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Alles Flashcards

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Sociology 101 flashcards
1
Q

The history of cultural sociology

A

1930s-1960s culture as part of structural functionalism
1965-1980s culture not adressed
1980s-current cultural turn

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2
Q

Traingle of structural functionalism (system level)

A

Cultural system: shared morals and values
social system: roles and expectations
personality system: needs and motivations

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3
Q

pasonian sociology sees culture as ____

A

shared values

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4
Q

Structural functionalism, what is the ‘real essence’ of society?

A

Stability -> social patterns contribute to stability, society is maintained.
Harmony -> The parts of society work together for the good of the whole.
Evolution -> Social structue and culture adopt to new needs and demands. if something is dysfunctional for the society it will be eliminated.

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5
Q

The functional approach thinks of society as a ___

A

organism.

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6
Q

Talcott parsons studies the cultural system via _____

A

meanings. Meanings, not people, are part of the process that brings us into the cultural systems, These meanings (language, morals, values) and the socialization process that accompany them help to maintain social control. Sociol control is the glue that holds society together.

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7
Q

Critique parsonian sociology

A
  • culture as to consensual, no conflict or opposition. to holistic.
  • culture as too ‘derterminitstic’ people are cultural dopes.
  • culture as to abstarct, general, idealistic. a free floating realm of values.
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8
Q

The cultural turn

A

new conceptions of culture which avoid problems of culture as ‘values’.
It focuses on:
- concrete culture (text, language, symbols etc)
- context (grounding)
- culture as contradictory and complicated

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9
Q

Three new approaches in cultural sociology

A

culture as cognitive structure
culture in action
production of culture

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10
Q

How do sociologist see culture now?

A

they treat as culture all socially located forms and practices of human meaning making.

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11
Q

production of culture

A

focus on how the content of culture is influenced by the milieux in which it is created, distributed, evaluated. How culture is made, culture as the dependent value.

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12
Q

Culture as cognitive structure is partly influenced by ___

A

Durkheim

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13
Q

Durkheim the elementary forms of religious life: sacred/profane

A

All religious divide social life in to two spheres: sacred/profane. There is nothing intrinsic about a particular object which makes it sacred, an object becomes sacred only when a community invests it with meaning.

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14
Q

Religion according to Durkheim is _____

A

A unified system of beliefs and practices relative to sacred things, things set apart from the forbidden

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15
Q

Totemisim

A

The most foundational form of religion. A community makes a non-human object it’s symbol and the community thinks of that object as sacred. they worship the totem, thereby revering themselves as a community. They are in fact worshipping the community.

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16
Q

Collective efferveressence

A

With the totem at the center of the rituals, the share an intense emotions at collective gatherings.

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17
Q

Durkheim: function of religion

A

Provide a sense of special belonging, bonding.

Make the religious community think of itself as sacred.

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18
Q

Why the need for sacred totems?

A

collective representation and a symbol to prolong feelings of group membership.

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19
Q

Agency in culture

A

agency is the capacity of individuals to act independently and to make their own free choices. Soooo how people actively and reflexively use culture

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20
Q

Related founding father of culture in action ___

A

a CRITIQUE on Weber

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21
Q

How did the protestant ethic lead to capitalism? (according to weber)

A

First people who live a religious life often turned away from money and business but calvinism changed that. Calvinism encouraged an other attitude to work. Calvinists believed that there was a fixed number of souls that could enter heaven, and they were terrified of not getting in, they wanted a sign that they had been saved. A sure sign that someone was on ‘the guest list’ was that they were actively contributing to the community, THROUGH THEIR WORK!!!! They needed to reassure themselves through the industry and invested every surplus back into their business. This al resulted in the rise and growth of capitalism!!!! the end!!!

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22
Q

Weber’s model of cultural structure on action

A

culture defines ‘ends’ towards which action is orientated and constraint the ‘means’ to achieve them.

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23
Q

Problems with the weberian model

A

unexamined lifes: people often continue lines of action out of habit, not out of reflextion.

definition of culture: culture is not just means to an end, it is embedded in action itself.

cultural complexity: to which culture do we belong?

cultural distance: some ideas we hold ‘deeply’ and others more on the surface

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24
Q

Marx, media as means of production

A

the mass media are a ‘means of production’ which in capitalist society is in the hands of the ruling class. The class which has the means of material production at it’s disposal has control over the means of mental production.

