysis of Arts Council England National Portfolio Organisations","authors":"Adrian Leguina , Anna Zsubori , Carlos Poblete-Lagos","doi":"10.1016/j.poetic.2025.102055","DOIUrl":"10.1016/j.poetic.2025.102055","url":null,"abstract":"<div><div>Issues around diversity in the arts have been widely examined, revealing significant inequalities in public funding and the concentration of resources. However, studies on cultural production logics and their impact on programming diversity are limited. This paper uses Bourdieusian field analysis to provide an organisational overview of cultural production, examining how the distribution of key economic, material, and symbolic resources within cultural organisations shapes the diversity of their programming. Using survey data from publicly funded Arts Council England's (ACE) National Portfolio Organisations (NPOs), we construct a field of NPO cultural production. Through multiple correspondence analysis, we investigate two key questions: (1) How are NPOs distributed in terms of resources, disciplines, and their organisational structure within the field of NPO production? (2) How strong is the association, or homology, between positions in the field of NPO cultural production and the programming of activities for diverse audiences? The resulting field is primarily shaped by economic resilience and precarity, as well as by disciplinary and organisational differences. Our analysis reveals that larger, more economically resilient organisations show a lower commitment to diversity, while these efforts are concentrated among smaller and less resilient organisations. Despite strategic calls for diversity from funding bodies, the diversity of cultural offerings is predominantly structured around economic principles. Except for programming oriented to LGBTQ+, small organisations appear to bear a heavier burden than legacy institutions in catering to groups traditionally excluded and underrepresented in the arts.</div></div>","PeriodicalId":47900,"journal":{"name":"Poetics","volume":"113 ","pages":"Article 102055"},"PeriodicalIF":1.7,"publicationDate":"2025-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145267841","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-10-04DOI: 10.1016/j.poetic.2025.102057
Rachel Son , Qingyuan Yang , Benjamin T. Vollmer , Benjamin K. Johnson
Use of AI technology for entertainment purposes is becoming more prevalent, which raises questions about how engagement with machine-generated narratives influences audiences’ enjoyment and perception of the story’s creator. We conducted a 2 (human author vs. bot author) x 2 (human label vs. bot label) between-subjects experiment to examine how actual authorship and labels about authorship affect narrative engagement and enjoyment as well as perceived authenticity, humanness, and mind of the author. Results indicate that the authorship label had effects on readers’ perceptions of the author, but whether the story was written by a human or ChatGPT did not. Engagement and enjoyment were consistent across authors and labels. We also found no support for narrative engagement as a mediator on enjoyment or perceptions of author.
{"title":"Engaging with Bot Narratives: The Audience Experience and Perceptions of Machine Script Writers","authors":"Rachel Son , Qingyuan Yang , Benjamin T. Vollmer , Benjamin K. Johnson","doi":"10.1016/j.poetic.2025.102057","DOIUrl":"10.1016/j.poetic.2025.102057","url":null,"abstract":"<div><div>Use of AI technology for entertainment purposes is becoming more prevalent, which raises questions about how engagement with machine-generated narratives influences audiences’ enjoyment and perception of the story’s creator. We conducted a 2 (human author vs. bot author) x 2 (human label vs. bot label) between-subjects experiment to examine how actual authorship and labels about authorship affect narrative engagement and enjoyment as well as perceived authenticity, humanness, and mind of the author. Results indicate that the authorship label had effects on readers’ perceptions of the author, but whether the story was written by a human or ChatGPT did not. Engagement and enjoyment were consistent across authors and labels. We also found no support for narrative engagement as a mediator on enjoyment or perceptions of author.</div></div>","PeriodicalId":47900,"journal":{"name":"Poetics","volume":"113 ","pages":"Article 102057"},"PeriodicalIF":1.7,"publicationDate":"2025-10-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145220754","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-09-20DOI: 10.1016/j.poetic.2025.102054
Matthias Kuppler
This study analyzes the exchange of book translations between countries. Existing research is split over the question of whether translation flows are driven by literary, economic, political, or cultural factors. The forces that stratify countries into centers and peripheries are thus debated. To advance the debate, this study leverages newly collected data on N = 147,443 translations of literary works to reconstruct the network of translation flows between 32 European countries for the time period from 2018 to 2020. The relative impacts of literary prestige, economic infrastructure, state support, and cultural proximity on translation flows are estimated with Generalized Additive Models and the Quadratic Assignment Procedure. Results indicate that translation flows are best explained by a combination of literary prestige and economic infrastructure. Translations flow from countries with high literary prestige and a strong publishing infrastructure to countries with little prestige and weak infrastructure. The transnational circulation of literature appears as a game in which economic infrastructure confers power and in which the accumulation of literary prestige is the ultimate stake. This suggests a logic of competition in which translations are the medium through which economic power is converted into symbolic recognition. In this view, the market logic and the artistic logic are not contradictory orientations but different steps in ongoing accumulation processes. Although these conclusions are specific to the European literary field, they document a novel viewpoint that is not reducible to established arguments that point to either convergence or divergence of art and commerce.
