The sociology of childhood has been used increasingly as a theoretical perspective in early childhood education since the late 1980s. In Australia, those who draw on the sociology of childhood have tended to use it in similar ways to European counterparts, being guided by six major tenets identified by Prout and James (1997) that form the basis of the sociology of childhood. These include the notion that childhood is a social construction, that childhood is a variable of social analysis and is closely connected to other variables such as class and gender, and that children's relationships and cultures are worthy of study in their own right (p. 8). Further, children are considered as active (rather than passive) agents in their daily lives and to be competent and knowledgeable about their own lives (p. 8). Although the sociology of childhood is comparatively young, there has been little analysis of the key tenets of the position. Morss is an exception and raises some fundamental issues for consideration, which include refining the notion of the 'socially constructed child', a term that is used widely in much that written about the sociology of childhood.

The Sociology of Childhood

Stanton Wortham. Learning Identity: The Joint Emergence of Social Identification and Academic Learning

The Cultural Production of the Educated Person: Critical Ethnographies of Schooling and Local Practice. Bradley Levinson. Douglas Foley, and Dorothy Holland, eds. Albany: State University of New York Press, 1996. 299 pp.

The Cultural Production of the Educated Person: Critical Ethnographies of Schooling and Local Practice

The Cultural Production of the Educated Person: Critical Ethnographies of Schooling and Local Practice. Bradley A. Levinson, Douglas E. Foley, and Dorothy C. Holland, eds. Albany: State University of New York Press, 1996. 338 pp.

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Cidade de muros: crime, segregação e cidadania em São Paulo

Community murals in US inner city neighborhoods offer popular, grassroots representations of local identities and their relation to urban space and community culture. They are powerful tools in building neighborhood solidarity across ethnic groups, generations, and defended gang territories. Designed primarily for local consumption, murals circulate dramatic, alternative representations of local identity, heritage and history, contesting attributions of stigma and danger promulgated in mainstream media. In Boston’s Dudley Street corridor that crosscuts its Roxbury and Dorchester neighborhoods, both low-income communities of color, these themes are evident in the presence of a vibrant series of community murals lining the one-mile long street. Designed and painted by local youth under the sponsorship of grassroots communitybased organizations, the murals give voice to urban youth’s hopes, struggles, and aspirations for their individual and collective futures, from their positions in disadvantaged, multi-ethnic neighborhoods in a city sharply divided by race and class. Murals, public art, urban ethnography, youth.

https://anthrosource.onlinelibrary.wiley.com/doi/pdf/10.1111/ciso.12000

The Neighborhood Strikes Back: Community Murals by Youth in Boston's Communities of Color†

A estrategia da reducao de riscos e minimizacao de danos (RRMD) no consumo de substâncias psicoativas (SPA) tem gerado varias experiencias de intervencao social com forte impacto social no que diz respeito a comportamentos de menor risco por parte dos atores a quem se dirige. No meio academico existe pouca reflexao sobre as potencialidades de conjugacao da estrategia de RRMD e da intervencao comunitaria, apesar de a proximidade e o trabalho da rede serem apontados como pontos fundamentais desta estrategia. Pensamos que as duas molduras de intervencao no dominio de territorios estigmatizados sao complementares. A partir da experiencia do projeto RRMD Marvila, tentaremos juntar as pecas deste puzzle, focalizando em particular algumas acoes culturais desenvolvidas na Matriz H do Bairro da Flamenga, integradas numa perspetiva de intervencao comunitaria. Para alem da descricao dos problemas e das solucoes encontrados, tentaremos fazer um esforco de avaliacao dos resultados que a referida articulacao de estrategias originou.

https://repositorio-aberto.up.pt/bitstream/10216/80795/2/105870.pdf

“Vive o bairro!” A intervenção comunitária como ferramenta da redução de riscos e minimização de danos na Matriz H do Bairro da Flamenga

O objectivo principal do presente trabalho consiste em apreender a construcao de identidades de genero no dominio das (sub)culturas juvenis ligadas a participacao nas festas de musica electronica, nomeadamente o drum'n'bass, o trance e o techno, tornando possivel a apreensao sociologica das complexas interseccoes que se estabelecem entre as variaveis genero, classe social e a estrutura interna das (sub)culturas club.O processo de estruturacao interna das (sub)culturas e equacionado, pois, de forma relacional e com base numa abordagem etnografica multidimensional,com recurso a entrevistas biograficas e a construcao de retratos sociologicos, de forma a detectar transferencias e dissonâncias entre a socializacao pre-clubbing e a aquisicao de novas (?) disposicoes nos contextos das festas.

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Género e Música Electrónica de Dança : Experiências, percursos e 'retratos' de mulheres clubbers

A imagem possui significados sociologicos especificos. Importa compreender os fenomenos sociais, tendo em conta a linguagem visual. Por um !ado, a fotografia e alvo de usos sociais que podem e devem ser estudados metodica e sistematicamente na sede disciplinar da Sociologia. Por outro, a fotografia e, tambem, uma tecnica cientificamente valida para a recolha de dados na pesquisa social.

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Ao encontro da sociologia visual

The article considers the key dimensions of the life trajectories of the immigrant artists living in the Lisbon metropolitan area focusing on those related to the socialization process both in formal institutions and in a broader setting of informal learning. The authors conducted a sociological analysis of 20 biographical interviews with a heterogeneous set of individuals, including musicians, dancers and plastic artists. These interviews were a part of the research project on the social trajectories of migrant artists from the non-European Union countries living in Portugal. The results of the analysis show that formal and informal learning together with the migrant experience are intertwined and constitute the key factor in the configuration of migrant trajectories. There is often a mobility pattern across art styles, which makes differences between formal and informal circumstances in the life trajectories of migrant artists evident. Migration has a strong impact on the artistic work; this impact affects different areas of biographical experience: contact with the Portuguese culture, development of ethnic references, and participation in transnational art movements. The condition of immigrant artists generally implies a long trajectory of artistic training, including significant experiences of formal and informal learning in multiple social contexts throughout the life course. For those dedicated to the new transnational urban cultures (hip hop, graffiti, etc.), informal learning is the most important element. For those engaged in the traditional arts, the attendance of lengthy artistic programs seems to be a fundamental prerequisite for training and recognition. Together with the long and significant artists’ investments in their education, the sociological study also revealed the great vulnerability (and precariousness) of their life trajectories, and the lack of structures supporting their access to the labor market.

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Lígia Ferro

Papers

The Neighborhood Strikes Back: Community Murals by Youth in Boston's Communities of Color†

“Vive o bairro!” A intervenção comunitária como ferramenta da redução de riscos e minimização de danos na Matriz H do Bairro da Flamenga

Género e Música Electrónica de Dança : Experiências, percursos e 'retratos' de mulheres clubbers

Ao encontro da sociologia visual

Learning how to work in the arts field in portugal: a biographical approach to the migrant artists' trajectories