Pub Date : 2025-01-16DOI: 10.1016/j.poetic.2024.101968
Morten Fischer Sivertsen
This study addresses the limitations of survey-based research in explaining patterns of cultural consumption in the social space. By utilizing digital trace data from Audience Insights on Danish Facebook users, this research employs social network analysis (SNA) to investigate online taste across cultural genres and social strata. To account for social structures and enhance the analysis, a multiple correspondence analysis (MCA) of a survey sample of Danish Facebook users was integrated into SNA. The findings indicate that neither the higher nor the lower strata can be classified as omnivores in terms of composition. However, contrary to many studies, the lower strata demonstrated a greater degree of omnivorousness in terms of volume than the higher strata. These findings challenge traditional understandings of cultural consumption across social strata and underscore the need to complement existing methodological approaches with new strategies that better capture the complexities of cultural engagement in the digital age.
{"title":"Taste on Facebook: Revisiting the omnivore–univore hypothesis using digital trace data","authors":"Morten Fischer Sivertsen","doi":"10.1016/j.poetic.2024.101968","DOIUrl":"10.1016/j.poetic.2024.101968","url":null,"abstract":"<div><div>This study addresses the limitations of survey-based research in explaining patterns of cultural consumption in the social space. By utilizing digital trace data from Audience Insights on Danish Facebook users, this research employs social network analysis (SNA) to investigate online taste across cultural genres and social strata. To account for social structures and enhance the analysis, a multiple correspondence analysis (MCA) of a survey sample of Danish Facebook users was integrated into SNA. The findings indicate that neither the higher nor the lower strata can be classified as omnivores in terms of composition. However, contrary to many studies, the lower strata demonstrated a greater degree of omnivorousness in terms of volume than the higher strata. These findings challenge traditional understandings of cultural consumption across social strata and underscore the need to complement existing methodological approaches with new strategies that better capture the complexities of cultural engagement in the digital age.</div></div>","PeriodicalId":47900,"journal":{"name":"Poetics","volume":"109 ","pages":"Article 101968"},"PeriodicalIF":2.0,"publicationDate":"2025-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142989635","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-01-11DOI: 10.1016/j.poetic.2024.101970
Rens Wilderom, Alex van Venrooij
This paper investigates the interplay between fields, markets, and movements in the emergence and development of new cultural categories. While some scholars argue that the rise of new genres is driven by internal resource mobilization, others contend that external market and field environments can both constrain and enable their emergence and growth. Through a cross-national comparative study of electronic/dance music and its various genres from 1985 to 2005, we demonstrate that genre emergence and development are influenced by their embeddedness in different field environments: the environment of proximate genres, the mainstream music market and the transnational field level. The impact of these field environments on the emergence and development of dance genres, however, varies by country. Notably, markets and genre movements are more strongly coupled in the UK and the Netherlands compared to the US. In both European countries, the mainstream success of genres drives their development through a mechanism of differentiation, leading to the creation of new and distinct genres as a reaction against increased visibility in the mainstream music charts. These findings highlight multiple ways in which markets and genre movements can interact, enriching our understanding of how new cultural categories emerge.
