IF 2 2区社会学 0 LITERATURE

Poetics

Pub Date : 2025-04-17 DOI: 10.1016/j.poetic.2025.102004

Markus Radke , Dr. Steffen Lepa , Melissa Panlasigui

Classical music orchestras are vital to the cultural scenes of both Germany and USA. Despite ongoing discussions on musical canon, gender equality, and repertoire innovation, empirical studies on the actual frequency of performances of individual classical music works in both countries are scarce. In this study, concert programs of professional orchestras from the 2019/20 and 2023/24 seasons were collected via web scraping and enriched with metadata from the various online sources using data linkage. In addition to a detailed descriptive statistical analysis, we determined key factors of stage performance frequency using random forest models. Based on these factors, canonical repertoire types were then identified using Latent Class Analysis. Internal factors for stage success of individual works from these repertoires were subsequently determined using Mixture Regression. Results suggest that normative criteria tend to play a more decisive role for program selection in Germany, while the USA lean more towards popular criteria. Four repertoire types are distinguished, primarily based on work and artist prestige, work age and work duration. Generally, programming in the US appears to be more diverse and innovative, and a pre- and post-pandemic comparison of the combined program data from the two countries reveals little differences. These empirical results support and expand on previous musicological studies of canon and can serve as orientation knowledge for cultural policy. Furthermore, the available dataset can also be used by future studies to examine the ways of curating classical concert events and for more fine-grained sub-repertoire analyses.

古典音乐交响乐团对德国和美国的文化舞台都至关重要。尽管关于音乐典范、性别平等和曲目创新的讨论一直在进行，但关于两国古典音乐作品的实际演出频率的实证研究却很少。在本研究中，我们通过网络搜刮收集了 2019/20 和 2023/24 乐季专业交响乐团的音乐会节目单，并利用数据链接从各种在线资源中丰富了元数据。除了详细的描述性统计分析外，我们还利用随机森林模型确定了舞台演出频率的关键因素。在这些因素的基础上，我们使用潜类分析法确定了典型剧目类型。随后，使用混合回归法确定了这些剧目中单个作品舞台成功的内部因素。结果表明，在德国，规范性标准往往对节目选择起着决定性作用，而美国则更倾向于流行性标准。主要根据作品和艺术家的声望、作品的年龄和作品的持续时间，划分出四种曲目类型。总体而言，美国的节目似乎更加多样化和创新，对两国节目数据进行大流行前和大流行后的综合比较，发现两国的差异不大。这些实证结果支持并扩展了以往对卡农的音乐学研究，可作为文化政策的导向知识。此外，未来的研究还可以利用现有的数据集来考察古典音乐会活动的策划方式，并对子曲目进行更精细的分析。

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引用次数: 0

Duality and value realism 二元性与价值现实主义

IF 2 2区社会学 0 LITERATURE

Poetics

Pub Date : 2025-04-05 DOI: 10.1016/j.poetic.2025.102002

Kyle Puetz

Classical Western thought presupposes a value realism, in which values and meanings are part of the “furniture of things.” Ushering in a radical change in the locus of thought, a modern dualistic metaphysics generally rejects external sources of value in favor of understanding meaning and value as a subjective projection of the individual. Because the subject's interiority is the exclusive source of meaning and value, theories of action within this tradition tend to understand action in terms of self-action. Another metaphysics of action, a metaphysics of immanence, suggests a different basis for understanding the source of meaning and value in action: the agent-environment coupling. The network-analytic principle of duality, as exemplified in the work of Roger Friedland and Pierre Bourdieu, is an invaluable conceptual resource within this alternative tradition, as it enables the mathematical formalization of processes of alignment that produce meaning and action. In my conclusion, I suggest that a modified value realism, exploiting the network-analytic principle of duality, offers an alternative explanatory paradigm in cultural sociology.

