Based on the case study of a Fringe theatre festival in a peripheral city in Israel, this article identifies and analyzes a moment of change in power relations between a peripheral city and the country's central city. It offers an alternative perspective to urban discourse, which analyzes art projects in peripheral cities as duplicating colonial relations. We adapted the Marxist concept of a class in itself and a class for itself, from the socioeconomic realm to the urban realm, by using Bourdieu's field theory as a link between the sociology of art and the urban realm.
Neighborhood income segregation is a widespread phenomenon. We explore its origins by modeling neighborhood selection by native Norwegian households making inter‐neighborhood moves, distinguishing influences of shares of three income groups and the discrepancy between the individual household's income and neighborhood median. We conduct a conditional logit analysis employing 2013–2014 population register data from the Oslo, Norway, metropolitan area.
We provide an overview of associations between income inequality and intergenerational mobility in the United States, Canada, and eight European countries. We analyze whether this correlation is observed across and within countries over time. We investigate Great Gatsby curves and perform metaregression analyses based on several papers on this topic. Results suggest that countries with high levels of inequality tend to have lower levels of mobility.
The gap between need and effective treatment for mental health problems continues to be a challenge for researchers and policymakers. Much of the attention has been on differences in treatment rates, with insufficient attention to variation in pathways that people take into treatment. Individuals may choose to seek help but may also be substantially influenced by others or coerced into care. The chances of each type of pathway are influenced by social characteristics and may shape perceptions of effectiveness of care.
Micro-sociology of violence looks at what happens in situations where people directly threaten violence, but only sometimes carry it out. This process and its turning points have become easier to see in the current era of visual data: cell-phone videos, long-distance telephoto lenses, CCTV cameras. New cues and instruments are on the horizon as we look at emotional signals, body rhythms, and monitors for body signs such as heart rate (a proxy for adrenaline level).
The short story is that Kieran Healy’s Data Visualization: A Practical Introduction is a gentle introduction to the effective display of social science data using the R package ggplot2. It is beautifully put together, achingly clear, and effective.
“All that is solid melts into air,” wrote Marx and Engels in The Communist Manifesto, at a time when labor was becoming increasingly precarious. The experience of workplace precarity and the broader feeling of insecurity it engenders are certainly not new; they are as old as capitalism. Even so, precarious labor as a concept is enjoying quite a boom these days.
ASA speaks with sociologist Michèle Lamont at the 2016 ASA Annual Meeting on August, 2016, in Seattle, WA. Lamont talks about what it means to “do sociology,” how she uses sociology in her work, highlights of her work in the field, the relevance of sociological work to society, and her advice to students interested in entering the field.
We study the relationship between inter-class inequality and intergenerational class mobility across 39 countries. Previous research on the relationship between economic inequality and class mobility remains inconclusive, as studies have confounded intra- with between-class economic inequalities. We propose that between-class inequality across multiple dimensions accounts for the inverse relationship between inequality and mobility: the larger the resource distance between classes, the less likely it is that mobility from one to the other will occur.
Who gets to define what counts as art when a genre is in flux? In the present analysis, I find that legitimated artists may also be able to act as intermediaries, such as critics and gatekeepers. In doing so, these artists-as-intermediaries, under certain conditions, can shift the meaning of the genre as it transitions. Using the current transition of drag performance from scene-based to industry-based genre as a case, I present a multistage qualitative analysis of televised and digital drag performance.