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• Audience interaction at livestreamed music concerts differ according to genre. • Online, ritualised activities take on a symbolic position, memorialised in emojis. • Context collapse online leads to the hyper ritualization of genre conventions. • Virtual large-scale interactions are characterised by totem-defining behaviour. This paper examines audience engagement at livestreamed concerts, a form of mediatised cultural consumption that saw an immense growth in popularity during the COVID-19 pandemic. Concerts, as events that draw large groups of people with similar intentions, are the perfect location for the establishment of large-scale interaction rituals – moments of group behaviour characterised by a highly intense collective emotion. Furthermore, as social occasions, concerts are organised around a set of routine interactions that construct and define the collective experience. We argue that in moving online, the definition of the (concert) situation is highly impaired due to a context collapse. In comparing two distinct audiences (classical and Dutch popular music), the first aim of this research is to explore how these differing audiences adapt their cultural behaviour to the virtual sphere. Secondly, by adopting a microsociological perspective, we aim to broaden the theoretical understanding of virtual large-scale interaction rituals, an area becoming increasingly important due to the growth in online communication. This paper uses discourse analysis of the synchronised comments, left on livestreamed concerts on Facebook Live (n = 2,075), to examine the interaction between audience members. We find that both classical and Dutch popular music audiences use a form of hyper-ritualised interaction. In an attempt to combat the plurality of meanings online, they explicitly refer back to the central conventions of the face-to-face concert. This emphasises not only the significance of genre conventions, but also presents a form of virtual interaction distinct form interpersonal interaction. [ABSTRACT FROM AUTHOR]

