http://science.sciencemag.org/content/sci/201/4359/899.2.full.pdf

Phenomenology of perception.

The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society

By Pierre Bourdieu (London: Routledge, 2010), xxx + 607 pp. £15.99 paper. A combination of social theory, statistical data, illustrations, and interviews, Distinction: A Social Critique of the Judg...

Distinction: A Social Critique of the Judgement of Taste

The Rise of the Creative Class

Keywords: a Vocabulary of Culture and Society

textThis article charts key developments and cross-national variations in the coverage of foreign culture (i.e., classical and popular music, dance, film, literature, theater, television, and visual arts) in Dutch, French, German, and U.S. elite newspapers between 1955 and 2005. Such coverage signals the awareness of foreign culture among national elites and the degree and direction of "globalization from within." Using content analysis, we examine the degree, direction, and diversity of the international orientation of arts journalism for each country and cultural genre. Results denote how international arts and culture coverage has increased in Europe but not in the United States. Moreover, the centrality of a country in the cultural "world-system" offers a better explanation for cross-national differences in international orientation than do other country-level characteristics, such as size and cultural policy framework. Recorded and performance-based genres differ markedly in their levels of internationalization, but the effect of other genre-level characteristics, such as language dependency and capital intensiveness, is not clear. In each country, international coverage remains concentrated on a few countries, of which the United States has become the most prominent. Although the global diversity of coverage has increased, non-Western countries are still underrepresented.

/pdf/cultural-globalization-and-arts-journalism-the-international-2lduc7eme8.pdf

Cultural globalization and arts journalism: The international orientation of arts and culture coverage in Dutch, French, German, and U.S. newspapers, 1955 to 2005

This article charts key developments and cross-national variations in the coverage of foreign culture (i.e., classical and popular music, dance, film, literature, theater, television, and visual arts) in Dutch, French, German, and U.S. elite newspapers between 1955 and 2005. Such coverage signals the awareness of foreign culture among national elites and the degree and direction of "globalization from within." Using content analysis, we examine the degree, direction, and diversity of the international orientation of arts journalism for each country and cultural genre. Results denote how international arts and culture coverage has increased in Europe but not in the United States. Moreover, the centrality of a country in the cultural "world-system" offers a better explanation for cross-national differences in international orientation than do other country-level characteristics, such as size and cultural policy framework. Recorded and performance-based genres differ markedly in their levels of internationalization, but the effect of other genre-level characteristics, such as language dependency and capital intensiveness, is not clear. In each country, international coverage remains concentrated on a few countries, of which the United States has become the most prominent. Although the global diversity of coverage has increased, non-Western countries are still underrepresented.

/pdf/cultural-globalization-and-arts-journalism-the-international-4o8nf2iahq.pdf

Cultural globalization and arts journalism: the international orientation of arts and culture coverage in Dutch, French, German, and U.S. newspapers, 1955 to 2005

The sociology of humor

This book is the first extensive sociological study of the relationship between humor and social background. Using a combination of interview materials, survey data, and historical materials, it explores the relationship between humor and gender, age, social class, and national differences in the Netherlands and the United States. The exploration of social differences in sense of humor starts off from one specific, and not very prestigious, humorous genre: the joke. Good Humor, Bad Taste explains why jokes are good humor to some, bad taste to others.

Good Humor, Bad Taste: A Sociology of the Joke

This article analyses the Danish ‘cartoon crisis’ as a transnational ‘humour scandal’. While most studies conceptualize this crisis as a controversy about free speech or international relations, this article addresses the question why the crisis was sparked by cartoons. First, the article discusses the culturally specific ‘humour regime’ in which the cartoons were embedded. Second, it analyses the power dynamics of humour.Thirdly, it discusses how the cartoon crisis added a new element to the image of Muslims as completely Other and lacking in modernity: they have no sense of humour. Analysis of this controversy as humor scandal allows us, first, to identify its ‘winners’ and ‘losers’. Next, it underscores the emergence of a transnational public sphere. Finally, and most importantly, it highlights the politics of humour — a slippery, often exclusive mode of communication — in national and transnational public spheres.

Giselinde Kuipers

Papers

Cultural globalization and arts journalism: The international orientation of arts and culture coverage in Dutch, French, German, and U.S. newspapers, 1955 to 2005

Cultural globalization and arts journalism: the international orientation of arts and culture coverage in Dutch, French, German, and U.S. newspapers, 1955 to 2005

The sociology of humor

Good Humor, Bad Taste: A Sociology of the Joke

The politics of humour in the public sphere: Cartoons, power and modernity in the first transnational humour scandal: