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Tuesday, Thursday, 2:35-3:50 PM
Buttrick 102
The Sociology of Culture is meaningfully divided into production and consumption. This course will focus on the production of culture, specifically the role of artists, firms and markets in creating cultural objects, ideas, and practices. Additionally, much of the course texts will focus on the role of gatekeepers, market research in creating identity, and boundaries around consumer groups, and opportunities for cultural change in the productive realm. We will begin the class with orientational readings, particularly those that describe the functioning of cultural firms and artists.
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Who holds the power to decide what books, television programs, shopping malls, and albums are produced, and what art is included in museum collections? Who decides what is “fine cuisine,” and why do we (usually) agree? Why do we think “corporate product” is bad, and “independently produced” culture is good (or better)? How does “street marketing” work, and where did the idea come from? What are the consequences of media consolidation for freedom of speech and freedom of choice for the consumer? Why are some cultural producers “geniuses,” and the rest hacks?
In Cultural Production and Institutions, we’ll examine the role of artists, corporate “suits,” institutions, markets, states and societies in the creation of cultural objects—a field of sociology known as the “production of culture.” The range of cultural objects under consideration is broad—we’ll read about shopping malls, magazines, TV, music, radio, food, fine arts, newspapers, film composers, and screenwriters, and will discuss photography, science, religion and any other objects of interest to the class. The readings for the course include the most important, recent work on the production of culture but also classic works by the likes of Bourdieu, Marx, Chomsky and Zukin. Classroom discussions will focus on comprehension, analysis and critique of these texts, informed by a healthy dose of our own observations and questions. Course assessment is based on class participation and four analytical papers that are designed to join original data collection (e.g., observation of media, interviews with cultural producers) with course material in order to critically engage the big and small questions facing us in this media-saturated age.
January 12:
Introduction, no reading.
The Production of Artists and Geniuses
January 17:
Becker, Howard. “Art Worlds and Collective Activity,” pp. 1-39; “Mobilizing Resources,” pp. 68-92. In Art Worlds. (Los Angeles: U of California Press, 1982).
Gladwell, Malcolm. “Group Think: What does ‘Saturday Night Live’ have in common with German Philosophy?” The New Yorker. December 2, 2002.
January 19:
Bourdieu, Pierre. “But Who Created the ‘Creators?’” Pp. 96-103 in The Sociology of Art.
Farrell, Michael. Collaborative Circles: Friendship Dynamics and Creative Work. Chicago: University of Chicago Press. 2003. “Collaborative Circles and Creative Work,” pp. 7-26; “Toward a Theory of Collaborative Circles,” pp. 266-296.
January 24
Paper#1:
Find a short piece, bibliographic or autobibliographic, on your ‘favorite’ artist, from any medium (food, painting, sculpture, photography, music, dance, theater, science, etc.). Prepare a short presentation for class where you use Becker’s concepts (cooperation, conventions, etc.) to illuminate the experience of this “producer of culture.” Submit a written copy of your presentation to the professor.
This is a diagnostic writing assignment—be sure to demonstrate your reading comprehension and ability to write a well-argued and –written social science paper.
January 26:
Lang, Gladys and Kurt Lang. “Recognition and Renown: The Survival of Artistic Reputation.” American Journal of Sociology. 94 (1988): 79-109.
Corporate Production
January 31:
Negus, Keith. “The Production of Culture,” Chapter 2 from Production of Culture/Cultures of Production. Paul DuGay (ed.). California: Sage. Includes Horkheimer and Adorno.
Optional:
Marx, Karl. “Social Being and Social Consciousness,” “Art and Ideology,” and “Historical Development and Cultural Traditions,” pp. 39-45 in The Sociology of Art.
Williams, Raymond. “Marxism and the Social Production of Art,” “From Reflection to Mediation,” pp. 77-84 in The Sociology of Art.
February 2:
Thompson, John B. Chapter 1 from The Media and Modernity.
The Production of Institutions, Corporations and Technologies in the Global Era
February 7:
DiMaggio, Paul. "Cultural Entrepreneurship in Nineteenth-Century Boston: The Creation of an Organizational Base for High Culture in America." Pp. 374-397.
February 9:
Thompson, John B. Chapter 5: The Globalization of Communication. In Media and Modernity: A Social Theory of the Media.