This paper examined the effects of genre-specific and mainstream Billboard chart popularity on RIAA gold or platinum certification of #1 R&B/Hip-Hop singles in the Pre-SoundScan (1977–1992) and SoundScan (1993–2008) eras. Findings indicate that Gold or platinum certified #1 R&B/Hip-Hop singles had a significantly higher peak position on the mainstream Pop charts than those not certified gold or platinum in both the Pre-SoundScan and SoundScan eras. When observing genre-specific popularity, gold or platinum singles spent significantly more total weeks on the R&B/Hip-Hop charts than non-gold or platinum singles in the Pre-SoundScan era. In contrast, the reverse was observed in the SoundScan era. Mainstream popularity, as measured by peak position on the Pop charts, and genre-specific popularity, as measured by total weeks on the R&B/Hip-Hop charts, were good predictors of gold or platinum certification in both the Pre-SoundScan and SoundScan eras. The model was a better predictor of RIAA gold or platinum certification in the Pre-SoundScan era, suggesting that the Billboard chart methodology in the earlier era was more aligned with the RIAA auditing process than the SoundScan era methodology. Findings also raise questions about whether the initial exclusion of several African American independent retailers, who were generally the primary source for sales data in the Pre-SoundScan era, casts doubt on validity of SoundScan sales data. Future research should examine how the transition to SoundScan may have contributed to redefining the target audience for R&B/Hip-Hop music, impacted the quantity and quality of R&B/Hip-Hop music available to the public, and the effects of those outcomes on the broader culture and society. The purpose of this paper was to examine the effects of genre-specific and mainstream Billboard chart popularity on RIAA gold or platinum certification of #1 R&B/Hip-Hop singles in the Pre-SoundScan (1977–1992) and SoundScan (1993–2008) eras. The first aim was to determine if there were any statistically significant differences in genre-specific and mainstream popularity between singles that achieved RIAA gold or platinum certification and those that did not reach that pinnacle in both eras. The second aim assessed the relative predictive power of genre-specific and mainstream popularity on RIAA gold or platinum certification of #1 R&B/Hip-Hop singles in the Pre-SoundScan and SoundScan eras while controlling for established brand. In this comparative assessment of the relationships between Billboard chart data and RIAA gold/platinum certification data in the Pre-SoundScan and SoundScan eras, genre-specific popularity was measured by total weeks at #1 on Billboard's R&B/Hip-Hop charts and total weeks on the charts regardless of position. Mainstream popularity was evaluated with peak position on Billboard's Pop charts. The established brand construct was assessed with the artist's total prior #1 R&B/Hip-Hop singles and total prior #1s by the record label. A Mann–Whitney U test revealed statistically significant differences in mainstream popularity between gold or platinum singles and non-gold or platinum singles in both the Pre-SoundScan and SoundScan eras. Statistically significant differences in genre-specific popularity were also observed in both periods, but not in the hypothesized direction in the SoundScan era. A binary logistic regression model demonstrated that the two popularity constructs, while controlling for established brand, predicted RIAA gold or platinum certification of #1 R&B/Hip-Hop singles in both the Pre-SoundScan and SoundScan eras. The model better predicted gold or platinum certification in the Pre-SoundScan era. The most powerful predictor was mainstream popularity in both eras. Gold or platinum certified #1 R&B/Hip-Hop singles had a significantly higher peak position on the mainstream Pop charts than those not certified gold or platinum in both the Pre-SoundScan and SoundScan eras. When observing genre-specific popularity, gold or platinum singles spent significantly more total weeks on the R&B/Hip-Hop charts than non-gold or platinum singles in the Pre-SoundScan era. In contrast, the reverse was observed in the SoundScan era. Mainstream popularity, as measured by peak position on the Pop charts, and genre-specific popularity, as measured by total weeks on the R&B/Hip-Hop charts, were good predictors of gold or platinum certification in both the Pre-SoundScan and SoundScan eras. The model was a better predictor of RIAA gold or platinum certification in the Pre-SoundScan era, suggesting that the Billboard chart methodology in the earlier era was more aligned with the RIAA auditing process than the SoundScan era methodology. Findings also raise questions about whether the initial exclusion of several African American independent retailers, who were generally the primary source for sales data in the Pre-SoundScan era, reduced the validity of SoundScan sales data. In other words, did the SoundScan data measure what it intended to measure, which was the popularity of R&B/Hip-Hop singles among the target audience of that genre? Future research should examine how the transition to SoundScan may have contributed to redefining the target audience for R&B/Hip-Hop music, impacted the quantity and quality of R&B/Hip-Hop music available to the public, and the effects of those outcomes on the broader culture and society. Recording industry, organizations, stratification, race and ethnic relations, medical sociology, political sociology, quantitative and qualitative methods. [ABSTRACT FROM AUTHOR]

• Atypical cultural goods offer novelty and influence how cultural markets evolve. • Measures taken to contain crises such as COVID-19 lockdowns induce negative affects. • Both cognition and affects determine how individuals evaluate categorical atypicality. • Negative affects negatively moderate the impact of atypicality on audiences' evaluations. This paper investigates the impact of atypicality on cultural goods reception. While prior research has assumed controlled and highly cognitive mechanisms in audience evaluations, this paper probes the influence of affective states. We suggest that crises, such as the COVID-19 pandemic, trigger affective states and sway evaluations of atypical cultural goods. In a longitudinal study on movie evaluations ("Study 1"), we analyze how the external shock of the COVID-19 lockdown announcement — proxying heightened negative affects including anxiety — interacted with movies' atypicality and their subsequent audience evaluations. Furthermore, two preregistered controlled experiments establish causal links at the individual level. Study 2 corroborates the causal relationship between the COVID-19 lockdown announcement and increased negative affects. Study 3 shows that higher negative affects moderate how perceived novelty mediates atypicality's effect on audience evaluations. Overall, this paper has important implications for research on categorization, social evaluations, and the consequences of COVID-19 policy consequences. [ABSTRACT FROM AUTHOR]