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25
Q

cognitive sociology x structuralism = culture as cognitive structure

A

cognitive:
meaning is not subjective, individaulistic or particular.
meaning resides in ‘objective’ cultural structues.

structuralism:
meaning can be studied ‘objectively’, it is concrete visible, recordable in texts, symbols, stories, objects, events
Meaning is relatively autonomous: has a structure and logic of its own; aim is to decode the logic

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26
Q

Cognitive sociology has _____ origens

A

Durkheim. ‘our fundamental forms of thought have socia origins.

you are shaped by society while simultaneously shaping society.

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27
Q

(Critiques structuralism)

A

Ahistorical, Difference

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28
Q

Zerubavel uses cognitive sociology to explain ____

A

Why our thinking is similar to -as well as different from- the way other people think. Uses social aspects of cognitive functions such as mental focusing and classification

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29
Q

Cognitive pluralism

A

If you are a member of multiple thought communities

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30
Q

What causes cognitive pluralism?

A

Specialization and secularization

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31
Q

Why is contemporary culture and cognition different then durkheims?

A

The contemporary focus is on thinking individually, but what we do cognitively have in common

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32
Q

Zerubavel; Mental focusing

A

mentaly disengages ‘the figure’ from it’s surrounding ‘ground’ (which we essentially ignore).

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33
Q

Zerubavel; We are not just acting as individuals but as

A

members of particular thought communities

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34
Q

Zerubavel; how we carve up reality in 3 mindsets

A

Rigid mindedness: either/or
flexible mindedness: both/and
fuzzy mindedness: no real boundaries

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35
Q

structuralism

A

deep structure of culture, logical relations among a few elements. reduce surface complexity with deep simplicity.

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36
Q

Saussure

A

relation between signifier and signified is arbitrary. Words have meaning because of difference from other words. Also language and parole

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37
Q

The structural analysis of myth

A

1 What are the basic elements: mythemes
= gross constituent units
2 How are they combined and related = structure of myth
3 Synchronic and diachronic reading of the myth

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38
Q

Binder, frames

A

‘schemata of interpretation that enable individuals to locate, perceive, identify and label events they have experienced directly or indirectly’

Frames ‘resonate’ with broader cultural beliefs in society at large

Invoking ‘referent images’ to make story convincible

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39
Q

Frames used on heavy metal vs rap

A

metal: corruption and protection frame, referent image is our own children, white middle age.
Rap: danger to society frame, referent image is young urban balck male

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40
Q

Main criticism on culture as cognitive structure

A

where are agency/reflexivity and conflict?

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41
Q

Culture in action

A

how interactionsand social practicesare themselves meaning-making processes.

the context-dependentways in which individuals and groups endow actions with meanings

relaxes the assumption that meanings and values are entirely shared, coherent, or consistentfor a given group or even an individual

analyzing how individuals and groups draw fluidly on different elementsin symbolic repertoires (“toolkits”) according to context

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42
Q

Diffences between culture in action and culture as a cognitive structure, elaborate

A

Culture as cognitive structure:

  • Coherence: strong emphasis on logic of culture
  • Autonomy: internal structure of culture
  • Rather deterministic: cultural structures impel us to think in particular ways

Culture in action:

  • Fragmentation: culture as a toolkit
  • Grounding: cultural meaning as grounded in practical demands of everyday life
  • Agency: active, reflexive uses of culture in contexts
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43
Q

sociological problem of culture and actions?

A

What do we actually mean when we say that group A does B because of their culture?
How does culture matter?
How is culture related to our actions of everyday life?

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44
Q

Differences between culture in action and culture as a cognitive structure, short

A

Fragmentation VS coherence
Grounded in particular context VS autonomy
Agency VS structure

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45
Q

Culture as a repetoire or toolkit

A

culture as equipment to act with - capacities, practical skills, habits, lines of action to solve practical problems

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46
Q

Swidler, the large question

A

how much culture people use, how much they intigrate it with their experience, how coherent or unified the culture is they employ

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47
Q

romantic love discourse VS prosaic-realism discourse

A

love at first sight vs not sudden or certain
one true love vs no one true love or unique other
love conquers all vs social compatibility
happily ever after vs does not last forever

48
Q

Why did the romantic view of love remain?

A

marriage. marriage is structured reality which ‘anchors’ the romantic myth from outside in.

49
Q

DeNora, what is her article about

A

reflexive use of ‘culture’ as equipment for living

50
Q

DeNora culture in action

A

music as a part and constitutive of everyday life,

music as ‘affording’ different actions, motivations, thoughts etc.

