Archival Work as Qualitative Sociology

Qualitative Sociology -     

Curtain rising, baton falling: The politics of musical conducting in contemporary Argentina

This article gives an ethnographic account of the several processes under which a charismatic conductor is de-legitimized, exploring the relationship between institutions and charisma in an art world where the authority of the cultural producer is diminished by the management of everyday interaction. The article shows how, in Argentina, the politics of musical conducting are shaped by four institutional worlds. They range from the macro economic cultural policies of the diverse state agencies to the everyday interaction world of orchestra musicians, and include meso-processes and mechanisms like the field of musical conducting. This article explores the structure and ideologies of the four institutional worlds, their interplay, the concrete practices that shaped them, their struggles, and how they overlap in causing the diminishing power of charisma. In undertaking this endeavor, the article systematizes the existing sociological corpus on the orchestral world in order to sketch a more complex and complete picture of hierarchies and interactions.

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An opera house for the “Paris of South America”: pathways to the institutionalization of high culture

Who has the power to institutionalize culture? How is it that cultural forms become legitimated and appropriated by certain groups? And what are the organizational forms that guarantee the continuity of the interlocks among classifications, etiquette, and resources in the long run? This article explores these questions by observing the struggle over the institutionalization of opera as high culture during the late nineteenth century and early twentieth century in Buenos Aires, a region of the world understudied by cultural sociologists. It contends that to answer these questions we need to observe the contested dynamics though which the process of institutionalization happens. It also shows how this contestation affects, in the long-term, the processes of evaluation and legitimation of the classification upheld, and the consequences it has in terms of audience stratification. In the Discussion section, I present a novel framework for the study of pathways to high culture institutionalization that highlights how the role of the state and competing stakeholders can introduce variable relationships among the elites, the arts, and social closure.     

Restabilizing attachment to cultural objects. Aesthetics,emotions and biography

The scholarship on aesthetics and materiality has studied how objects help shape identity, social action and subjectivity. Objects, as ‘equipment[s] for living’ (Luhmann 2000), become the ‘obligatory passage points humans have to contend with in order to pursue their projects (Latour 1991). They provide patterns to which bodies can unconsciously latch onto, or help human agents work towards particular states of being (DeNora 2000, 2003). Objects are central in the long term process of taste construction, as any attachment to an object is made out of a delicate equilibrium of mediators, bodies, situations and techniques (Hennion and his collaborators (Hennion and Fouquet 2001; Hennion and Gomart 1999). In all of these accounts objects are the end result of long‐term processes of stabilization, in which the actual material object (a musical piece, a sculpture, an art installation, a glass of wine, the oeuvre of Bach as we know it) is both a result and yet a key co‐producer of its own generation. Whereas the literature has been generous and detailed in exploring the processes of assembling and sustaining object‐centered attachments, it has not sufficiently engaged with what happens when the aesthetic elements of cultural artifacts that have produced emotional resonance are transformed: what do these artifacts morph into? What explains the transition (or not) of different cultural objects? And relatedly, what happens to the key aesthetic qualities that were so central to how the objects had been defined, and to those who have emotionally attached to them? To answer these questions, this article uses as exemplars two different cases of attachment, predicated on the distinctive features of a cultural object – the transcendence of opera and the authenticity of a soccer jersey – that have undergone transformations.     

Symposium: What is Qualitative about Qualitative Research?

Qualitative Sociology -     

What is political about political ethnography? On the context of discovery and the normalization of an emergent subfield

Despite recent interest in political ethnography, most of the reflection has been on the ethnographic aspect of the enterprise with much less emphasis on the question implicit in the first word of the couplet: What is actually political about political ethnography and how much should ethnographers pre-define it? The question is complicated because a central component of the definition of what is political is actually the struggle to define its jurisdiction and how it gets distinguished from what it is not. In this article we aim to show how ethnography can actually lead us out of this conundrum in which the political is paradoxically both predefined and, at the same time, the open question that leads the process of inquiry. We do so by advancing a formal and relational approach that provides us with procedural tools to define the nature and specificity of the political bond not ex ante, but rather during the process of research itself. In the first part of the article we historicize the development of political ethnography as a distinct avenue for inquiry and show what have been the challenges to its normalization. This is followed by the article’s main section, which focuses on the four ways in which what is political has been conceptualized in contemporary socio-ethnographical literature. In the conclusion of the article, we advance a lowest common denominator definition proposal, with examples from other scholars as well as from our own research to illustrate how this approach would work.