古典西方思想预设了一种价值现实主义，其中价值和意义是“事物的家具”的一部分。现代二元论形而上学在思想轨迹上发生了根本性的变化，它通常拒绝外部价值来源，而倾向于将意义和价值理解为个人的主观投射。因为主体的内在性是意义和价值的唯一来源，这一传统中的行动理论倾向于从自我行动的角度来理解行动。另一种关于行动的形而上学，一种关于内在性的形而上学，提出了一种不同的理解行动中意义和价值来源的基础：主体-环境耦合。罗杰·弗里德兰（Roger Friedland）和皮埃尔·布迪厄（Pierre Bourdieu）的作品中所体现的二元性网络分析原则，是这一替代性传统中的宝贵概念资源，因为它使产生意义和行动的对齐过程的数学形式化成为可能。在我的结论中，我建议一种改良的价值现实主义，利用二元性的网络分析原则，为文化社会学提供了另一种解释范式。

引用次数: 0

The dual clustering of tastes and ties: Extending the notion of relational similarity in cultural fields 品味与关系的双重聚类：关系相似性概念在文化领域的扩展

IF 2 2区社会学 0 LITERATURE

Poetics

Pub Date : 2025-03-28 DOI: 10.1016/j.poetic.2025.102003

Xinwei Xu , Alessandro Lomi , Christoph Stadtfeld

Sociological research on culture has long conceptualized categorical differentiation in terms of relational “distances” and relied on network imagery to describe the structural properties of fields of cultural production and consumption. Partly constrained by research design, extant research on relational similarity often focuses on either one-mode social networks, or two-mode cultural affiliation networks independently. Only a few recent empirical studies have considered the multiplex interaction between affiliations to cultural artifacts or categories and social relations embedding audience members within a system of dependence relations. We extend the notion of relational similarity to consider the interplay of cultural preferences and social ties and explore how distances between cultural genres are shaped by the mutually constitutive relation linking individual preferences and social networks. Analyzing a large online network of users (N = 43,549) and their expressed music preferences, we show that considering preferences alone results in two genre clusters separated by crisp boundaries. Considering both preferences as well as social network ties yields a sparse, connected component where the boundaries of genre categories become blurred. The study provides evidence that the structure of the space spanned by musical genres varies considerably once the connectivity properties of tastes and ties are jointly considered. This happens because social connections expose individuals to a set of potential future preferences that is typically broader than the set containing their current personal tastes. We discuss the qualitative implications of this result and its significance for future research on the duality of cultural tastes and social ties.

社会学文化研究长期以来将范畴分化概念化为关系“距离”，并依赖网络意象来描述文化生产和消费领域的结构属性。在一定程度上受研究设计的限制，现有的关系相似性研究往往只关注一种模式的社会网络，或两种模式的文化联系网络。最近只有少数实证研究考虑了对文化制品或类别的隶属关系与将受众成员嵌入依赖关系系统中的社会关系之间的多重相互作用。我们将关系相似性的概念扩展到考虑文化偏好和社会联系的相互作用，并探索文化类型之间的距离是如何由连接个人偏好和社会网络的相互构成的关系形成的。通过分析一个大型在线用户网络（N = 43,549）和他们表达的音乐偏好，我们发现单独考虑偏好会导致两个类型集群被清晰的边界分开。考虑到玩家的偏好和社交网络联系，游戏类型的界限变得模糊。该研究提供的证据表明，一旦共同考虑到品味和联系的连接特性，音乐类型所跨越的空间结构就会发生很大的变化。这是因为社会关系将个人暴露在一组潜在的未来偏好中，这些偏好通常比包含他们当前个人品味的集合更广泛。我们讨论了这一结果的定性含义及其对未来研究文化品味和社会关系的二重性的意义。

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引用次数: 0

Case for ecumenical use of network and geometric data analyses in mapping of cultural spaces: Illustration of contemporary French-speaking Swiss theatrical productions 文化空间制图中网络和几何数据分析的普遍使用案例：当代法语瑞士戏剧作品的例证