February 14:
Movie: The Corporation
February 16:
Movie: The Corporation
Paper #2:
Horkheimer and Adorno (in Negus chapter) and Thompson both offer typologies of cultural objects that emphasize certain of their characteristics to social (economic, political) consequences. Pick one or a small number of characteristics from each text to compare, and compare them by applying them to a cultural object of your choice.
February 21:
DiMaggio, Paul. "Cultural Entrepreneurship in Nineteenth-Century Boston: The Creation of an Organizational Base for High Culture in America." Pp. 374-397.
The Organization of Firms & The Role of Gatekeepers and Surrogate Consumers
February 23:
Hirsch, Paul M. “Processing Fads and Fashions: An Organization-Set Analysis of Cultural Industry Systems,” American Journal of Sociology, 77 (1972): 639-659.
February 28:
Bielby, William T and Denise D. Bielby. “All Hits are Flukes: Institutionalized Decision Making and the Rhetoric of Prime-Time Program Development.” American Journal of Sociology, 99 (1994), 1287-1313.
March 2:
Ahlkvist, Jarl A. and Robert Faulkner. 2002. “’Will This Record Work for Us?’: Managing Music Formats in Commercial Radio.” Qualitative Sociology. Vol 25, No. 2.: 189-215.
Spring Break
Contingent Labor and the Nature of Work in the Production of Culture
March 14:
Menger, Pierre-Michel. 1999. “Artistic Labor Markets and Careers.” Annual Review of Sociology. 25: 541-574.
March 16:
Faulkner, Robert R. and Andy B. Anderson. 1987. “Short-Term Projects and Emergent Careers: Evidence from Hollywood.” American Journal of Sociology. 92 (4): 879-909.
March 21:
Paper 3: White paper on contingent labor.
Define and explain the factors influencing the rise of “contingent labor” in cultural industries. Explain the consequences of contingent labor in cultural industries. Use Hirsch, Bielby & Bielby, Menger, and Faulker & Anderson. (Do they share the same definition of contingent labor? Do they document the same factors causing a rise in this form of employment? Do they identify the same consequences? Do they share the same evaluation of these consequences?) How will an increase in contingent labor effect the diversity of (measured as “innovation,” or marginal differentiation) cultural objects in the United States? Finally, in your opinion, what are the primary strengths and weaknesses of a cultural economy that uses contingent labor? Suggest at least one solution to the problem/s you identify, striving for creativity, and without concern for cost-prohibitiveness or political resistance. Illuminate at least one negative outcome of your policy suggestion on workers in the culture industries. This paper should be 5-7 pages in length.
March 23:
Negus, Keith. 2005. “The Business of Rap: Between the Street and the Executive Suite.” Pp. 525-540 in That’s the Joint!: The Hip-Hop Studies Reader. Forman and Neal (eds.); NY: Routledge, 2004.
Advertising, Fashion, Photography and the Gendered Self
March 28:
Nixon, Sean. “Circulating Culture.” Pp. 221-234 (Chapter 4) from Production of Culture/Cultures of Production. Paul DuGay (ed.). California: Sage. Includes readings from Wernick, Restall and Bourdieu.
March 30:
Aspers, Patrik. 2001. “An Overview of the Fashion Photography Business” (pgs. 51-102), “Fashion Photographers as Producers” (pgs. 103-168), “Two Markets for Fashion Photography” (pgs. 207-236) from Markets in Fashion: A Phenomenological Approach. New York: City University Press.
April 4:
Cosmetic Plastic Surgery. Reading TBA.
The Production of Cities and Production in Cities
April 6:
Zukin, Sharon. “Gentrification, Cuisine, and the Critical Infrastructure: Power and Centrality Downtown” (pp. 179-216) and “Disney World: The Power of Façade/The Façade of Power” (pp. 217-250) in Landscapes of Power: From Detroit to Disney World. (1993: U of California Press).
April 11:
Jakle, John and David Wilson. 1992. “Central City Decline,” Pp. 93-142 (Chapter 4) in Derelict Landscapes: The Wasting of America’s Built Environment. New York: Rowman & Littlefield Publishers, Inc.