According to Bourdieu's theory, literary prizes are those specific authorities which contribute in the long run to the conversion of symbolic capital into economic capital. The Nobel Prize played a major role in the unification of a relatively autonomous international literary space, as described by Casanova. It helped create a new canon of world literature, as the Nobel prize winners were widely translated. But whereas Casanova places the emphasis on autonomy, this paper underscores the relative heteronomy that this award conveys. Literary authorities negotiate between autonomous and heteronomous criteria, be they ideological or economic. This paper examines how the symbolic capital of the Nobel Prize has served to reinforce modes of domination. The intersectional and Western domination which biased the selection of laureates slowly evolved into more diversity and inclusiveness. Concentrating on the three last decades, which correspond to the globalization era, we observe however that despite the growing inclusion of non-Western authors, it is the dominant Western cultural intermediaries (publishers and literary agents) who mostly capitalize the symbolic and economic profit of the prize. These observations are based on a quantitative analysis of the publishers of the 33 laureates since 1990 in three languages, English, German and French. [ABSTRACT FROM AUTHOR]

• Paper focuses on Holocaust restitution claims against Swiss banks. • Map justifications that each provides and value they assert for their projects. • Across geographic settings, justifications map on to politics of compassion and pity. • Economies of worth can underwrite ethical responses to honor the past. How do political cultures shape claims of worth? This paper focuses on Holocaust restitution claims against Swiss banks. We study nearly one hundred proposals that were submitted by organizations worldwide, regarding how to allocate funds where individual restitution or compensation was not possible. Relying on the sociology of conventions, we map the justifications that each provides and the value they assert for their projects. Through multiple correspondence analysis and bipartite network graphs, we find that across geographic settings, justifications map on to the politics of compassion and pity. Proposals relating to survivors emphasize an industrial economy and legal language, whereas proposals to rebuild community rely on an inspired economy to underwrite their value. Reliance on law, in turn, is also contingent on the historical paths of political cultures. We conclude that the role of law in justification is limited to situations that are oriented to private redress rather than national memory or community building efforts. Our analysis advances the empirical study of ethical pluralism and the study of valuation, by demonstrating how projects are justified through moral values across political cultures and axiological registers, and how economies of worth can underwrite ethical responses to honor the past. [ABSTRACT FROM AUTHOR]

• Audiences of low-brow literature are strongly differentiated along categorical lines. • Gender and age, not religion or ethnicity, differentiate low-brow tastes. • High-brow tastes tend to be less gender-specific, than low-brow. • High-brow tastes tend to be less cohort-specific, than low-brow. • Age correlates negatively with the brow-level of the preferred literature. In his paper establishing the foundations of omnivorousness theory, Richard Peterson suggested that the system of tastes is organised as a pyramid "with one elite taste at the top and more and more alternative forms at about the same level as one moves down the pyramid toward its base", with tastes at the bottom "mark[ing] the status boundaries between taste groups defined by age, gender, race, region, religion, lifestyle" (1992, p.254). Whereas high-status individuals are likely to consume a few genres at all levels of the taste pyramid, low-status ones tend to patronise only one genre situated at the bottom. One of the predictions following from this model concerning the omnivorounsness of privileged groups has been tested in numerous studies, but the thesis of low-brow tastes having stronger structural embeddedness has been researched much less extensively. If Peterson is correct, we should find that the consumption of high-brow objects strongly correlates with status characteristics such as education where the consumption of low- and middle-brow does not; by the same token, the consumption of low-brow objects would correlate with gender, age, ethnicity, or other groupings where the consumption of high-brow objects does not. In this paper, we use a dataset from a St Petersburg public library system to analyse 1 300 000 book choices of over 100 000 readers to find out whether these predictions hold. We find that there is indeed a strong negative correlation between the attractiveness of authors for predominantly educated readers and the gender and age specificity of their audience. We discuss three possible theoretical explanations of this finding which can be discerned from the literature: (1) "group" and (2) "grid" interpretations, using the terms from Mary Douglas's cultural theory, and (3) the opposition between relaxational and self-cultivating usages of culture. We argue that the particular differentiation pattern speaks against the "group interpretation" prevalent in other literature. [ABSTRACT FROM AUTHOR]