{"title":"Of centers and peripheries: Explaining the macro-structure of book translation flows in Europe","authors":"Matthias Kuppler","doi":"10.1016/j.poetic.2025.102054","DOIUrl":"10.1016/j.poetic.2025.102054","url":null,"abstract":"<div><div>This study analyzes the exchange of book translations between countries. Existing research is split over the question of whether translation flows are driven by literary, economic, political, or cultural factors. The forces that stratify countries into centers and peripheries are thus debated. To advance the debate, this study leverages newly collected data on <em>N</em> = 147,443 translations of literary works to reconstruct the network of translation flows between 32 European countries for the time period from 2018 to 2020. The relative impacts of literary prestige, economic infrastructure, state support, and cultural proximity on translation flows are estimated with Generalized Additive Models and the Quadratic Assignment Procedure. Results indicate that translation flows are best explained by a combination of literary prestige and economic infrastructure. Translations flow from countries with high literary prestige and a strong publishing infrastructure to countries with little prestige and weak infrastructure. The transnational circulation of literature appears as a game in which economic infrastructure confers power and in which the accumulation of literary prestige is the ultimate stake. This suggests a logic of competition in which translations are the medium through which economic power is converted into symbolic recognition. In this view, the market logic and the artistic logic are not contradictory orientations but different steps in ongoing accumulation processes. Although these conclusions are specific to the European literary field, they document a novel viewpoint that is not reducible to established arguments that point to either convergence or divergence of art and commerce.</div></div>","PeriodicalId":47900,"journal":{"name":"Poetics","volume":"113 ","pages":"Article 102054"},"PeriodicalIF":1.7,"publicationDate":"2025-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145096893","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-09-09DOI: 10.1016/j.poetic.2025.102041
Yevhen Voronin
The movie market is full of incommensurable products, encouraging consumers to rely on various judgment devices of a social nature (e.g., ratings and recommendations) to make choices. However, the role of movie genres and individual characteristics in relying on judgment devices remains uncertain.
Drawing upon Karpik’s theory of the economics of singularities, this study examines social influence in a movie market by employing a factorial survey to investigate the role of movie ratings and recommendations in predicting the likelihood of going to the cinema to watch a movie across four genres: romance, sci-fi, documentary and horror — genres distinguished by their varying levels of social stratification and popularity. The vignettes are presented in the form of pictures, depicting either low, middle or high ratings by movie experts, broad audience and peers, as well as personal recommendations from close friends, parents or neither.
First, the results reveal that the ratings by experts, broad audience and peers emerge as positive predictors; the gain from each rating's increase from the middle level to the highest level is greater than the loss from a decrease from the middle level to the lowest level among all movie genres. Second, personal recommendation by close friends, rather than parents, holds the highest significance regardless of the genre. Third, orientation toward specific judgment devices depends on individual characteristics of respondents, such as trust in family and importance of friends, genre preferences and the level of cultural omnivorousness.
