“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.
ASA speaks with sociology graduate student Simone Kolysh at the 2016 ASA Annual Meeting on August, 2016, in Seattle, WA. Kolysh 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.
Racial disparities persist throughout the employment process, with African Americans experiencing significant barriers compared to whites. This article advances the understanding of racial labor market stratification by bringing new theoretical insights and original data to bear on the ways social networks shape racial disparities in employment opportunities. We develop and articulate two pathways through which networks may perpetuate racial inequality in the labor market: network access and network returns.
Scholars in sociology and social psychology typically represent creativity as an imaginative and deliberate mental activity. Such a perspective has led to a view of creativity as disconnected from the body and the senses as well as from nonanalytic cognition. In this article, we demonstrate that creativity is more grounded in bodily and sensory experience and more reliant on a combination of cognitive processes than has been typically recognized.
Because of economically induced changes in record label contracts, recording artists are now required to cowrite their songs. Despite this obligation, many recording artists are unskilled as writers. For their professional songwriter teammates, using face-work to save the recording artist from the embarrassment of being an unskilled songwriter can be at odds with status maintenance in the larger social community if the collaboration results in a bad song.
The sociological literature on creativity would suggest that collaboration between newcomers and more experienced members of an art world results in the fruitful combination of novelty and usefulness, though not without some conflict.
In this article, I study role enactment and status relationships in university design studio classrooms. I analyze conversations that take place during discussions of student creative work, and I interpret them in the context of previous studies of learning, classroom discourse, and creativity. I found that professors and students jointly establish and maintain a complex and hybrid participation structure in which they enact dialogic status: they simultaneously perform both an authority relationship and a peer relationship.
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.