Maly, Michael T. 2005. Pp. 8-13 in Beyond Segregation: Multiracial and Multiethnic Neighborhoods in the United States. Philadelphia, PA: Temple University Press.
The Production of Scientific Knowledge: The Case of the Ghetto
April 13:
Wacquant, Loic. 2002. Pp. 33-36 in “Gutting the Ghetto: Political Censorship and Conceptual Retrenchment in the American Debate on Urban Destitution.” From Globalization and the New City: Migrants, Minorities and Urban Transformations in Comparative Perspective. Ed. By Malcolm Cross and Robert Moore. New York: Palgrave.
Kelley, Robin D. G. 2204. “Looking for the ‘Real’ Nigga: Social Scientists Construct the Ghetto.” Pp. 119-136 in That’s the Joint!: The Hip Hop Studies Reader. Ed. By Murray Forman and Mark Anthony Neal. New York: Routledge.
April 18:
Paper 4
April 20:
Tourism: Reading TBA.
April 25:
Fantasy Sports: Reading TBA.
Required Texts:
There are no required texts for this course. Instead, the readings will be provided for you to photocopy.
Course assessment:
At this time (early January), our class size is very small and so I’ve designed the course assessment to take advantage of this. However, if the size of our class increases (and we’ll know by January 19th) then I probably will change the assessment techniques somewhat. If this occurs, I will provide you with a new syllabus with a revised course assessment section. I would speculate that if a change in assessment is required, it will involve the addition of, or change to, the artist projects, but not the inclusion of new midterm/final exams, or a 20-page research paper.
1. Class Participation: 20%. Students are expected to come to class, keep up with the reading and participate in class discussion. The final class participation grade will reflect attendance as well as an ability to contribute productively to discussion—raising interesting questions, responding to reading, and listening and reacting to classmates. Class participation grades are based not only on the frequency of your contributions but their substance. Useful, substantive contributions use course terms or concepts accurately and explicitly, and illustrate a comprehension of the course material and an ability to integrate the text, reader, and current events. Most valued contributions will be those prepared in advance of class, and which are supported with the use of media.
2. Artist Project #1: Due January 24th.
3. Artist Project #2: Due February 2.
4. Artist Project #3: Due March 21st.
5. Artist Project #4: Due April 20th.
The instructor reserves the right to adjust the weighting or scheduling of assignments at any time, with due notice.
Grading:
A grade of A is reserved for truly exemplary work—a mastery of the readings and discussions matched with well-written and insightful text. «A papers» ask questions, even as they propose preliminary or informed answers to others. «A papers» provide substantial evidence for their claims. «A papers» illustrate that you have not only read the assigned material, but have thought about it and developed your thoughts through additional research, comparison with other material on the syllabus, material from other classes, etc. Competently completed assignments will earn a B or B+. Incomplete, messy, disorganized or intellectual irresponsible work will earn a C or C-.
Lateness:
I think you should meet the deadlines on this syllabus. If you can’t because you have experienced a severe medical or personal emergency, immediately inform the dean’s office. The dean will provide me with documentation of the emergency, and once you are recovered, you and I will agree on a reasonable make-up date. That’s it. No extensions for break-ups, common colds, family visits, broken printers or alarm clocks, etc.
All grades are final, unless an error in calculation has been made.
«On Redmarks:» When you get a marked paper back from me, you will see that I make marginal comments on it (a description of these follows). Many marks does not necessarily correlate with low quality. Sometimes I just find your argument interesting and am putting my responses down on paper—or simply noting places where I'd love to read more of your argument (see «Why?» below), and this is a better «problem» than most. Also, I correct grammar, spelling, diction and stuff like that. I do this for your benefit and because it is my compulsion. Errors of this kind typically do not work against your grade unless: (1) they continue, without correction, for a period of time; or, (2) they make it difficult or impossible for me to understand your argument.
«On Abbreviations:»
AWK: Awkward phrase or sentence.
Cite: You have made a claim without any support, where evidence is required.
Col: Colloquial language or slang is out of place stylistically or is indefinite in its meaning.
Eg: Provide an example.
Hmm: I get the point, but I think it is doubtful, specious, or curious, but I will suspend my disbelief and hope/expect that you will prove me wrong, later in the paper.
