This article aims to explain the widespread attention to contemporary protesting artists among Western audiences by focusing on the case of Pussy Riot. Social movement scholarship provides a first step into understanding how Pussy Riot legitimately protests Russian politics through its punk performances. It then turns to the concept of cosmopolitanism as a performance in everyday life to explain Pussy Riot's appeal among Western audiences. By collecting and analyzing 9001 tweets through a thematic hashtag analysis and topic modeling, this article analyzes how audiences talk about Pussy Riot and shows how Twitter affords users to perform cosmopolitan selves by sharing their ideas and experiences on Pussy Riot with others. Although we distinguish between four types of cosmopolitan selves, the results clearly show Pussy Riot is mainly reflected upon in a media context: Twitter users predominantly talk about Pussy Riot's media appearances rather than readily engage with its explicit political advocacy.
Various scholars have studied the relationship between music and politics. Most, however, focus on how governments and political parties on the one hand and movements and activists on the other use music for political outcomes and in doing so they often ignore the more latent forms of political participation music can lead to. This article, therefore, focuses on how people give meaning to political music in informal conversational settings by exploring the reception of Pussy Riot on YouTube. New media platforms like YouTube are ubiquitous in the West and as 'third spaces' they allow audiences to publicly reflect on everyday newsworthy events and activism. We combine the computerized methods of topic modelling and semantic network analysis to study both quantitatively and qualitatively how Pussy Riot's punk protests afford political participation by (Western) YouTube users. Results show that the comments mostly address (1) the geopolitical boundaries of activism, (2) the legitimacy and commitment of the activists, (3) the political content of the protests and (4) the relationship between the protests and religion. For the YouTube users in our study, the political music of Pussy Riot thereby serves as a vehicle to discuss politics beyond the protests themselves.
These CriTiCs (sTill) Don'T WriTe enough abouT Women arTisTs": gender inequality in the newspaper Coverage of arts and Culture in France, germany, the netherlands, and the united states, 1955-2005 PAUWKE BERKERS MARC VERBOORD FRANK WEIJ Erasmus University Rotterdam, the Netherlands This article addresses the extent and ways in which gender inequality in the newspaper coverage of arts and culture has changed in France, Germany, the Netherlands, and the United States, 1955-2005. Through a quantitative content analysis, we mapped all articles that appeared in two elite newspapers in each country in four sample years 1955, 1975, 1995, and 2005 (n = 15,379). First, despite increasing women's employment in arts and culture and a quantitative feminization of journalism, elite newspaper coverage of women in arts and culture has hardly changed, making up about 20-25 percent consistently over the last 50 years. Second, our results show surprisingly few cross-national differences in the amount of the newspaper coverage devoted to women in arts and culture. Third, although women are underrepresented in the coverage of all artistic genres, there is some evidence of horizontal sex segregation-particularly in architecture (stereotypical masculine) and modern dance and fashion (stereotypical feminine)-as well as vertical sex segregation-in that attention to women has increased in "highbrow" genres that have declined in status. Finally, as the status of an actor type increases from laymen to artistic directors, the proportion of women decreases in newspaper attention to arts and culture.
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