• Assessing human rights engagement as a series of events rather than long-term trends. • Paying attention to events allows conceptualization of multiple types of state performances when it comes to human rights. • Arab Spring changed voting patterns of most repressive states serving on the Human Rights Council. • A few repressive states (China, Cuba, Russia) did not shift their voting patterns. Sociological research on human rights analyzes the degree to which states engage with international human rights commitments over time. Yet we have a limited understanding of how specific events shape the long-term trajectory of human rights norms. This paper explores the effect of the Arab Spring on voting in the UN Human Rights Council. Using multiple growth curve models, I find that the emergence of the Arab Spring changed the voting patterns of most non-free states, but only temporarily, and that this holds even when controlling for protest events facing a given country. In contrast, a small set of non-free states did not change their votes during the Arab Spring. Drawing on research from cultural sociology, this paper explains these divergent voting patterns as heterogenous performances in the face of an event causing deep uncertainty such as the Arab Spring. The paper concludes that commitments to human rights norms must account for how events puncture broader trends, and that engagement with the human rights regime – and perhaps other performances of state legitimacy — requires an understanding of the multiple audiences, events, and policy possibilities to which states are attuned in international forums. [ABSTRACT FROM AUTHOR]

Highlights • Embrace of variety is a feature of lifestyle of professional and managerial classes. • Class distinction is expressed through tastes for different culinary styles. • The taste for 'ethnic' cuisine is symbolically significant and socially unevenly distributed. • Some culinary omnivores display exceptional enthusiasm for food. • Britain's 'foodies' have a distinctive profile. Abstract This paper examines social differentiation of tastes for meals out of the home in contemporary Britain. It reports results from a study of eating out based on a survey and interviews in London, Preston and Bristol in 2015. It focuses on the breadth of exposure to variety of restaurant cuisine styles in order to address debates about distinction, cultural omnivorousness and cosmopolitanism. The paper uses regression analysis of survey results to reveal social differentiation, with special reference to the effects of gender, age, ethnicity and class on culinary taste. The data reveal the social and symbolic significance of variety of experience in visits to commercial venues for meals and degrees of familiarity with diverse cuisines. The data show a consistent relationship between higher socio-economic position, frequency of eating out, and the experiencing of a wide variety of cuisines. Culinary preferences cluster into three bundles: popular, uncommon and exclusive. Significant social characteristics of their bearers include age, class trajectory, education and ethnic identification. Tendencies associated with cultural omnivorousness can be observed among the professional and managerial middle class. While it is important not to conflate internal goods deriving from enthusiastic engagement in this particular cultural field with achievement of social advantage, culinary tastes are a mark of social distinction. Diverse culinary experience of variety is a prerequisite for full membership of the professional and managerial class. [ABSTRACT FROM AUTHOR]

Highlights • Transnational comparative analysis of the reception of Brazilian contemporary art. • Offering insights into centre and periphery dynamics in global art world. • Analysis of repertoires of evaluation in solo shows' reviews printed in US, UK and Brazilian elite press. • Highlighting variations in use of institutional recognition and association repertoires. Abstract This paper investigates how the reception and evaluation of artists coming from a relatively peripheral and emerging art market might vary in transnational settings. Studies on cultural globalisation have primarily focused on the transnational diffusion of products and the opening up of national fields to cross-border flows. Questions of reception and evaluation of cultural products – particularly as they 'break out' of the periphery - remain relatively untouched, and this paper contributes to bridging this gap. Our data consists of reviews of solo shows of the top 50 Brazilian modern and contemporary artists, published in elite newspapers in three countries (Brazil, the UK and the US). We describe how two of the most salient evaluative repertoires are mobilised in the reviews. These repertoires relate to the institutional recognition bestowed upon the artist in Brazil or abroad; and to the associations made with living or deceased Brazilian or international artists. Our findings suggest that recognition bestowed by Brazilian museums and cultural institutions does not easily convert into an internationally valued marker of worth, while quite the opposite is true of international institutional recognition and its use in the Brazilian press. [ABSTRACT FROM AUTHOR]

