Culture in Interaction

Eliasoph, Nina; Lichterman, Paul

doi:10.1086/367920

Cited by 599 publications

(493 citation statements)

References 61 publications

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“…In so doing, our solutions draw on and depart from recent work in cultural sociology and in network analysis. Like Eliasoph and Lichterman (2003), we are interested in culture as styles. Like them (and others;see, e.g., Becker 1974), we see groups rather than individuals as the relevant units in which culture is relationally performed.…”

Section: For a Topology Of Sociocognitive Spacementioning

confidence: 99%

“…Eliasoph and Lichterman (2003), for example, rephrased culture in action as culture in interaction. Rather than describing the tool kits of skills and habits as pertaining to the individual, they maintain that the relevant location of tool kits is the group.…”

Section: Conclusion From Pipes and Prisms To Tools And Tensionsmentioning

confidence: 99%

“…But as Swidler herself later lamented, much of this work looked, mistakenly, to the level of the individual as the actor deploying the skills from the cultural tool kit (Swidler 2008;see Jerolmack and Khan [2014], for discussion). An exception was the study by Eliasoph and Lichterman (2003), who eschewed this individualism in favor of "group styles." Their concept of "culture in interaction" was based on observations of how groups coordinate themselves (Eliasoph and Lichterman 2003, p. 740).…”

mentioning

confidence: 99%

See 2 more Smart Citations

Game Changer: The Topology of Creativity

Vaan

Stark

Vedres

2015

American Journal of Sociology

183

152

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Section: For a Topology Of Sociocognitive Spacementioning

confidence: 99%

Section: Conclusion From Pipes and Prisms To Tools And Tensionsmentioning

confidence: 99%

mentioning

confidence: 99%

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Game Changer: The Topology of Creativity

Vaan

Stark

Vedres

2015

American Journal of Sociology

183

152

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“…For example, the cultural register in the domain of corporate management only partially overlaps with that of artistic consumption, social movement activism or participation in religious organizations. Competent actors recognize the norms of different interaction settings and behave accordingly (Eliasoph and Lichterman, 2003). Again, these actors may know more culture than they (can) use, but the use of cultural materials is bounded by the interaction setting as well as by social positions.…”

Section: Conceptual Issues In the Study Of Cultural Repertoiresmentioning

confidence: 99%

A toolkit for analyzing corporate cultural toolkits

Weber

2005

Poetics

134

105

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The cultural and discursive underpinning of industries and markets has received growing attention in recent years. I use Ann Swidler's conceptualization of culture as toolkit, and Pierre Bourdieu's concept of habitus as the starting point to further this enterprise. The article illustrates a strategy for measuring and comparing the cultural toolkits in use by different actors in a larger field. The strategy allows quantitative comparisons of similarity at the level of large comprehensive toolkits instead of selective elements or inferred deeper dimensions. It also takes into account the embeddedness of actors' cultural toolkits in the structures of larger social fields and the specificity of toolkits to communication contexts. While this analytic strategy is potentially applicable to any actor's toolkit in a recurring communication context, I use as an illustration the repertoires that different corporations in the pharmaceutical industry employ to account for their activities in their annual reports. #

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“…Humanist-inspired approaches conduct close readings of text and code for indicators of a culture (Griswold 1987;. Micro-sociologists examine the "idioculture" (Fine 1979) and "group styles" (Eliasoph and Lichterman 2003) of smaller contexts, such as everyday interactions among individuals who participate in a particular group, around objects that are known to them, usable in the course of their conduct, functional in supporting their group's goals, appropriate in maintaining internal status hierarchies, and triggered by external events (Fine 1979(Fine , 1987. Macro approaches measure culture by focusing on large-scale units of analysis like national cultures (Bellah et al 1985;Edgell and Tranby 2010;Gitlin 1980Gitlin , 1995, social movements (Ghaziani 2009;Johnston and Klandermans 1995;Lichterman 1995;Rupp and Taylor 2003;Taylor et al 2009), and art organizations (Becker 1982;Peterson 1976;DiMaggio 1987), or they examine the institutionalization of cultural objects like ideologies (Wuthnow 1987(Wuthnow , 1989 and discourse (Spillman 1995).…”

Section: Measuring Culturementioning

confidence: 99%

Measuring urban sexual cultures

Ghaziani

2014

Theor Soc

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Gay neighborhoods across the United States are de-concentrating in today's so-called "post-gay" era as sexual minorities assimilate into the mainstream and disperse across the city. This context creates a problem of measurement. If by "culture" we mean to say a particular way of life of a group or subgroup of people like sexual minorities, and if that way of life is blending with other aspects of the metropolis, then how can we detect distinct urban sexual cultures? In this article, I use 125 interviews with Chicago residents to propose a two-pronged strategy. First, gay neighborhoods continue to house anchor institutions, despite ongoing residential out-migrations. These are the primary engines of community building, and they locate the material culture of a group in a specific place. Commemorations serve as a second indicator for a culture, and they too put meanings into form. Although it is a fact of city life that all neighborhoods change, anchors and commemorations are analytic devices that scholars can use to observe urban sexual cultures. More generally, they provide a framework for how to measure the shifting geographic profile of a historically stigmatized group as it experiences positive change in public opinion.

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Culture in Interaction

Cited by 599 publications

References 61 publications

Game Changer: The Topology of Creativity

Game Changer: The Topology of Creativity

A toolkit for analyzing corporate cultural toolkits

Measuring urban sexual cultures

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