IF 2 2区社会学 0 LITERATURE

Poetics

Pub Date : 2025-03-22 DOI: 10.1016/j.poetic.2025.101999

Pierre Bataille , Marc Perrenoud , Robin Casse , Carole Christe , Mathias Rota

The cross-use of network and geometric data analyses helps understand how the circulation of symbolic goods is structured. It follows specific logic, intersecting economic and symbolic planes in shaping spaces that do not entirely align with political borders. Both help map circulation spaces and understand their operational logic, aiming to visualize the proximities and/or distances between different places/actors in the production of these symbolic goods. Accordingly, based on several datasets collected to analyze the dynamics that structure contemporary French-speaking Swiss theater production circulation, this article aims to constitute a practical case on the combined use of Social Network Analysis (SNA) and Geometric Data Analysis (GDA) in mapping cultural spaces in a cross-fertilization perspective. The implementation of a mixed SNA and GDA analytical approach reveals distinct clusters of venues based on linguistic boundaries, size, cultural legitimacy, and audience reach. It identifies an "intermediate" subspace, between avant-garde and commercial productions. The study highlights methodological advantages in integrating SNA and GDA for developing a nuanced view on cultural dynamics, especially in understanding the career landscape of "ordinary" artists who navigate between artistic autonomy and market demands.

网络和几何数据分析的交叉使用有助于理解符号商品的流通是如何结构的。它遵循特定的逻辑，在塑造不完全与政治边界对齐的空间时交叉经济和象征层面。两者都有助于绘制流通空间并理解其操作逻辑，旨在可视化这些象征性商品生产中不同地点/参与者之间的距离。因此，基于收集的几个数据集来分析当代法语瑞士戏剧生产流通的动态结构，本文旨在从交叉视角构建一个结合使用社会网络分析（SNA）和几何数据分析（GDA）来绘制文化空间的实际案例。SNA和GDA混合分析方法的实施揭示了基于语言边界、规模、文化合法性和受众范围的不同场所集群。它确定了前卫和商业作品之间的“中间”子空间。该研究强调了整合SNA和GDA的方法论优势，以形成对文化动态的细致看法，特别是在理解游走于艺术自主和市场需求之间的“普通”艺术家的职业前景方面。

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引用次数: 0

Professor-writers and machinist-painter-photographers: Investigating the duality between occupational categories and artistic hobbies 教授-作家和机械师-画家-摄影师：职业类别和艺术爱好之间的二元性的调查

IF 2 2区社会学 0 LITERATURE

Poetics

Pub Date : 2025-03-18 DOI: 10.1016/j.poetic.2025.102001

Neha Gondal , Allison Wigen

Even though participation in the arts (a.k.a. hobbies) of employed persons has risen steadily since the early twentieth century, research has not systematically explored the relationship between occupations and hobbies. We address this gap by investigating the intersection and cultural co-constitution of these two forms of engagement by drawing on Breiger's influential work on duality. We introduce a machine-learning approach called association-rules to generate a two-mode network comprising occupations and hobbies using data from the Survey of Public Participation in the Arts. Our analysis shows that the relationship between the two constructs is not consistent with the cultural omnivorousness model. Instead, attributes of the two constructs like temporality and degree of collaborativeness shape their association with implications for their cultural significance. Pottery and painting, generally solo hobbies, are associated with most professions, but are the exclusive domain of gendered male, blue-collar occupations that have less autonomy on working hours. Collaborative music hobbies, entailing considerable commitment, on the other hand, are exclusively associated with occupations with such autonomy. Weaving and writing, portable hobbies that have a reputation of being ‘woke,’ are connected to white- and blue-collar sedentary jobs. Sharedness of hobbies and variability in their cultural significance have implications for the erosion and maintenance of cultural and social distance between occupational groups. Degree of collaborativeness, likewise, has implications for connectedness within hobby groups as well as visibility and embeddedness of occupational groups in local communities.