{"title":"The dance of markets and movements: The emergence and development of dance genres in the US, UK, and the Netherlands, 1985–2005","authors":"Rens Wilderom, Alex van Venrooij","doi":"10.1016/j.poetic.2024.101970","DOIUrl":"10.1016/j.poetic.2024.101970","url":null,"abstract":"<div><div>This paper investigates the interplay between fields, markets, and movements in the emergence and development of new cultural categories. While some scholars argue that the rise of new genres is driven by internal resource mobilization, others contend that external market and field environments can both constrain and enable their emergence and growth. Through a cross-national comparative study of electronic/dance music and its various genres from 1985 to 2005, we demonstrate that genre emergence and development are influenced by their embeddedness in different field environments: the environment of proximate genres, the mainstream music market and the transnational field level. The impact of these field environments on the emergence and development of dance genres, however, varies by country. Notably, markets and genre movements are more strongly coupled in the UK and the Netherlands compared to the US. In both European countries, the mainstream success of genres drives their development through a mechanism of differentiation, leading to the creation of new and distinct genres as a reaction against increased visibility in the mainstream music charts. These findings highlight multiple ways in which markets and genre movements can interact, enriching our understanding of how new cultural categories emerge.</div></div>","PeriodicalId":47900,"journal":{"name":"Poetics","volume":"109 ","pages":"Article 101970"},"PeriodicalIF":2.0,"publicationDate":"2025-01-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142967860","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-01-10DOI: 10.1016/j.poetic.2025.101971
Miikka Pyykkönen , Christiaan De Beukelaer
Many artistic expressions call for cultural, social and political change. Though the policy environments in which they emerge remain predominantly wedded to a consumption-driven creative economy. In doing so, they tacitly endorse a methodologically nationalist perspective on artistic expression, trade in creative goods and services, and cultural identity. By using the United Nations resolution on the International Year of Creative Economy for Sustainable Development 2021 as a case in point, we argue that the language of this document, which reflects the current hegemonic discourse of creative economy, misses its target when claiming to promote sustainability because it is (1) anthropocentric, (2) growth-focused and (3) methodologically nationalist. Through a discourse analysis of this particular UN resolution, we demonstrate the multiple and conflicting connections between culture and sustainability through the perspective of planetary well-being. The main target of our criticism is the anthropocentric nature of sustainability discourses, but also their unreserved promotion of perpetual economic growth. In response, we articulate the need for a profound cultural shift from anthropocentric worldviews, growth-oriented ideologies, and methodologically nationalist frameworks to enable environmentally engaged cultural policies and citizens.
{"title":"What is the role of creative industries in the Anthropocene? An argument for planetary cultural policy","authors":"Miikka Pyykkönen , Christiaan De Beukelaer","doi":"10.1016/j.poetic.2025.101971","DOIUrl":"10.1016/j.poetic.2025.101971","url":null,"abstract":"<div><div>Many artistic expressions call for cultural, social and political change. Though the policy environments in which they emerge remain predominantly wedded to a consumption-driven creative economy. In doing so, they tacitly endorse a methodologically nationalist perspective on artistic expression, trade in creative goods and services, and cultural identity. By using the United Nations resolution on the <em>International Year of Creative Economy for Sustainable Development 2021</em> as a case in point, we argue that the language of this document, which reflects the current hegemonic discourse of creative economy, misses its target when claiming to promote sustainability because it is (1) anthropocentric, (2) growth-focused and (3) methodologically nationalist. Through a discourse analysis of this particular UN resolution, we demonstrate the multiple and conflicting connections between culture and sustainability through the perspective of planetary well-being. The main target of our criticism is the anthropocentric nature of sustainability discourses, but also their unreserved promotion of perpetual economic growth. In response, we articulate the need for a profound cultural shift from anthropocentric worldviews, growth-oriented ideologies, and methodologically nationalist frameworks to enable environmentally engaged cultural policies and citizens.</div></div>","PeriodicalId":47900,"journal":{"name":"Poetics","volume":"109 ","pages":"Article 101971"},"PeriodicalIF":2.0,"publicationDate":"2025-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142967840","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-01-10DOI: 10.1016/j.poetic.2025.101972
Manuel Cuadrado-García , Juan D. Montoro-Pons
Arts and cultural consumption have been shown to be determined by people´s sociodemographic background. Diversity is embedded in such a context and shapes individual choice. It includes a myriad of factors: gender, sexual orientation, functional diversity, ethnic or religious background. However, it has been unevenly analyzed in the literature. This paper brings these topics to the forefront by conducting a bibliometric analysis on the research intersecting arts and cultural consumption and diversity. In this regard, a database comprising 1,155 academic documents in the fields of business, economics, and management listed in WoS was reviewed following a systematic procedure. Main research traits as well as the intellectual roots and the evolution of this research area were identified. Potential topics, approaches and methods for future research are then accordingly proposed.
