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Accounting > Sociology Exam 2 > Flashcards

Sociology Exam 2 Flashcards

1
Q

Discography

A

a descriptive catalog or list of musical recordings, all the music that has been preformed, written or collected by a particular person

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2
Q

collective activity

A

pop culture is never a product of a solitary artist; it is always generated by interlocking networks of cultural creators

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3
Q

popular culture

A

one that is produced,consumed, and expierenced within a context of overlapping relationships
pxp entertainment, foods, aesthetic tastes shared by mass society

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4
Q

Popular culture MIU

A

the aesthetic products created and sold by profit seeking firms operating in the global entertainment market.

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5
Q

cultural items

A

social expressions of meaning that have been rendered into something tangible; an artifact that has shared significance embodied in form

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6
Q

collective activity
Howard Becker

A

social organization of culture and the arts are produced by collabartive webs of interconnected indviduals working together toward a common goal which is eventually consumed by audiences with shared meaning attached.

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7
Q

art worlds

A

networks of particpants who combined efforts to create movies,music, websites, graphic novels, advertising etc.

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8
Q

division of labor

A

specialization of work tasks

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9
Q

didgital divide

A

significant evidence that there endures a usage of computers and internet still reflects class and racial inequalities persistent in U.S. society

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10
Q

gatekeepers

A

a term used in social analysis to refer to persons who are able to arbitrate
access to a social role, field setting or structure.

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11
Q

media gatekeeping

A

occurs at all levels of the media structure - reporter deciding which sources are presented in a headline story to editors choosing which stories are covered, media outlet owners & advertisers, etc.

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12
Q

mash-up

A

a video where creators sample, manipulate and juxtapose together two or more media, in order to create irony and extreme pop culture awareness, often designed by pop culture fans themselves.

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13
Q

Fuctionalist Approach

A

llustrates how culture “functions” as an engine that generates solidarity within human groups and societies.

GRAZIAN

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14
Q

Critical approach

A

explains how the ascendance of certain kinds of pop culture can be explained primarily in terms of their ability to reflect and reinforce the enormous economic and cultural power of the mass media industry.

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15
Q

Interactionist approach

A

emphasizes the power that informal processes, such as word-of-mouth and peer influence enjoy in the cultural marketplace.

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16
Q

Symbolic boundaries:
Emile Durkheim

A

denoted the separation of the sacred and the profane
elements of the universe.

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17
Q

collective conscience

A

the totality of beliefs and sentiments common to average citizens in the same society

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18
Q

ritual

A

any ceremony, event, or set of behaviors performed in a customary way that is set apart from ordinary life and designed to convey meanings that bind people together ritual

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19
Q

Religion rituals

A

what Durkheim called:
▪ collective effervescence: a shared feeling of identity in which the individual members of the group (whether a tribe or a congregation) experience waves of emotion, a sense of unity and togetherness.

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20
Q

David Grazian (MIU) asks

A

What kinds of rituals will rejuvenate societies by generating collective effervescence they need to survive?
* What will serve as the social glue that will help bind societies together, through thick and through thin?

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21
Q

Functionalist approach to pop culture

A

how the symbols, rituals, & practices can bring people together by generating a shared sense of social solidarity

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22
Q

collective rituals

A

recurring behaviors and activities practiced by groups (such as sports fans) to augment ingroup/outgroup differences and further bolster the social integration of like-minded group members.

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23
Q

Paid-for-Patriotism

A

term used to describe how the Pentagon contracted with sports teams for millions of dollars to hold events that honor U.S. armed-services personnel.

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24
Q

“Dead Heads”

A

dedicated fans who followed the band along
their concert tour route to every show

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25
Q

imagined communities

A

viewers who, despite their lack of physical proximity to one another, still feel as if they are members of a collective audience sharing the simultaneity of a moment

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26
Q

pseudo-events

A

media rituals help simply for “the immediate
purpose of being reported and reproduced.
▪ Competitive reality t.v. series such as Survivor, Dancing with the Stars, and The Voice

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27
Q

fluff pieces

A

laudatory, puffed-up profiles

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28
Q

evergreens

A

journalistic context that is useful at any time, also during “slow” news periods

29
Q

rituals of rebellion

A

institutionalized protest that allows subordinate group
members to momentarily let off steam without granting them real power

are embedded in popular entertainment and mass culture.

30
Q

Criticial approach

A

certain kinds of pop culture can be explained by the enormous economic and cultural power of mass media and cultural history

31
Q

cultural hegemony

A

the domination, or rule, of a society that is acheived through ideological/cultural means

32
Q

Karl Marx

A

believed society’s culture & symbolic imagery reflect its economic & social structure & reproduce its culture over time.

33
Q

“The German Ideology” (1848) (w/s/g Frederick Engels)

A

critique of modern German ideology
▪ argued that prevailing ideologies & cultural norms of any society serve to benefit its ruling classes & perpetuate their power.

34
Q

Antonio Gramsci

A

societies are seamlessly controlled through the dissemination of mass media because it disarms and immobilizes its audience through the power of persuasion

35
Q

Theodore Adorno

A

regarded commercial jazz & pop music as “factory-made” standardization has …
▪ “lasting domination [on] the listening public & their conditioned reflexes”

36
Q

Theodore Adorno & Max Horkheimer

A

argued that rather than satisfying preexisting desires of the audiences, the media and culture industry relies on advertising, popular music, and the glamour of movies to invent new (and mostly useless) desires for consumer goods

37
Q

Neil Postman

A

warned Americans that our collective reliance on television (social media today?) for our news AND our entertainment has transformed our national discourse into “dangerous nonsense … shriveled and absurd.”