Highlights • Understandings of success among artists in emerging scenes are highly contextual. • Disavowal of economy is not a universal organizing principle of artistic fields. • Institutional composition of artistic fields affects career strategies. • Dominance of noncommercial art institutions can hinder art market development. • Lack of noncommercial art institutions promotes market development at early stages. Abstract This paper examines early career strategies and understandings of success among artists in the two emerging art scenes of Russia and India. It argues that differences in these understandings and strategies are shaped by the institutional composition of the artistic fields in the two countries. The paper is based on in-depth interviews with early career professional artists conducted in Moscow, Saint Petersburg, New Delhi, and Mumbai. It argues that the Bourdieusian disavowal of economic interests is no universal organizing principle of cultural fields but should instead be seen as highly contextual. In particular, it is less prominent in art scenes where few noncommercial contemporary art institutions exist. Thus, in India, where art dealers are the most powerful gatekeepers, artists' career strategies are informed by market logic. Meanwhile, early career professional artists in the Russian art scene do not see the market as a potential driver of their careers. They engage in close relationships with noncommercial art institutions that provide artistic recognition and promote an anti-market orientation. [ABSTRACT FROM AUTHOR]

Highlights • Despite claims of a contemporary African art boom, there is little research on the incorporation of African born artists in contemporary auctions. • This paper presents the first complete history of African born artists in the main contemporary sales at Christie's. • It draws on an original archive of artworks offered in the May and November New York sales from their inception in the 1970s until 2015. • Findings show that there has been a slight rise, but not a boom, in the consignment of works by African born artists in the post-1989 era. • It is speculated that the small increases are related to shifts in the symbolic valuation of contemporary art. Abstract In the West and Africa alike auctions dedicated to contemporary African art have become increasingly common. Along with other developments, these specialized sales are cited in claims of a boom for contemporary African art. However, there is a dearth of empirical research on long-term changes in the incorporation of African born artists in "mainstream" contemporary sales at Western auction houses. Given that these sales bring together art from across geographic lines, they are an important indicator for measuring the degree to which the market for this work has internationalized. This paper helps to fill this gap in knowledge by presenting the first complete history of African born artists in the main contemporary sales at Christie's. It draws on an original archive of all artworks consigned at Christie's New York May and November contemporary day and evening sales from their inception in the 1970s until 2015. Findings show that there has been a slight rise, but not a boom, in the consignment of works by African born artists in the post-1989 era. I speculate that the small increases are related to directed efforts to legitimate contemporary African art as well as other shifts in the symbolic valuation of contemporary art. This paper advances scholarship on the internationalization of the art market by offering new empirical insights on the cultural hybridization of contemporary auctions in the West. More specifically, while the increases support arguments that contemporary African art is globalizing, the small rates of participation across time lend credence to critiques that claims of a highly internationalized art world are overstated. Also, by attending to the particularities of the African case, this paper sheds new insight on how the contemporary art market has internationalized. [ABSTRACT FROM AUTHOR]

• Theorizes "styles" of media and political behavior as a corrective to media effects research. • Uses latent class analysis (LCA) to identify styles of media and political behavior. • Empirically identifies a class of "armchair citizens"—people who are highly engaged in politics on social media, but not political engaged offline—which previous research has missed. • Uses LCA regression to show that feelings of ontological insecurity is predictive of membership in the armchair citizen class. • Armchair citizens may be more common that "actives"—those that are highly engaged in politics on social media and offline. Media effects research has established a positive relationship between media and news consumption and political action—a "more-more" pattern. This paper identifies a coexistent "more-less" pattern in which more political engagement on social media is associated with limited political behavior offline. Traditional approaches that treat media behavior as an independent variable and political behavior as dependent miss this finding. Instead, this paper treats configurations of media and political behavior as styles, identified through latent class analysis (LCA). The data come from an original survey of American citizens about their encounters with political content on social media, their media habits, and their online expression of political attitudes to assess whether and how these media behaviors undermine their political and civic engagement offline. The latent class analysis of these data reveals three styles, which we label "actives," "passives," and "armchair citizens" (i.e., more-less). We then seek to make sense of this armchair citizen style—who would choose this style of media and political participation? An LCA regression model predicting membership into the armchair citizen class suggests that armchair citizen style is associated with experiencing what Giddens' called "ontological insecurity." [ABSTRACT FROM AUTHOR]