{"title":"Detailing social influence in predicting cinema attendance: a vignette approach","authors":"Yevhen Voronin","doi":"10.1016/j.poetic.2025.102041","DOIUrl":"10.1016/j.poetic.2025.102041","url":null,"abstract":"<div><div>The movie market is full of incommensurable products, encouraging consumers to rely on various judgment devices of a social nature (e.g., ratings and recommendations) to make choices. However, the role of movie genres and individual characteristics in relying on judgment devices remains uncertain.</div><div>Drawing upon Karpik’s theory of the economics of singularities, this study examines social influence in a movie market by employing a factorial survey to investigate the role of movie ratings and recommendations in predicting the likelihood of going to the cinema to watch a movie across four genres: romance, sci-fi, documentary and horror — genres distinguished by their varying levels of social stratification and popularity. The vignettes are presented in the form of pictures, depicting either low, middle or high ratings by movie experts, broad audience and peers, as well as personal recommendations from close friends, parents or neither.</div><div>First, the results reveal that the ratings by experts, broad audience and peers emerge as positive predictors; the gain from each rating's increase from the middle level to the highest level is greater than the loss from a decrease from the middle level to the lowest level among all movie genres. Second, personal recommendation by close friends, rather than parents, holds the highest significance regardless of the genre. Third, orientation toward specific judgment devices depends on individual characteristics of respondents, such as trust in family and importance of friends, genre preferences and the level of cultural omnivorousness.</div></div>","PeriodicalId":47900,"journal":{"name":"Poetics","volume":"113 ","pages":"Article 102041"},"PeriodicalIF":1.7,"publicationDate":"2025-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145020466","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-09-03DOI: 10.1016/j.poetic.2025.102042
Luuc Brans
The climate crisis compels governments to adopt sustainability policies for cultural fields with substantial ecological footprints. While it is tempting to consider this as mere market regulation, this article approaches sustainability policies as an opportunity to study political intervention in the symbolic production of culture – correcting a bias in the literature on cultural production to focus on markets over states. Taking the strategic case of fashion, this article asks how UN, EU, and Dutch sustainable fashion policies impact discourses of cultural legitimacy and the structure of the cultural field. Combining field theory with a constructionist policy approach, this article analyses 927 pages of UN, EU and Dutch policy, 7 hours of UN and EU policy meetings, and 74 Instagram posts from an EU sustainable fashion campaign. This analysis demonstrates that political intervention reproduces and restructures symbolic hierarchies in the cultural field. Political actors predominantly target commercial fast fashion, leaving high fashion untouched. Instead, they stimulate a competing discourse of legitimacy based on materiality, and recruit allies in the field to implement this discourse. Based on this analysis, I argue that green political intervention opens a third front in the cultural field, next to the autonomous aesthetic and heteronomous economic poles. Political intervention in culture through sustainability policy thus shifts cultural fields from a dual economy of art vs money to a triple economy that includes sustainability politics too. This suggests the need to reformulate or even entirely reconsider field theory for the study of culture in times of climate crisis.