51
Q

The making of the self through music

A

Cognition (how do I want to think)
Emotion (how do I want to feel)
Action (how do I want to act).
Identity (who do I want to be)

52
Q

Affordances of popular music memories

A

a sense of self and identity,
a sense of place and local identity
a sense of cultural change and nostalgia

53
Q

Structure or social order =

A

A set of forces abd facts that limit and constrain people’s actions and agency

54
Q

Agency or human action

A

What individuals, groups, or organizations say or do

also free will

55
Q

Production of culture

A

examination of the ways particular meanings, values, and artifacts are generated in particular organizations, institutions, and networks, and how those social contexts influence emergent meanings

this approach challenged over-generalizations about cultural “reflection” of societies as wholes

attention to particular institutional circumstances and constraints affecting meaning-making processes is also crucial for the study of more diffuse cultural phenomena such as national identity, social movements, collective memory, or religion

56
Q

Six facets (6)

A

Technology, law and regulation, occupational careers, organizational structure, industry structure, market

57
Q

A key figure in the production of culture

A

Richard A. Peterson

58
Q

Technology facet example

A

The role of casette tapes as subcultural artifacts in the underground hiphop scene (Harrison)

59
Q

Law and regulation facet example

A

The role of fans - instead of large corporations - in pulling japenese products to the US (leonard)

60
Q

Industry structure facet example

A

Long periods of industrial concentration and short periods of competition in the singles chart (Peterson, Berger)

61
Q

Organizational facet example

A

Conflict between organizational form (‘impersonal entrepreneurial firm aiming at the mass market’) and cultural product (‘interpersonal emotions’) (West)

62
Q

Occupational careers facet example

A

To what extent does ‘generalism’/‘specialism’

affect careers of jazz musicians? (Pinheiro, Dowd)

63
Q

Market facet example

A

To what extent is perceived success alone

sufficient to generate continued success? (Salganik, Watts)

64
Q

Kosut, artification of the tattoo

A

How tattoo has become legitimated as art, focus on institutional factors

65
Q

Baumann, film as art external and internal changes

A

External to the film world: changing of the opportunity space
Internal to the film world: institutionalization of resources and practices + legitimating ideology

66
Q

Why are trained artists increasingly moving into the tattoo business?

A

As visual artists changes of success are slim,
Economic stability and success
Empowerment by rejecting art world (autonomy)

67
Q

Rossman, a mismatch between

A

collaborative nature of artistic production and individualistic nature of most awards

68
Q

Possible explainatons in Rossman

A

Social status:
One’s past transactions with peers shape the perception of one’s place in the pecking order?
Team spillovers:
Efforts of top workers spill over to their team members?

69
Q

Criticism Rossman

A

Neglects cultural meanings?

  • ‘weak’ program of sociology of culture
  • Not culture as independent variable, only effects of social organizations on cultural products
  • Culture strictly defined as ‘field of arts’
70
Q

Gender, culture and the three approaches

A

The production of culture
Bielby and Bielby (Screenwriters)

Gendered use of culture in everyday life (in action)
Cairns and Finley (Foody + Roller derby)

Gender as cognitive structure
Berkers and Eeckelaer (Rock and Roll and Fall)

71
Q

Sex VS gender, which is which

A

Sex is related to the biological distinctions between males and females primarily found in relation to the reproductive functions of their bodies.

Gender is a social definition of how to be or the ways of “being” –that is, how men and women should act, dress, move, and comport themselves in the context of everyday social interaction –considered appropriate for one’s sex category.

72
Q

Gender socialization

A

The lessons children learn, and the processes through which roles, cultural expectations and norms, associated with each sex category (“masculine” or “feminine”), are passed from one generation to the next.

73
Q

Actors involved in gender socialization

A

Institution of the family, outside in
Schools, hidden curriculum
Mass media

74
Q

A sociological explanation of lack of woman in music

A

In the mid 1950s, women accounted for 1/3 of the artists on the singles chart, listened to music three times as much as boys, and bought more and more frequently records

BUT: In the 1950s, boys did not have many option to acquire peer status besides sports; emergence of rock and roll band.

Why didnt involve females:
Parents did not want their daughters involved,
Early bands are formed on the basis of friendship, not skill, meaning the composition reflects sex-segregated early adolescent social life.

75
Q

Bielby and Bielby

A

Study gender inequality among writers for feature films. Production of culture approach.