Sp: Spelling error. I hope I never write this on your paper, because I'm a terrible speller, and so you must be really bad for me to notice. Spellcheck.
Tense: Your tenses don't agree—you change from past to future or present or whatever.
Ugh: Usually, I write this when you overwrite. This means you are adding unnecessary flourishes. Example: «Before beginning my laborious discussion of this truly important problem, I thought it wise to begin by examiing the most reliable sources that I was able to locate. One source in particular was of great utility, and substantially assisted my initial attempts.» And you could have just said, «I first looked in X…» or «According to X….» Alternatively, I have written «ugh» in the margin because
?: I don't understand the point.
?!?!: You don't understand the point.
«So what have we learned?»
1. Write plainly.
2. Avoid unsubstantiated claims. If the facts you state are not self-evident, provide supporting evidence from an expert.
3. Spell and grammar check.
4. Avoid hyperbole and moral evaluations.
5. Don't assert opinion as fact.
6. In fact, just think. Don't claim «old» is intrinsically better than «new» (esp. values and culture). Don't assert that humans are stupid and easily manipulated or that they are automitons who make decisions and act without any societal influence/s.
7. To sum nos. 1, 2, 4, 5, and 6: Don't generalize.
Citations: Please follow the following format (ASA style) in all your written assignments:
Book, One Author
De Anda, Roberto M. 1995. Chicanas and Chicanos in Contemporary Society. Boston, MA: Allyn and Bacon.
Book, Two Authors
Herrera-Sobek, María and Helena María Viramontes. 1995. Chicana (W)rites: On Word and Film. Berkeley, CA: Third Woman Press.
Chapter in Book
Nathan, Peter E. and Raymond S. Niaura. 1987. "Prevention of Alcohol Problems." Pp. 333-354 in Treatment and Prevention of Alcohol Problems: A Resource Manual, edited by W.M. Cox. Orlando, FL: Academic Press, Inc.
Book, No Author
Manual of Style. 1993. 14th ed. Chicago, IL: University of Chicago Press.
Journal Article, One Author
Garcia, Alma M. 1998. "An Intellectual Odyssey: Chicana/Chicano Studies Moving into the Twenty-first Century." Journal of American Ethnic History 18:109.
Journal Article, Two or More Authors
Exum, William H., Robert J. Menges, Bari Watkins, and Patricia Berglund. 1984. "Making it at the top: Women and minority faculty in the academic labor market." American Behavioral Scientist 27:301-324.
Magazine
Jana, Reena. 2000. "Preventing culture clashes - As the IT workforce grows more diverse, managers must improve awareness without creating inconsistency." InfoWorld, April 24, pp. 95.
Newspaper
Rimland, Bernard. 2000. "Do children's shots invite autism?" Los Angeles Times, April 26, A13.
Web Version of Newspapers
Clary, Mike. 2000. "Vieques Protesters Removed Without Incident." Los Angeles Times, May 5. Retrieved May 5, 2000 (http://www.latimes.com/news/nation/updates/lat_vieques000505.htm).
Information Posted on a Web Site
American Sociological Association. 2000. "Scholarship of Teaching and Learning Workshop." Washington, DC: American Sociological Association, Retrieved May 5, 2000 (http://www.asanet.org/members/socwkshp.html).
Honesty: Vanderbilt University's honor system was instituted in 1875 and presumes that all student work submitted to fulfill academic requirements (including papers and examinations) is the student's own work, unless otherwise indicated in the text with proper footnoting, bibliographic technique, or as prescribed by the instructor. A complete description of the honor code and types of violations is available in the Student Handbook. Each student bears the responsibilty to read this text, to best protect themselves and their peers. Students should particularly note that acts of plagiarism may not solely include premediated acts of deception, but may be the result of carelessness or ignorance of acceptable citation formats. Plagiarism cases will be handed over to the Honor Council and can result in a failing grade for the course, suspension or expulsion from the University. The instructor strongly encourages students to ask specific questions about what is considered dishonest academic work, if they are ever unsure.
Other Obligations: I will expect you to be respectful at all times. In this context, respect entails showing up to class on time, listening while others are speaking, and turning off your cell phones and pagers. The instructor reserves the right to ask any student to leave the classroom at any time if they violate these simple codes of respect.
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