{"title":"Making fast fashion past fashion? How UN, EU, and Dutch green political intervention shift a cultural field","authors":"Luuc Brans","doi":"10.1016/j.poetic.2025.102042","DOIUrl":"10.1016/j.poetic.2025.102042","url":null,"abstract":"<div><div>The climate crisis compels governments to adopt sustainability policies for cultural fields with substantial ecological footprints. While it is tempting to consider this as mere market regulation, this article approaches sustainability policies as an opportunity to study political intervention in the symbolic production of culture – correcting a bias in the literature on cultural production to focus on markets over states. Taking the strategic case of fashion, this article asks how UN, EU, and Dutch sustainable fashion policies impact discourses of cultural legitimacy and the structure of the cultural field. Combining field theory with a constructionist policy approach, this article analyses 927 pages of UN, EU and Dutch policy, 7 hours of UN and EU policy meetings, and 74 Instagram posts from an EU sustainable fashion campaign. This analysis demonstrates that political intervention reproduces and restructures symbolic hierarchies in the cultural field. Political actors predominantly target commercial fast fashion, leaving high fashion untouched. Instead, they stimulate a competing discourse of legitimacy based on materiality, and recruit allies in the field to implement this discourse. Based on this analysis, I argue that green political intervention opens a third front in the cultural field, next to the autonomous aesthetic and heteronomous economic poles. Political intervention in culture through sustainability policy thus shifts cultural fields from a dual economy of art vs money to a triple economy that includes sustainability politics too. This suggests the need to reformulate or even entirely reconsider field theory for the study of culture in times of climate crisis.</div></div>","PeriodicalId":47900,"journal":{"name":"Poetics","volume":"113 ","pages":"Article 102042"},"PeriodicalIF":1.7,"publicationDate":"2025-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144933689","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-09-02DOI: 10.1016/j.poetic.2025.102040
Barış Büyükokutan , Turgut Keskintürk , Hatice Sena Arıcıoğlu
We examine how populist politicians in power produce mass resentment of cultural capital-rich counterelites by comparing three battles in Turkey’s culture war. Investigating how these battles unfolded on Twitter and on a very large online forum, we demonstrate that the production of resentment may require the tacit collaboration of the same counterelites that populists demonize. One way for populists to trap counterelites into participation, we find, is by provoking them to participate in encounters that preserve their dominance of objectified cultural capital at the expense of political power. Populism should thus be viewed interactionally: its relative strength is an ongoing, cumulative, and uncertain outcome of numerous three-way interactions in specific, highly variable sites. Since the macrosociological orientation of extant scholarship is unlikely to capture the dynamics of those sites, populism studies will benefit from developing a more substantial microsociological component.
{"title":"The turkish knowledge trap: Populist resentment as elite-counterelite collaboration","authors":"Barış Büyükokutan , Turgut Keskintürk , Hatice Sena Arıcıoğlu","doi":"10.1016/j.poetic.2025.102040","DOIUrl":"10.1016/j.poetic.2025.102040","url":null,"abstract":"<div><div>We examine how populist politicians in power produce mass resentment of cultural capital-rich counterelites by comparing three battles in Turkey’s culture war. Investigating how these battles unfolded on Twitter and on a very large online forum, we demonstrate that the production of resentment may require the tacit collaboration of the same counterelites that populists demonize. One way for populists to trap counterelites into participation, we find, is by provoking them to participate in encounters that preserve their dominance of objectified cultural capital at the expense of political power. Populism should thus be viewed interactionally: its relative strength is an ongoing, cumulative, and uncertain outcome of numerous three-way interactions in specific, highly variable sites. Since the macrosociological orientation of extant scholarship is unlikely to capture the dynamics of those sites, populism studies will benefit from developing a more substantial microsociological component.</div></div>","PeriodicalId":47900,"journal":{"name":"Poetics","volume":"112 ","pages":"Article 102040"},"PeriodicalIF":1.7,"publicationDate":"2025-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144925110","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-09-01DOI: 10.1016/j.poetic.2025.102043
Clayton Childress
What does it mean when individuals report having a wide variety of cultural knowledge and taste? Core contemporary theories propose different answers to this question, suggesting that cultural breadth is either rooted in the development of “passing knowledge” across multiple domains, or the expression of more general “dispositional openness” to a wide variety of culture. To adjudicate between these two perspectives I introduce the use of pseudo items into culture research, and integrate their usage with Bourdieu’s observations about “competence” and the “right to speak.” I find evidence for a dispositional openness account to claimed cultural knowledge, in addition to a known gender effect that is likely also rooted in dispositions. In closing I discuss how my findings may be suggestive of a new form of allodoxia for elites. I also discuss how pseudo items and other productively weird methodological tools can help refine our analyses of longstanding culture questions, while also generating new ones.