{"title":"Arts and cultural consumption and diversity research: A bibliometric analysis","authors":"Manuel Cuadrado-García , Juan D. Montoro-Pons","doi":"10.1016/j.poetic.2025.101972","DOIUrl":"10.1016/j.poetic.2025.101972","url":null,"abstract":"<div><div>Arts and cultural consumption have been shown to be determined by people´s sociodemographic background. Diversity is embedded in such a context and shapes individual choice. It includes a myriad of factors: gender, sexual orientation, functional diversity, ethnic or religious background. However, it has been unevenly analyzed in the literature. This paper brings these topics to the forefront by conducting a bibliometric analysis on the research intersecting arts and cultural consumption and diversity. In this regard, a database comprising 1,155 academic documents in the fields of business, economics, and management listed in WoS was reviewed following a systematic procedure. Main research traits as well as the intellectual roots and the evolution of this research area were identified. Potential topics, approaches and methods for future research are then accordingly proposed.</div></div>","PeriodicalId":47900,"journal":{"name":"Poetics","volume":"109 ","pages":"Article 101972"},"PeriodicalIF":2.0,"publicationDate":"2025-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142967839","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 : 2024-12-02DOI: 10.1016/j.poetic.2024.101962
Xihuan Hu , Yupei Zhao , Wenjun He
This study builds upon the established frameworks of popular music heritage, scene theory, and Chinese hip-hop politics and authenticity, highlighting the intricate relationship between cultural heritage and hip-hop. Focusing on the localised genre the “Huxiang Flow” from Hunan province, it conducts critical discourse analysis of 98 song lyrics, music videos, and performances, alongside interviews with 20 local hip-hop audiences and practitioners. The research reconfigures “heritage hip-hop,” suggesting that artists leverage their cultural heritage as a strategic resource in their creative processes, thereby achieving nuanced self and local identities, articulating ideological expressions, and fostering emotional dialogues with audiences. Operating on the fringes of legitimate cultural channels, Huxiang flow artists employ elements like revolutionary historical figures and significant sites to enact legitimate resistance. They also utilise everyday environments to critique internal social divisions, shaping forms of everyday resistance through hip-hop, which resonates with local audiences and fosters collective consciousness. This study demonstrates heritage as dynamic to construct legitimate resistance in hip-hop music under Chinese cultural politics. Hip-hop artists are not merely representatives of marginalised groups but are influenced by localised cultural education, which underpins their creative work and informs their use of sophisticated rhetorical strategies to achieve legitimate resistance and promote social cohesion.
{"title":"Reconfiguring “Heritage hip-hop” From the scenes: Rightful youth rebellion and localised authenticity in the Huxiang Flow","authors":"Xihuan Hu , Yupei Zhao , Wenjun He","doi":"10.1016/j.poetic.2024.101962","DOIUrl":"10.1016/j.poetic.2024.101962","url":null,"abstract":"<div><div>This study builds upon the established frameworks of popular music heritage, scene theory, and Chinese hip-hop politics and authenticity, highlighting the intricate relationship between cultural heritage and hip-hop. Focusing on the localised genre the “Huxiang Flow” from Hunan province, it conducts critical discourse analysis of 98 song lyrics, music videos, and performances, alongside interviews with 20 local hip-hop audiences and practitioners. The research reconfigures “heritage hip-hop,” suggesting that artists leverage their cultural heritage as a strategic resource in their creative processes, thereby achieving nuanced self and local identities, articulating ideological expressions, and fostering emotional dialogues with audiences. Operating on the fringes of legitimate cultural channels, Huxiang flow artists employ elements like revolutionary historical figures and significant sites to enact legitimate resistance. They also utilise everyday environments to critique internal social divisions, shaping forms of everyday resistance through hip-hop, which resonates with local audiences and fosters collective consciousness. This study demonstrates heritage as dynamic to construct legitimate resistance in hip-hop music under Chinese cultural politics. Hip-hop artists are not merely representatives of marginalised groups but are influenced by localised cultural education, which underpins their creative work and informs their use of sophisticated rhetorical strategies to achieve legitimate resistance and promote social cohesion.</div></div>","PeriodicalId":47900,"journal":{"name":"Poetics","volume":"108 ","pages":"Article 101962"},"PeriodicalIF":2.0,"publicationDate":"2024-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142758827","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 : 2024-12-02DOI: 10.1016/j.poetic.2024.101960
W. P. Malecki , Matthew Schneider-Mayerson , Aino Petterson , Małgorzata Dobrowolska , Jagadish Thaker
There is a growing consensus that climate fiction might be an effective communication strategy to move the public on climate. However, empirical evidence documenting such an effect is limited, especially when it comes to climate fiction's potential to induce emotions of hope and fear, which are of key importance to the ongoing debate about the social effects of climate messages. To address this gap, we conducted an experimental cross-cultural study (N = 2268) with participants from India and the USA. In line with the Extended Parallel Process Model, we hypothesized that climate fiction combining fear and hope appeals (“ambitopian climate fiction”) would be more effective at stimulating climate action intentions than either fear-appealing (“dystopian”) climate fiction or hope-appealing (“utopian”) climate fiction. The hypothesis was not supported. We found that, in the US sample, dystopian climate fiction was more effective at stimulating climate action intentions than ambitopian climate fiction. However, ambitopian climate fiction was found to be efficient at inducing both hope and fear in both samples and at stimulating climate action intentions indirectly, in the Indian sample, through these emotions. The practical and theoretical implications of these findings are discussed.