尽管自二十世纪初以来，就业人员对艺术（又称业余爱好）的参与稳步上升，但相关研究并未系统地探讨职业与业余爱好之间的关系。为了填补这一空白，我们借鉴布雷格在二元性方面颇具影响力的研究成果，对这两种参与形式的交集和文化共构进行了研究。我们引入了一种名为 "关联规则 "的机器学习方法，利用 "公众艺术参与调查 "的数据生成了一个由职业和爱好组成的双模式网络。我们的分析表明，这两个建构之间的关系与文化全能模型并不一致。相反，这两个构念的属性（如时间性和合作程度）决定了它们之间的关联，并对其文化意义产生了影响。陶艺和绘画通常是独乐乐不如众乐乐的爱好，它们与大多数职业都有关联，但却是性别化男性、工作时间自主性较低的蓝领职业的专属领域。另一方面，需要投入大量精力的合作性音乐嗜好则只与自主性较强的职业有关。编织和写作这些以 "清醒 "著称的便携式爱好，则与白领和蓝领的静态工作有关。业余爱好的共享性及其文化意义的差异性，对侵蚀和维持职业群体之间的文化和社会距离具有影响。同样，合作程度对爱好群体内部的联系以及职业群体在当地社区的可见度和嵌入度也有影响。

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引用次数: 0

Cultural power via contaminating dualities 通过二元性污染文化权力

IF 2 2区社会学 0 LITERATURE

Poetics

Pub Date : 2025-03-15 DOI: 10.1016/j.poetic.2025.102000

Michael Lee Wood, Travis Ashby

Cultural objects possess varying degrees of cultural power, defined as their capacity to directly or indirectly shape beliefs and behavior. Research on cultural objects has identified various ways cultural objects possess cultural power, such as by evoking meanings and emotions and stabilizing and disrupting collective practices. This paper extends research on cultural power by investigating how the dualities of cultural objects contribute to cultural power. Cultural objects do not exist in isolation, but are connected to various persons, places, and things. For example, a TV show has a dual relation with its fans, such that the show's identity is partially constituted by its fans, and the fans’ identities by the show they watch. These dual relations facilitate “contamination,” insofar as something or someone tied to a cultural object alters the meaning of the other persons and things associated with the cultural object. We argue that these “contaminating dualities” are a form of cultural power, insofar as contamination from other nodes in cultural object networks elicits responses from contaminated parties. We illustrate the framework by analyzing a series of cases in which people respond to contamination and discuss the implications for the study of culture and action.

文化对象具有不同程度的文化力量，定义为它们直接或间接塑造信仰和行为的能力。对文物的研究已经确定了文物拥有文化力量的各种方式，例如通过唤起意义和情感，稳定和破坏集体实践。本文通过考察文化客体的二元性对文化权力的贡献，拓展了对文化权力的研究。文物不是孤立存在的，而是与不同的人、地点和事物联系在一起的。例如，一部电视剧和它的粉丝有着双重关系，这部剧的身份部分是由它的粉丝构成的，而粉丝的身份部分是由他们所看的这部剧构成的。这种双重关系促进了“污染”，因为与文化对象相关的某物或某个人改变了与文化对象相关的其他人和事物的意义。我们认为，这些“污染的二元性”是文化权力的一种形式，因为来自文化对象网络中其他节点的污染会引起受污染方的反应。我们通过分析一系列人们对污染做出反应的案例来说明这个框架，并讨论了对文化和行动研究的影响。

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引用次数: 0

Networks and Artistic Status Orders in Cultural Fields: The Evolution of Hollywood Filmmaking 文化领域中的网络与艺术地位秩序：好莱坞电影制作的演变

IF 2 2区社会学 0 LITERATURE

Poetics

Pub Date : 2025-03-14 DOI: 10.1016/j.poetic.2025.101985

Mark Wittek , Katharina Burgdorf

How do status orders emerge in cultural fields? Our study sheds new light on this question by investigating the interplay of networks and status among Hollywood filmmakers from 1920 to 2000. Information on artistic references and collaborations of more than 9,500 filmmakers retrieved from the Internet Movie Database (IMDb) allows us to examine long-term changes in the social organization of this cultural field. Our findings suggest that the distribution of social recognition—measured by filmmakers’ prominence in collaborative ties and artistic references—became more stratified as the field grew. Furthermore, collaborations increasingly exhibited segregation according to filmmakers’ artistic status during the New Hollywood era (1960–1980). This period was characterized by the rising prominence of a new generation of filmmakers who established film as an art form in the U.S. This article shows that contextual characteristics, such as a field's size and institutional environment, can foster or impede stratification and segregation in collaborative networks among cultural producers.