{"title":"Who remembers fake historical figures? Differentiating between passing knowledge and dispositional openness in cultural research","authors":"Clayton Childress","doi":"10.1016/j.poetic.2025.102043","DOIUrl":"10.1016/j.poetic.2025.102043","url":null,"abstract":"<div><div>What does it mean when individuals report having a wide variety of cultural knowledge and taste? Core contemporary theories propose different answers to this question, suggesting that cultural breadth is either rooted in the development of “passing knowledge” across multiple domains, or the expression of more general “dispositional openness” to a wide variety of culture. To adjudicate between these two perspectives I introduce the use of pseudo items into culture research, and integrate their usage with Bourdieu’s observations about “competence” and the “right to speak.” I find evidence for a dispositional openness account to claimed cultural knowledge, in addition to a known gender effect that is likely also rooted in dispositions. In closing I discuss how my findings may be suggestive of a new form of allodoxia for elites. I also discuss how pseudo items and other productively weird methodological tools can help refine our analyses of longstanding culture questions, while also generating new ones.</div></div>","PeriodicalId":47900,"journal":{"name":"Poetics","volume":"112 ","pages":"Article 102043"},"PeriodicalIF":1.7,"publicationDate":"2025-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144921399","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-08-25DOI: 10.1016/j.poetic.2025.102039
Elina Vrijsen , Alexander Dhoest , Sofie Van Bauwel , Charlotte De Backer
This article examines the cultural associations between meat and masculinities, which is prevalent in western societies and manifested through various forms of popular culture, such as Instagram. Social media play a pivotal role in representing gender identities and food practices in digital spaces, both reflecting and constructing our ideas and beliefs about social life. This article investigates how Food Instagram represents the cultural associations between meat and masculinities through visual imagery and language. By conducting a reflexive thematic analysis of Instagram posts using #meat, we examined how the cultural stereotype of “real men eat meat” is represented on social media, shedding light on the role of meat as a communication system within contemporary western societies. We identified three digital meat-masculinity scripts, expressing cultural associations between meat and masculinity, namely a healthy lifestyle, craftmanship, and taste. These scripts are represented by masculine meat symbols (i.e., how meat functions symbolically in the construction and representation of masculinity, especially in digital and media contexts): the fit male body, masculine meat capital, and the culinary meat gaze. The adoption of these notions in content on meat and masculinities serves as a way to express masculine identity, in order to obtain an ideal form of masculinity.
{"title":"From grill to gram: Cultural representations of meat and masculinities on Food Instagram","authors":"Elina Vrijsen , Alexander Dhoest , Sofie Van Bauwel , Charlotte De Backer","doi":"10.1016/j.poetic.2025.102039","DOIUrl":"10.1016/j.poetic.2025.102039","url":null,"abstract":"<div><div>This article examines the cultural associations between meat and masculinities, which is prevalent in western societies and manifested through various forms of popular culture, such as Instagram. Social media play a pivotal role in representing gender identities and food practices in digital spaces, both reflecting and constructing our ideas and beliefs about social life. This article investigates how Food Instagram represents the cultural associations between meat and masculinities through visual imagery and language. By conducting a reflexive thematic analysis of Instagram posts using #meat, we examined how the cultural stereotype of “real men eat meat” is represented on social media, shedding light on the role of meat as a communication system within contemporary western societies. We identified three digital meat-masculinity scripts, expressing cultural associations between meat and masculinity, namely a healthy lifestyle, craftmanship, and taste. These scripts are represented by masculine meat symbols (i.e., how meat functions symbolically in the construction and representation of masculinity, especially in digital and media contexts): the fit male body, masculine meat capital, and the culinary meat gaze. The adoption of these notions in content on meat and masculinities serves as a way to express masculine identity, in order to obtain an ideal form of masculinity.</div></div>","PeriodicalId":47900,"journal":{"name":"Poetics","volume":"112 ","pages":"Article 102039"},"PeriodicalIF":1.7,"publicationDate":"2025-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144896296","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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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