{"title":"The role of hope and fear in the impact of climate fiction on climate action intentions: Evidence from India and USA","authors":"W. P. Malecki , Matthew Schneider-Mayerson , Aino Petterson , Małgorzata Dobrowolska , Jagadish Thaker","doi":"10.1016/j.poetic.2024.101960","DOIUrl":"10.1016/j.poetic.2024.101960","url":null,"abstract":"<div><div>There is a growing consensus that climate fiction might be an effective communication strategy to move the public on climate. However, empirical evidence documenting such an effect is limited, especially when it comes to climate fiction's potential to induce emotions of hope and fear, which are of key importance to the ongoing debate about the social effects of climate messages. To address this gap, we conducted an experimental cross-cultural study (<em>N</em> = 2268) with participants from India and the USA. In line with the Extended Parallel Process Model, we hypothesized that climate fiction combining fear and hope appeals (“ambitopian climate fiction”) would be more effective at stimulating climate action intentions than either fear-appealing (“dystopian”) climate fiction or hope-appealing (“utopian”) climate fiction. The hypothesis was not supported. We found that, in the US sample, dystopian climate fiction was more effective at stimulating climate action intentions than ambitopian climate fiction. However, ambitopian climate fiction was found to be efficient at inducing both hope and fear in both samples and at stimulating climate action intentions indirectly, in the Indian sample, through these emotions. The practical and theoretical implications of these findings are discussed.</div></div>","PeriodicalId":47900,"journal":{"name":"Poetics","volume":"108 ","pages":"Article 101960"},"PeriodicalIF":2.0,"publicationDate":"2024-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142758828","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 : 2024-11-29DOI: 10.1016/j.poetic.2024.101959
Sebastian Diemer Mørk , Anton Grau Larsen
Craft and design are art forms that teeter on the boundary of being considered art. Because of this, these mediums are an ideal case to examine how the Danish Art Foundation funds these arts and what this says about the distinction of the arts in a Danish context. This article analyses 1898 full-text applications for funding - both the ones that have been awarded funding and the ones that have been rejected - of craftsmen and designers from a five-year range. The applications are analysed with hierarchical Stochastic Block Modelling and Class Specific Correspondence Analysis to reduce the complexity of the data. Using these methods, the structures of both the overall meta-field and the discipline-specific subfields become apparent, and so do the different degrees of homologies and heterologies between subfields and the meta-field and the field of art. Exemplified by four subfields, we identify four different types of homology/heterology: a full homology, a secondary homology, a heterologous artistic pole, and a full heterology. That some subfields of craft and design are homologous to the field of art while others are heterologous exemplifies the process of artification from an institutional perspective. The criteria for being considered artistic varies from subfield to subfield, with some having homologous structures to the art field, while others show a clear heterologous structure, highlighting that subfields can be autonomous from a common meta-field. Some subfields are, however, neither fully homologous nor heterologous but exhibit a mix of both logics. This article hopes to add to the discussion of methods for determining field autonomy and what fields can be autonomous from.