76
Q

Empty field by Bielby and Bielby

A

In the silent era, woman writers made up most of the filmmaking business, with the invention of sound the profession got lucrative so invasion of men.

77
Q

Cumalative disadvantage

A

Net returns for experience, prior (‘lagged’) employment earnings and earningsare expected to be lower for women than men

78
Q

Continous disadvantage

A

Pervasive bias against women equallythroughout career; does not depend on stage in their career

79
Q

Doing Gender

A

West and Zimmerman argue that people “do” gender, that it is a practice (or even a performance) that is enacted in social relations

80
Q

Gender norms, woman and food:

A

Role within the private sphere;
Care work;
Cooking for others;
Food is about restriction;

81
Q

Gender norms, men and food

A

Role within the public sphere,
Helping out the fam
cooking for themselves (prestige, creative)
Food is about indulgence

82
Q

Hegemonic masculinity

A

refers to the way that masculinity is presented as an ideal for both men and woman. Both woman and men are encouraged to ‘do’ masculinity

Hegemonic - though guy
complicit - admiring tough guy
subordinated - ‘gay’ men

83
Q

In order to earn esteem, man need to strive for ideal masculinity, woman have two choices:

A

1 They can try to acquire the esteem that comes with attracting a masculine man.
2 can strive for ideal masculinity themselves

84
Q

Different types of femininities

A

Emphasized femininity:
Complementary to hegemonic masculinity.

Pariah femininity:
Refuse to complement hegemonic masculinity, challenging the gender hierarchy. These ways of doing gender are stigmatized (Bitch, Slut)

Alternative femininity:
Destigmatizing pariah femininity

85
Q

Gender maneuvering:

A

collective effort to negotiate actively the meaning and rules of gender to redefine the hegemonic relationship between masculinity and femininity in the normative structures of a specific context.

86
Q

Roller girl as alternative femininity

A

Roller girl does sort of “masculinity”
ex: being tough, physical, aggressive.

But: intentionally feminized
ex: cleavage, short skirts, make-up, pink shoelaces

87
Q

The marked and the unmarked

A

marked: the side of a contrast explicitly given positive or negative value
unmarked: the side of a contrast which is ignored as being neutral or unproblematic

88
Q

Race: production of culture text

A

Berkers, Janssesn, Verboord:

1) to what extent have U.S., Dutch and German literary critics drawn ethnic boundaries in their reviews of ethnic minority authors between 1983 and 2009
2) to what extent have such ethnic classifications by critics changed in each country in the course of ethnic minority writers’ careers and across time?

89
Q

Race: the production of culture & cognition

A

Mears:
Size zero and high end ethic. How do fashion bookers define beauty (size and ethnicity) and why is their definition so narrow?

90
Q

Race: culture in action and cognition

A

Hancock: How is it that african american culture continues to be symbolically central in american society, while african americans remain economically and politically marginalized?

91
Q

Race VS ethnicity

A

Race (e.g. ‘Caucasian’)
About physical traits that are shared by a category of people as skin color, facial feature etc.

Ethnicity (e.g., ‘Turkish’)
About cultural traits that are shared by a category of people as language, religion, or national origin (but also food, music).

92
Q

Boundary change occurs when

A

Ethnic classifications no longer fit

ethnic classifications are easily accessible

93
Q

2 types of boundary change

A

boundary crossing: individual career - success

boundary shifting: group - over time

94
Q

conclusion Berkers/Janssen/Verboord

A

US: weak ethnic boundaries, and individual level assimilation

NL: strong ethnic boundaries and group level assimilation

Germany: strong ethnic boundaries and individual level ethnicization

95
Q

Fields of cultural production (Bourdieu VS Mears)

A

Large scale production:
focus on profit (economic capital)
consumers
heteronomous pole

Restricted production
Focus on prestige (symbolic capital)
Other producers
Autonomous pole

96
Q

Colour-blind ideology

A

A color-blind ideology emphasizes “essential sameness between racial and ethnic groups despite unequal social locations and distinctive histories (Bonilla-Silva).

