Search

Excerpted from my book Generally Speaking, this paper introduces "concept‐driven sociology," a special way of theorizing designed to reveal abstract social patterns. As such, it examines the methodological process by which we can "distill" generic patterns from the culturally, historically, and situationally specific contexts in which we encounter them. It thus champions a "generic sociology" that is pronouncedly transcontextual (transcultural, transhistorical, transsituational, and translevel) in its scope. In order to uncover generic, transcontextual social patterns, we need to collect our data in a wide range of social contexts. Such contextual diversity is manifested multi‐culturally, multihistorically, multisituationally, as well as at multiple levels of social aggregation. True to its message, the book illustrates generic social patterns by drawing on numerous examples from diverse cultural contexts and historical periods and a wide range of diverse social domains, as well as by disregarding scale. Emphasizing cross‐contextual commonality, concept‐driven sociology tries to reveal formal "parallels" across seemingly disparate contexts. The paper features the four main types of cross‐contextual analogies concept‐driven sociologists tend to use—cross‐cultural, cross‐historical, cross‐domain, as well as cross‐level—disregarding conventionally noted substantive differences in order to note conventionally disregarded formal equivalences. [ABSTRACT FROM AUTHOR]

This paper presents an invitation to feminist and queer sociology to engage more frequently, enthusiastically, and deeply with animals. Feminist and queer sociology that attend to animals and animality stand to develop better knowledge for animals and animal studies and for women, queers, and feminist and queer sociology. Sociologists working from feminist and queer perspectives are also particularly well‐positioned within the discipline of sociology to contribute to and take advantage of the insights of the field of feminist animal studies. After a brief review of what feminist animal studies is, I proceed through three steps to elaborate the imperative for feminist and queer sociology to consider animals. First, I show how feminist animal studies as a theoretical perspective engages with issues that are core to feminist and queer sociology. Second, I center intersectional feminism and lay out how incorporating species can and does enhance our understanding of intersectional processes. Third, I present an ethical call, grounded in the traditions of feminist ethics and ecofeminism, to attend to species in feminist and queer sociology. [ABSTRACT FROM AUTHOR]

Sociologists tend to see G. H. Mead's conceptualization of self as fundamentally correct. In this paper, we develop a critique of Mead's notion of the self as constituted through social interactions. Our focus will be on Mead's categorial distinction between the socially constructed self and subjective experience, as well as on the tendency of post‐Meadian sociologists to push Mead's position in ever more radical directions. Drawing inspiration from a multifaceted understanding of selfhood that can be found in Husserlian phenomenology, we then propose that the most basic level of selfhood is anchored in irreducible subjective experience. [ABSTRACT FROM AUTHOR]

This paper analyzes why child film star series produced by major French production companies (Pathé, Gaumont, Eclectic, and Éclair) in the early 1900s (Bébé, Bout‐de‐Zan, Willy, and the Maria Fromet series) were received with such interest by global audiences. This period, prior to World War I, was a brief era when French cinema held significant hegemony worldwide, before Hollywood's dominance began. There are ideas suggesting that child film stars emerged with American cinema. Contrary to this, however, French producers competed fiercely in the 10 years following 1906, producing series featuring child film stars. Substantial budgets were allocated for the marketing of these series, ultimately gaining a considerable fan base not only in Europe but also in America. When examining these film stars from the early 20th century within their historical context, they emerge as the first international child stars with international fame and financial success, unlike child musicians, vaudeville artists, and theater actors from the 18th and 19th centuries. Inspired by the field analysis of French sociologist Pierre Bourdieu, this article aims to establish a connection between the struggles within the field and the symbolic needs of the audience as reflected in the content of child star films. The films were viewed at the Eye Film Museum archive. [ABSTRACT FROM AUTHOR]