{"title":"Designed for success or failure: Differences in funding and rejection in the space of applications to the Danish Art Foundation among craftsmen and designers","authors":"Sebastian Diemer Mørk , Anton Grau Larsen","doi":"10.1016/j.poetic.2024.101959","DOIUrl":"10.1016/j.poetic.2024.101959","url":null,"abstract":"<div><div>Craft and design are art forms that teeter on the boundary of being considered art. Because of this, these mediums are an ideal case to examine how the Danish Art Foundation funds these arts and what this says about the distinction of the arts in a Danish context. This article analyses 1898 full-text applications for funding - both the ones that have been awarded funding and the ones that have been rejected - of craftsmen and designers from a five-year range. The applications are analysed with hierarchical Stochastic Block Modelling and Class Specific Correspondence Analysis to reduce the complexity of the data. Using these methods, the structures of both the overall meta-field and the discipline-specific subfields become apparent, and so do the different degrees of homologies and heterologies between subfields and the meta-field and the field of art. Exemplified by four subfields, we identify four different types of homology/heterology: a full homology, a secondary homology, a heterologous artistic pole, and a full heterology. That some subfields of craft and design are homologous to the field of art while others are heterologous exemplifies the process of artification from an institutional perspective. The criteria for being considered artistic varies from subfield to subfield, with some having homologous structures to the art field, while others show a clear heterologous structure, highlighting that subfields can be autonomous from a common meta-field. Some subfields are, however, neither fully homologous nor heterologous but exhibit a mix of both logics. This article hopes to add to the discussion of methods for determining field autonomy and what fields can be autonomous from.</div></div>","PeriodicalId":47900,"journal":{"name":"Poetics","volume":"108 ","pages":"Article 101959"},"PeriodicalIF":2.0,"publicationDate":"2024-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142745487","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-11-29DOI: 10.1016/j.poetic.2024.101946
Laurie Hanquinet , Mark Taylor
When investigating relational structures in culture, research in Europe has often either mapped the relationship between cultural tastes in a particular context, or mapped differences in cultural tastes (measured consistently) in different countries, without assessing how these differences can vary across them. Indeed, the idea of national homology (namely that the structures of cultural capital would be fairly similar in nations across Europe) has never been really tested, probably due to a lack of cross-national research on cultural preferences. Using data from the EUCROSS survey that took place in Denmark, Germany, Italy, Romania, Spain and the UK (2012–2013, n = 6016), we first use multiple correspondence analysis to estimate the relationships between a set of items on musical tastes. We then extend this through the use of class-specific analysis, to investigate how these relationships vary in each of the six countries. Finally, we analyse the relationships between the underlying dimensions of music tastes and different components of cosmopolitanism, compared with key demographic variables. We show that the musical field significantly varies across the nations represented in the survey, demonstrating that musical preferences remain largely anchored in national contexts. Cultural preferences are shaped by historical and social dynamics specific to each country, with significant variations in the symbolic value and demographic associations of music genres.
{"title":"Divergences and convergences across European musical preferences: How taste varies within and between countries","authors":"Laurie Hanquinet , Mark Taylor","doi":"10.1016/j.poetic.2024.101946","DOIUrl":"10.1016/j.poetic.2024.101946","url":null,"abstract":"<div><div>When investigating relational structures in culture, research in Europe has often either mapped the relationship between cultural tastes in a particular context, or mapped differences in cultural tastes (measured consistently) in different countries, without assessing how these differences can vary across them. Indeed, the idea of national homology (namely that the structures of cultural capital would be fairly similar in nations across Europe) has never been really tested, probably due to a lack of cross-national research on cultural preferences. Using data from the EUCROSS survey that took place in Denmark, Germany, Italy, Romania, Spain and the UK (2012–2013, <em>n</em> = 6016), we first use multiple correspondence analysis to estimate the relationships between a set of items on musical tastes. We then extend this through the use of class-specific analysis, to investigate how these relationships vary in each of the six countries. Finally, we analyse the relationships between the underlying dimensions of music tastes and different components of cosmopolitanism, compared with key demographic variables. We show that the musical field significantly varies across the nations represented in the survey, demonstrating that musical preferences remain largely anchored in national contexts. Cultural preferences are shaped by historical and social dynamics specific to each country, with significant variations in the symbolic value and demographic associations of music genres.</div></div>","PeriodicalId":47900,"journal":{"name":"Poetics","volume":"108 ","pages":"Article 101946"},"PeriodicalIF":2.0,"publicationDate":"2024-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142745486","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-11-22DOI: 10.1016/j.poetic.2024.101950
Radim Hladík , Yann Renisio
The study presents a new approach for constructing an epistemological coordinate system that locates individual researchers within the disciplinary landscape of science. Drawing on a comprehensive national dataset of scientific outputs, we build a topic model based on a semantic network of publications and terms derived from textual content comprising titles, abstracts, and keywords. Compositional data transformation applied to the topic model enables a geometric analysis of topics across disciplines. The design yields four important results for addressing the gap between knowledge and knowledge-producers. (1) Hierarchical clustering confirms an alignment between traditional disciplinary classification and our empirical, bottom-up topic model. (2) Principal component analysis reveals three axes – Culture–Nature, Life–Non-life, and Materials–Methods – that primarily structure this scientific knowledge space. (3) The projection of individual researchers via their topic portfolios allows to locate them relationally on these three continuous measures of epistemological distinctions. (4) The robustness of our approach is validated by examining the links between researchers’ topic orientation and supplementary variables such as publication practices, gender, institutional affiliations, and funding sources. Our method could inform science policy and evaluation practices, as well as be extended to uncover associations between products and producers in other cultural fields.