Color-blind ideology unconsciously constructs whiteness as the default, normal or “unmarked” category, hiding existing structural inequality

97
Q

Central frames in colour-blind ideology

A

Abstract liberalism (‘opportunity has no color’)
Biologization of culture (‘Blacks have more rhythm’)
Naturalizing racial matters (‘the way things are’)
Avoiding race-related remarks (‘…’)

98
Q

Four dominant discourses in the hancock text

A

Marking white identity:
Celebrating african american talents & mocking or denigrating whiteness. this is both biologization of culture

Blaming the victim:
Example of abstract liberalism, wrongly
assuming that: all racial groups have equal opportunities and that race is an individual choice

Talking around race:
avoiding race-related remarks

Having fun:
talking about race would spoil the fun

99
Q

biologization of culture:

A

No recognition in racial politics of cross-cultural
consumption, rather: essentialize and reinscribe racial
stereotypes

100
Q

Symbolic violence in the lindy hop

A

Dominant discourses serve as mechanisms of racial domination by decontextualizing and ahistoricizing the lindy hop from its origins

101
Q

National cultural repetoirs

A
  • Culture in action: classification system as cultural tools
  • culture as a cognitive structure: Historical and institutional differences between countries make some cultural tools more salient than others
102
Q

Differences in boundaries US and FR in general

A

United States:
weak cultural boundaries, strong economic and moral boundaries
+ strong racial boundaries

France:
strong moral and cultural boundaries, weaker economic boundaries
+ weak racial boundaries

103
Q

Differences in boundaries US and FR moral

A

similar across classes.
US: phony, social climber
FR: Intelectual dishonest

104
Q

Differences in boundaries US and FR socioeconomic

A

similar across classes
US: success and money
FR: power and social background

105
Q

Differences in boundaries US and FR cultural

A

quite similar across classes
US: ‘cultured’ as cosmopolitan, expertise, self actualization

FR: refined VS vulgar

106
Q

Differences in boundaries US and FR racial

A 
Lower class only
US: success and money

FR: anti-racism in line with Republicanism

107
Q

Horizontal VS vertical clasification

A

Horizontal: commercial, fitting a book within a book-selling categorie
vertical: differences in prestige between ‘sacred’ literature and ‘profane’ commercial books

108
Q

Explanation of the differences between the US en FR (bookpublushing) from the field-level

A

Structure of book publishing:
US: distribution through retail chains makes marketing crucial
France: concentration of tightly knit publishing world can create stronger boundaries

Historical origin and development literary field
F: relation with social elite, state regulation. literary world (bohemians) were new aristocrats, and rebelled against commercial bourgeoisie.
US: decentralized production; broad, heterogeneous public; no state intervention

109
Q

Defining adolescent sexuality US VS NL

A

US: dramatization: Biologically driven (‘hormones’) with disruptive powers. Adolescent are not capable of restraint and long term relationships.

NL: Adolescent sexuality does not and should be a problem (if properly ‘regulated’). Adolescents are capable of restraint, serious relationships (‘verliefd’), determining whether they are ‘er aan toe’

110
Q

Explaining the differences in attitudes towards sexuality

A 
Different cultural logics: ‘structures of interdependent meaning which constrain and enable people’s thinking and action in systematic ways.’
Three dimensions:
-Conflict/compatibility of people
-Degree of self-restraint
-Types of power

Structural and historical features of nations:
Similar findings with regard to organization of public schools, public space and immigration policies.

111
Q

National habitus

A
  • Learned practices and standards that have become so much part of ourselves that they feel self-evident and natural.
  • Second nature; ‘the way we do things’
  • Embodied history which is the ground-tone of our individual history
  • Not a conscious lifestyle but unreflexive habit
112
Q

Kuipers article subject

A

Why are things different and why do people behave differently on the other side of the national border? How can this be explained sociologically?

113
Q

Factors in the rise of national habitus

A

1.Increasing interdependence
Part of larger social units > more aware of others > identification > adaptation
2.Intensification of interdependencies and proliferation of national institutions (education important here)
3.Vertical diffusion of standards and practices (trickle-down)
4.Growing national identifications (we-feelings)

114
Q

The decline of national habitus

A
  • Diminishing national dependencies as a result of globalization
  • Vertical diffusion (‘trickle down’) slows down:
  • Growing distance and avoidance between higher (cosmopolitans) and lower social strata (locals); increasing diversity
115
Q

Similarities repertoire and habitus

A

Focus on cognition and thought communities
Emphasis on habits and practices
Social structures and historical trajectories

116
Q

Differences repertoire and habitus

A

Different theoretical origin: Swidler vs. Elias/Bourdieu
National habitus leaves less room for agency (‘embodied’)
Second nature; automatic
Repertoires suggest some –limited options –to solve practical problems

Contemporary approaches to cultural sociology (1 decks)

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