38
Q

Thomas Frank - The Baffler

A

Pokes fun at how contemporary advertisers attempt to tap into the lucrative youth market by appropriating images of countercultural style to repackage mundane products from diet colas to chewing gum as rebellious, radical, hip, and on the bleeding edge of extreme cool, sometimes to ridiculous effect.

39
Q

cool hunters

A

young people, hired by corporations, to research the underground trends of fashion- forward youth to appropriate them for mass consumption

40
Q

Interaction approach

A

emphasizes how popular culture spreads throughout a society as an outcome of interpersonal encounters experienced among groups of individuals within particular social settings and interactive contexts

41
Q

peer group societies

A

working-class communities in which socialization occurs several times a week – not only among teenage gangs, close-knit groups of adults, cousins, in-laws, work colleagues, church goers, etc

42
Q

social self

A

(or “looking glass self”) – individuals build their self-image from the judgements of others, or at least from what they imagine such evaluations to be

43
Q

hidden curriculum

A

concealed culture within schools that “controls children’s bodily practices [and] serves to turn kinds who are similar … into boys and girls, … children whose bodily practices are different.

44
Q

Gender Play (1993)

A

Observed how schoolteachers often use gender labels when interacting with children

45
Q

George Herbert Mead

A

“taking the role of the other” – by reading & interpreting socialization messages in situations supervised by grownups, young children eventually acquire a concept of selfhood, a self-identity embedded in social relations.

46
Q

Solonom Ash

A

our judgements are often influenced by the people who surround us.

▪ experiments on conformity→research subjects bowed to peer pressure when confronted with group consensus, even when the group’s answers were clearly false

47
Q

Stanley Milgram

A

test subjects were willing to commit acts of torture - “electrocuting strangers” – in
response to social pressure applied by experimenters.

▪ “strangers” were actors – no one was electrocuted in Milgram’s lab

48
Q

presentation of self

A

ersonhood includes a multiplicity of roles that we strategically embody when participating in different social worlds,

49
Q

interactionist perspective

A

argued that pop culture is often dependent on the social contexts in which we interact with other people in 2 primary ways:

  1. our consumer & cultural tastes – music, food, clothes – are deeply influenced by our peers, acquaintances, & all who are part of our daily living.
  2. while the production of culture may be centralized by a handful of corporations, music labels, film studios, media conglomerates, etc. … the eventual diffusion of pop culture depends just as much on micro-level interactions among individuals within small groups, social scenes, and online networks.
50
Q

dyad

A

a pair of individuals, linked together purposefully – marriage, college roommates, twins, work partners, etc.

51
Q

triad

A

3 individuals linked together purposefully – things get complicated – love triangle, stronger/weaker ties between individuals, communication breakdowns, etc.

52
Q

Mark Granovetter

A

studied how people find jobs – not surprisingly found that personal connections are
important

▪ most important finding – the kinds of personal connections that landed people jobs – NOT intimate or close relationships, but people whom job seekers are WEAKLY connected to

53
Q

social networks

A

key to understanding how everyday pop culture trends, fads, and fashions become popular

54
Q

connectors

A

cultural emissaries who bridge a large number of discrete & insular networks

55
Q

opinion leaders

A

draw on their deep familiarity and involvement with specific kinds of cultural products, categories, or genres to make informed recommendations to their peers

56
Q

early adopters

A

the first person in a social network to purchase the latest electric car, iPhone, etc. – exert passive influence when they conspicuously consume products in public, turning onlookers and bystanders on to new fads and fashions

57
Q

active influencers

A

demonstrate to friends and acquaintances, etc. the exciting features of their new tablet, fitness tracker, etc

58
Q

market mavens

A

maintain a vast wealth of knowledge about many different kinds of products and even a greater influence over the consumer decisions and cultural tastes of
their peers.

59
Q

focused gatherings

A

occasions temporarily bounded in time and space where participants engage each
other in shared objectives

60
Q

subcultures

A

a social world that stands apart of larger society in some distinctively patterned way, often because its members invest in alternative identities and with unique beliefs and practices.

61
Q

scenes

A

places where subcultural participants experience their shared identity

62
Q

social organizations

A

rovide stable arenas for human interaction surrounding the collective consumption of popular culture. (Book clubs, riding academies, bowling teams, etc.)

63
Q

stealth marketing

A

quiet underwriting of products at independent events thrown by bikers,
skateboarders, art gallery owners, etc

64
Q

reality marketing

A

sends volunteers (ordinary people) out into the world to promote their brands.

65
Q

collaborative circles

A

collective worlds of creativity formed among friends, who provide a kind of dynamism that drives innovation & rebelliousness

66
Q

Powers of Two (2015

A

Some creative pairs are known for their healthy competitiveness and differences in artistic vision, such as the Beatles’ songwriting team John Lennon & Paul McCartney, each trying to best one another in a productive rivalry buzzing with generative tension

67
Q

Cultural Conventions

A

are the taken-for-granted rules & agreed-upon assumptions that make social activity possible (Becker 1982)

68
Q

cultural survival

A

cultural phenomena that outlive the set of conditions under which they developed

69
Q

concept album

A

a cohesive musical work intended to be heard in its entirety in one sitting, with songs woven together by common stylistic virtues & lyrical themes

Accounting (4 decks)

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