Highlights • The supply-side of the art market comprises conceptual, production and distribution actors. • Supply-side actors engage in reciprocal sharing of activities, skills and resources. • Supply-side actors engage in networked interactions that serve as bases for value creation. Abstract This paper presents an analysis of the supply-side of the arts market with a focus on how the actors therein interact as a network in the art production process. Through the adoption of a qualitative semi-structured interview methodology, the paper provides insight into how professional and established visual artists (in conjunction with third-party support) conceptualise, produce and distribute their art works in the art market. Results indicate that the art product and the art production process is reliant on a range of mutually beneficial and reciprocal interactions that serve as bases for value creation in the art market. The paper concludes with a range of research opportunities for both academics and practitioners in the arts marketing context. [ABSTRACT FROM AUTHOR]

This paper clarifies the role of objects in generating both cultural meanings and valuable forms of status by building upon previous research on cultural consumption and mediation, while simultaneously highlighting the intrinsic materiality of such practices. Beginning with the sociological notion that clues to high-status cultural consumption exist within journalistic writing about food, this project asks how profit-seeking firms make use of related discursive strategies to establish that their cultural products are not only delicious but also distinctive. To that end, this paper examines the packaging materials and packaging discourse of two case study firms whose food products are similar, in kind and country of origin, and whose food packages all meet the shared expectations of the US gourmet food market, in order to explore how their packages differentiate themselves from their competitors and frame their contents as valuable. In order to understand these firms as both commercial storytellers and amateur cultural intermediaries, the comparative case study methodology is employed with the goal of describing the process whereby profit-seeking firms make use of gourmet food writing and food packages to create distinction within an omnivorous, and economically valuable, marketplace. This paper draws attention to food packaging as a form of gourmet food writing which has a role to play in the dynamics of distinction within the contemporary gastronomic field. [ABSTRACT FROM AUTHOR]

In the United States, the term “ground zero” is now inextricably linked with New York City. Originally, however, it referred to the site directly beneath a detonated atomic bomb. The phrase was first used in government documents to identify the epicenters of destruction in the Japanese cities of Hiroshima and Nagasaki, where U.S. forces dropped nuclear weapons in 1945. How did a term whose origins are bound up with acts of American violence come to signify American victimhood? Examining U.S. political and media discourse from 1945–2001, this paper identifies a long history of projective reversal : faced with the prospect of a “difficult past,” American politicians and media outlets often grappled with the realities of a nuclear age by switching the roles of victim and perpetrator, imagining the United States as a future victim of a nuclear attack. After 9/11, the “ground zero” nomenclature naturalized an understanding of lower Manhattan as akin to a post-atomic landscape and, in turn, helped to animate a new series of nuclear projections leading up to the 2003 invasion of Iraq. In tracing the transformation of ground zero, this paper also forges a more robust link between the extensive literature on collective memory and recent efforts to elaborate a sociology of the future, examining how pasts and futures interpenetrate to shape political action in the present. [ABSTRACT FROM AUTHOR]

The ubiquity of intertextuality in internet culture has ignited long-standing debates about the cultural significance of parody as a device of commentary and as civic speech. It also raises concerns about the legal implications of unprecedented uses of copyrighted material. This paper examines how YouTube videos, self-labeled by their creators as “parody”, reframe the meaning structures of copyrighted material. Focusing on representations of gender in the music industry, it probes 100 music video parodies through a qualitative textual analysis. The paper offers a typology of five interpretive configurations underscoring the relationships between originals and their renditions. While the majority of parodies did not convey the critical commentary that their label promised, most of them did aspire to transform the meaning of the music videos. The typology, which presents a discrepancy between textual and societal forms of critique, is discussed in relation to its contribution to broader evaluations of media audiences and user-generated-content. [ABSTRACT FROM AUTHOR]