地位秩序是如何在文化领域中出现的？我们的研究通过调查从1920年到2000年好莱坞电影制作人的网络和地位的相互作用，为这个问题提供了新的视角。从互联网电影数据库（IMDb）中检索的9500多名电影制作人的艺术参考和合作信息使我们能够研究这一文化领域的社会组织的长期变化。我们的研究结果表明，随着电影领域的发展，社会认可的分布——通过电影制作人在合作关系和艺术参考中的突出程度来衡量——变得更加分层。此外，在新好莱坞时代（1960-1980），根据电影制作人的艺术地位，合作越来越表现出隔离。这一时期的特点是新一代电影人的崛起，他们将电影确立为美国的一种艺术形式。本文表明，背景特征，如一个领域的规模和制度环境，可以促进或阻碍文化生产者之间合作网络中的分层和隔离。

引用次数: 0

Rulenet: Mapping the structure of cultural preferences using association-rules and network graphs 规则网：使用关联规则和网络图映射文化偏好的结构

IF 2 2区社会学 0 LITERATURE

Poetics

Pub Date : 2025-03-04 DOI: 10.1016/j.poetic.2025.101996

Neha Gondal

Sociologists have persuasively argued that cultural meaning can be interpreted by analyzing the systems of relations that measure the so-called ‘going together’ of cultural materials. Research investigating cultural tastes and preferences has used this approach to interpret consumption patterns as relational systems using a variety of techniques including multidimensional scaling, two-mode network analysis, and variable correlation networks. I contribute to this growing set of tools by describing and demonstrating the use of a datamining technique with scant history of use within sociology, called ‘association-rules.’ The key contribution of this technique is that it generates directed relationships between variables (e.g., preference for opera → preference for ballet), which has several advantages over existing techniques that conceptualize relationality in terms of mutual presence. I show how such ‘one-sided’ clustering (A goes with B, but B may not go together with A) can be represented and analyzed as network graphs, an approach I call ‘Rulenet.’ I discuss how the proposed technique can provide relatively novel insights into the organizations of tastes, less feasible via other techniques, and illustrate Rulenet on two well-known cultural participation survey datasets for the United States: (1) The Survey of Public Participation in the Arts (SPPA) from 2017 and (2) The General Social Survey Culture Module from 1993 (GSS).

社会学家有说服力地认为，文化意义可以通过分析衡量所谓文化材料“结合在一起”的关系系统来解释。调查文化品味和偏好的研究使用这种方法将消费模式解释为关系系统，使用多种技术，包括多维尺度、双模式网络分析和变量相关网络。我通过描述和演示一种在社会学中很少使用的数据挖掘技术（称为“关联规则”）的使用，为这一不断增长的工具集做出了贡献。这种技术的关键贡献在于，它在变量之间产生了直接的关系（例如，对歌剧的偏好→对芭蕾舞的偏好），与现有的将相互存在的关系概念化的技术相比，它有几个优势。我展示了这种“单边”聚类（A与B相结合，但B可能不与A相结合）是如何用网络图来表示和分析的，我将这种方法称为“Rulenet”。我讨论了所提出的技术如何为品味组织提供相对新颖的见解，通过其他技术不太可行，并在美国两个著名的文化参与调查数据集上说明了Rulenet:(1) 2017年的公众参与艺术调查（SPPA）和(2)1993年的一般社会调查文化模块（GSS）。

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引用次数: 0

Artists as change agents in cross-sector partnerships: A typology 艺术家作为跨部门合作伙伴关系中的变革推动者：一种类型学