{"title":"Mapping knowledge: Topic analysis of science locates researchers in disciplinary landscape","authors":"Radim Hladík , Yann Renisio","doi":"10.1016/j.poetic.2024.101950","DOIUrl":"10.1016/j.poetic.2024.101950","url":null,"abstract":"<div><div>The study presents a new approach for constructing an epistemological coordinate system that locates individual researchers within the disciplinary landscape of science. Drawing on a comprehensive national dataset of scientific outputs, we build a topic model based on a semantic network of publications and terms derived from textual content comprising titles, abstracts, and keywords. Compositional data transformation applied to the topic model enables a geometric analysis of topics across disciplines. The design yields four important results for addressing the gap between knowledge and knowledge-producers. (1) Hierarchical clustering confirms an alignment between traditional disciplinary classification and our empirical, bottom-up topic model. (2) Principal component analysis reveals three axes – Culture–Nature, Life–Non-life, and Materials–Methods – that primarily structure this scientific knowledge space. (3) The projection of individual researchers via their topic portfolios allows to locate them relationally on these three continuous measures of epistemological distinctions. (4) The robustness of our approach is validated by examining the links between researchers’ topic orientation and supplementary variables such as publication practices, gender, institutional affiliations, and funding sources. Our method could inform science policy and evaluation practices, as well as be extended to uncover associations between products and producers in other cultural fields.</div></div>","PeriodicalId":47900,"journal":{"name":"Poetics","volume":"108 ","pages":"Article 101950"},"PeriodicalIF":2.0,"publicationDate":"2024-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142691110","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 : 2024-11-13DOI: 10.1016/j.poetic.2024.101948
Marc Verboord , Larissa Fritsch , Neta Yodovich , Alysa Karels , Lucas Page Pereira , Eva Myrczik
This research note studies how cultural participation impacts affective well-being in everyday life by taking a novel methodological approach via Experience Sampling Methodology (ESM). The potential for culture to improve the well-being of citizens has been a long-running subject of study. Through participation in cultural activities, individuals would gain experiences that foster feelings of liberation, engagement and confidence which are translated into positive emotions. However, existing studies have limitations, such as lacking the possibility to establish causal relationships or being limited to laboratory settings and specific cases. To increase our understanding of how cultural participation affects affective well-being, we use ESM. This is a diary survey type which allows researchers to examine what people do, feel, and think during their daily life. More than 270 respondents filled out up to 28 mini-questionnaires during a week. This created a semi-experimental design in which feelings can be compared between moments following participation and no participation. The results show significant positive impact of participation on well-being, controlled for where individuals are and with whom, as well as social background characteristics.
{"title":"Does culture improve affective well-being in everyday life? An experimental sampling approach","authors":"Marc Verboord , Larissa Fritsch , Neta Yodovich , Alysa Karels , Lucas Page Pereira , Eva Myrczik","doi":"10.1016/j.poetic.2024.101948","DOIUrl":"10.1016/j.poetic.2024.101948","url":null,"abstract":"<div><div>This research note studies how cultural participation impacts affective well-being in everyday life by taking a novel methodological approach via Experience Sampling Methodology (ESM). The potential for culture to improve the well-being of citizens has been a long-running subject of study. Through participation in cultural activities, individuals would gain experiences that foster feelings of liberation, engagement and confidence which are translated into positive emotions. However, existing studies have limitations, such as lacking the possibility to establish causal relationships or being limited to laboratory settings and specific cases. To increase our understanding of how cultural participation affects affective well-being, we use ESM. This is a diary survey type which allows researchers to examine what people do, feel, and think during their daily life. More than 270 respondents filled out up to 28 mini-questionnaires during a week. This created a semi-experimental design in which feelings can be compared between moments following participation and no participation. The results show significant positive impact of participation on well-being, controlled for where individuals are and with whom, as well as social background characteristics.</div></div>","PeriodicalId":47900,"journal":{"name":"Poetics","volume":"107 ","pages":"Article 101948"},"PeriodicalIF":2.0,"publicationDate":"2024-11-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142652465","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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