• This article studies how an artwork's referencing of creative content affects its peer recognition in Hollywood filmmaking. • It asks whether and to what extent a film's referencing of artistic content from earlier films conditions its chances of being referenced. • The author analyzes reference styles of 5555 U.S. American movies released between 1930 and 1995 and shows how artistic standards emerged during the new Hollywood movement in the 1960s. • The findings of this article offer new insights for sociologists of culture and organizations who ask how an artwork's embeddedness into the cultural space affects its recognition by contemporary peer audiences. How does an artwork's referencing of creative content affect its peer recognition? Artists constantly seek to balance the tension between originality and conformity. Previous research argues that peers tend to reward socially well-embedded artists that signal community involvement and literacy of established conventions. Another stream of sociological research argues that the criteria for peer recognition are not fixed but depend on a cultural field's legitimacy. This paper examines the emerging and shifting standards of peer recognition throughout 70 years in U.S. American filmmaking. I ask whether and to what extent a film's referencing of artistic content from earlier films, such as snippets of dialog or camera shots, conditions its chances of being referenced. I analyze reference styles of 5,555 U.S. American movies released between 1930 and 1995 and show how artistic standards emerged during the New Hollywood movement in the 1960s. While films of the New Hollywood (1960–1979) and Blockbuster Era (1980–1995) were rewarded for signaling cultural literacy and openness in their reference styles, these standards did not apply yet to Golden Age filmmakers (1930–1959). These findings offer new insights for sociologists of culture and organizations who ask how an artwork's embeddedness into the cultural space affects its recognition by contemporary peer audiences. [ABSTRACT FROM AUTHOR]

• The article illuminates the emotional reaction of a stage-audience encounter between migrant/non-white youth and a white audience born in Sweden while meeting and interacting with content, including the staging of identities, belonging, and experiences of being "other". • The primary emotions in a civil repair process that addresses recognition gaps are described and analyzed. • Empirical findings in the article show how humor can work in emotionally distinctive ways, even in the same setting, but still have the potential to produce solidarity or space for we-ness owing to the differences in emotional reactions based on where a person is positioned along the recognition gap continuum. • The article brings the role of artistic work and emotions into the research on how a narrowing of recognition gaps can occur and be studied. • A theoretical contribution is suggested by developing civil sphere theory through conceptualizing the need to be sensitive to existential repair in micro-studies of civil repair processes. Existential repair is a process where people are reaffirmed to exist in their own right and where previously individualized troubles caused by stigmatization transcend to an understanding of problems as structural rather than personal. A world in movement is visible in the arena of the performing arts. Since the "long summer of migration" (also known as the 2015 "refugee crisis"), the field of performing arts for a young audience in Sweden has shown a growing interest in staging migration while elaborating new artistic strategies and modes of participation. Migrant/non-white youth share the stage-audience encounter with a white audience born in Sweden, while meeting and interacting with content, including the staging of identities, belonging, and experiences of being "other." But knowledge about the meanings of these stage-audience encounters is lacking. This article aims to visualize and analyze the potential of repair processes through laughter in the stage-audience encounter of one specific play: Tre Streck. This analysis enables consideration of the main emotions in a civil repair process that addresses recognition gaps. The paper builds on ethnographic research and interviews and takes a theoretically informed approach, making it possible to analyze how individual audience members' emotions and self-understandings are linked to staged experiences. A theoretical contribution is suggested that involves developing civil sphere theory by conceptualizing the need to be sensitive to existential repair in micro-studies of civil repair processes. [ABSTRACT FROM AUTHOR]