IF 2 2区社会学 0 LITERATURE

Poetics

Pub Date : 2025-03-04 DOI: 10.1016/j.poetic.2025.101998

Ellen Loots , Walter van Andel

In recent years, there has been a resurgence of practices and activities that involve artists and designers as change agents in cross-sector partnerships. These practices are often considered separate from artists’ core activities and remain underexplored in research. This paper aims to classify these practices into a typology, beginning with a conceptual framework informed by initial perceptions of the field, which was subsequently refined through insights from relevant literature and expert interviews. The typology highlights the diversity of ‘change agency partnerships’ involving artists and identifies the exchange mechanisms that define each mode: transactional commissions, coordinated public (co-)production, goal-directed collaboration, and transformational co-creation. This typology serves as a heuristic tool for discussing, analyzing, and organizing the role of the arts in addressing societal challenges and driving change. As a conversation starter, we discuss what is needed for artists to assume the role(s) as change agents and how creativity and change within such partnerships can be organized.

近年来，艺术家和设计师作为跨部门合作伙伴关系的变革推动者的实践和活动重新兴起。这些实践通常被认为是与艺术家的核心活动分开的，在研究中仍未得到充分的探索。本文旨在将这些实践分类为一个类型学，从一个概念框架开始，该框架由该领域的初始感知所告知，随后通过相关文献和专家访谈的见解进行完善。该类型学强调了涉及艺术家的“变化代理伙伴关系”的多样性，并确定了定义每种模式的交换机制：交易佣金、协调公共（共同）生产、目标导向的合作和转型共同创造。这种类型作为一种启发式工具，用于讨论、分析和组织艺术在应对社会挑战和推动变革中的作用。作为对话的开始，我们讨论了艺术家作为变革推动者的角色需要什么，以及如何在这种合作关系中组织创造力和变革。

引用次数: 0

Organizing abundance and shuffling at festivals: the Ferrara Buskers Festival case 在节日中组织丰富和混乱：费拉拉街头艺人节案例

IF 2 2区社会学 0 LITERATURE

Poetics

Pub Date : 2025-03-02 DOI: 10.1016/j.poetic.2025.101997

Paolo Ferri , Simone Napolitano , Luca Zan

This paper examines how festivals organize the abundance of their offerings. We argue that festivals organize this abundance differently depending on the interplay between organizers, artists, and festivalgoers as they negotiate their respective autonomy. The concept of ‘shuffling,’ inspired by digital music listening, serves as a framework to empirically explore this dynamic within the context of the Ferrara Buskers Festival (FBF). Drawing on archival material and interviews with the festival's organizers, the paper analyzes the FBF's evolution from a free-access street performance event to a ticketed, curated festival with reduced attendance. Over its 36-year history, the FBF has demonstrated shifting approaches to organizing abundance—from fostering serendipitous engagement to providing prearranged experiences—shaped by the varying roles of organizers, artists, and audience members. This study enhances festival literature by highlighting the importance of different approaches to organizing abundance in understanding the diversity of festivals across time and space. Besides, it enhances understanding of the shuffling dynamic at festivals, offering theoretical and methodological insights.

本文探讨了节日如何组织丰富的祭品。我们认为，节日组织这种丰富的不同取决于组织者，艺术家和节日观众之间的相互作用，因为他们谈判各自的自主权。“洗牌”的概念，受到数字音乐聆听的启发，作为一个框架，在费拉拉街头艺人节（FBF）的背景下，实证地探索这种动态。利用档案资料和对艺术节组织者的采访，本文分析了FBF从一个免费的街头表演活动到一个门票、策划的、出席人数减少的节日的演变。在其36年的历史中，FBF展示了不断变化的组织丰富的方法-从培养偶然的参与到提供预先安排的体验-由组织者，艺术家和观众的不同角色塑造。本研究通过强调在理解跨时间和空间的节日多样性中组织丰富的不同方法的重要性来增强节日文学。此外，它还增强了对节日洗牌动态的理解，提供了理论和方法上的见解。

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引用次数: 0

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