Poetics最新文献

This article reports the findings of an interpretative phenomenological analysis (IPA) of ten interviews with participants aged 13 to 23 from international contexts on youths’ experiences of literary socialisation. Guided by affect theory and cultural geographies, the research examines the affective intensities arising from those experiences that render possible digital participation around books, reading and writing. Consequently, we aim to contribute to understanding youths’ literary socialisation dynamics and the role of digital media in young readers’ literacies. Through the notion of space as an interrelation of trajectories, we could analyse these participants’ experiences around spatial nodes of home, school, circle of friends and community. The findings led us to conceptualise four orientations of youth to digital literary participation: literary kinship, literary intuition, literary intimacy, and literary activism. Finally, we discuss digital algorithmic mechanisms in literary socialisation through the lens of critical literacies.

Much of the research on cultural and creative industries has been ‘Western-centric’, but recent interest into cultural and creative industries in the Global South confirms that this conceptual frame is not always directly transferable. This first comprehensive analysis of the last three decades of cultural and creative industries in Santiago de Chile is based on detailed participant observations and multiple in-depth interviews with cultural professionals in the city. The findings indicate that ‘Western’ economic narratives fail to capture the role of Chile's political and cultural context, and especially the socio-urban fabric of Santiago itself, in the eclectic mix of practices that has developed across various locales. The city's self-transformation can be seen to embody a process of autopoiesis, a concept first proposed by Chilean scholars. This cultural autopoiesis has been impacted by external shocks that include COVID-19. The study advances existing empirical and theoretical understandings of the development of cultural and creative industries in the Global South and beyond.

As we are now rounding up our second year with COVID-19, studies have provided insight into the pandemic's impact on news practices around the world. However, most of these accounts describe data from the early months of the outbreak. Further research is needed to explore the shapes that news repertoires might have settled into in the wake of the pandemic. By comparing data from a Latent Class Analysis of news repertoires using the Digital News Report 2020 and 2021, this paper contributes to extant knowledge of the pandemic's impact on news use in Flanders. We find that users were significantly more likely to adopt Casual rather than Limited news repertoires in 2021, pointing to a potential growth in news habits of users with a previously limited repertoire.

In Trentino and the Pyrenees, the population of bears has grown since the 1990s, when new specimens were released into the wild to recover this endangered species. The reintroduction generated a conflictive cohabitation with village dwellers, the shepherding sector, and rural initiatives in both areas. The aim of this research is to evaluate how local media and two audiovisual documentaries covered the bear issue in both regions. The researchers analysed the content of 86 articles from two newspapers in 2022, conducted a narrative analysis of the documentaries and interviewed their directors. The results reveal that the documentaries created a counter-narrative to politicisation, in the Italian case, and to environmentalisation, in the Catalan. Because both documentaries paid attention to rural communities, they contributed to increasing rural agency, an aspect aligned with the filmmakers’ motivations at the inception of both productions. The authors argue that the circulation of these narratives diversely expresses renewed imaginaries of rural societies in both contexts.

While many public performances of culture were shut down during much of the pandemic, the homes of many artists became prominent places for making culture. In particular, the pandemic created a rift in the temporal and spatial organization of work and leisure, affecting time management. This article turns to the creative lives of 32 novelists in Sweden who were interviewed online over video in 2020 and 2021. Using the example of these authors, the article investigates the impact of the pandemic on actors in culture who, to a large degree, already work creatively in physical isolation. The pandemic became an external shock affecting the temporal organization among authors and their ability to juggle commitments in life. For some, the pandemic situation appeared to create a rare slowdown of their relationships to their creative lives as well as a synchronization of spheres of life, feelings of resonance, and time for writing. As their regular activities disappeared and commitments weakened, others felt a non-resonant slowdown in their creative capacities. Those whose lives were intensified by new or additional work to make ends meet lost time for creative work, with writing becoming a guilty pleasure in response to the pandemic as a trauma. The research results emphasize the temporal conditions for making culture at home during the pandemic and argue for the general importance of studying temporal organizations of careers and art-making.

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

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

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

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

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