• The initial surge in news consumption during the pandemic caused some users to expand their news repertoires. • Three archetypical Flemish news repertoires are identified: a Limited, Casual, and Panoramic repertoire. • News users exhibit significantly higher odds in 2021 of adopting a Casual rather than a Limited news repertoire compared to 2020. • The Panoramic news repertoire becomes less socially stratified in 2021, potentially caused by an influx of news users that have expanded their news routines during the pandemic As we are now rounding up our second year with COVID-19, studies have provided insight into the pandemic's impact on news practices around the world. However, most of these accounts describe data from the early months of the outbreak. Further research is needed to explore the shapes that news repertoires might have settled into in the wake of the pandemic. By comparing data from a Latent Class Analysis of news repertoires using the Digital News Report 2020 and 2021, this paper contributes to extant knowledge of the pandemic's impact on news use in Flanders. We find that users were significantly more likely to adopt Casual rather than Limited news repertoires in 2021, pointing to a potential growth in news habits of users with a previously limited repertoire. [ABSTRACT FROM AUTHOR]

Terroir is a complex French cultural term used to identify and classify artisanal foods and drinks in relation to a specific place. Notoriously “untranslatable”, terroir has nevertheless travelled well beyond the borders of France and Europe more broadly. This paper illuminates the parts of terroir that translate culturally by using a qualitative comparative case study of two contrasting wine regions, and examines how terroir manifests in similar and different ways when it is taken up in a French and a Canadian regional cultural context. Through the analysis of terroir discourse in 30 interviews and 32 websites, this study further clarifies the factors that drive consistency and change in the translation of a cultural idea like terroir. Moving beyond the idea that “terroir is adaptable”, this paper shows how wine actors articulate terroir’s normative principles as constant, but describe terroir’s natural and human practices in locally contingent ways, nuancing our understanding of stability and change in how culture unfolds within a globalized cultural context. [ABSTRACT FROM AUTHOR]

This paper examines how performing artists balance between economic and artistic risk-taking within the performing arts sector. The paper is based on a comparative study, including qualitative interviews with performing artists working in three different theatres in three different countries: England, Norway and the Netherlands. The paper discuss how different ways of organizing theatres and different theatre policy represent different systems of economic risk managing, and further how they facilitate artistic risk taking. The author identifies three different approaches to risk management in these three countries: a collectivization of risk, an institutionalization of risk and an individualization of risk. Theoretically, the paper makes use of, and criticizes the work sociology developed by Ulrich Becks and Richard Sennet, as well as welfare theory, including Esping-Andersen. [ABSTRACT FROM AUTHOR]

• Nudity is more widespread when the level of cultural modernisation is medium. • The link between cultural modernisation and female nudity weakens over time. • Cultural modernisation does not affect the prevalence of male nudity in films. • Male nudity is more frequent in the films related to the topics of homosexuality. This paper analyses the film industry as a social phenomenon through the lens of revised modernisation theory. Revised modernisation theory implies that economic development leads to value shift which eventually results in the spread of more liberal social attitudes, including the greater acceptance of sexual freedoms, gender equality, and overall tolerance. These changes penetrate all spheres of social life, including the field of cultural production. Here, one can expect that topics and visual tools employed by filmmakers reflect the ongoing changes. This research focuses particularly on the presence of female and male nudity in films. We use the Internet Movie Database (IMDB) as a dataset that reflects changes in modern societies, as we believe that IMDB represents a vast area underexplored by social scientists. Using IMDb and European Value Study data, we juxtapose the presence of general, female, and male nudity in films and the prevalence of choice values in the given year and country. The sample consists of films produced in 40 European countries between 1960 and 2013. Relying on the IMDb data we identify 34 291 films, with approximately a quarter of them depicting nudity. Using multilevel regression analysis, we find that the probability of female nudity is associated with the prevalence of choice values, whereas male nudity is more likely to appear in films related to the topic of homosexuality. Overall, the paper shows that value changes are reflected through the depiction of female bodies, however, the spread of choice values do not lift the restrictions on the presentation of men. [ABSTRACT FROM AUTHOR]