The Fabrication of Meaning: Literary Interpretation in the United States, Great Britain, and the West Indies

Griswold, Wendy

doi:10.1086/228628

Cited by 292 publications

(234 citation statements)

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“…Specifically, socio-cultural locations contribute to individuals' specific experiences and expectations and these, in turn, shape individuals' interpretive frameworks -their "horizon of expectations" (Griswold 1994) or their "cognitive orientations" (Zerubavel 1997). In such a way, shared experiences create interpretive communities of memory characterized by shared interpretations of the past (Radway 1984;Griswold 1987b;Zerubavel 1997;Zelizer 1993).…”

Section: Figure 11: Interactional Model Of Collective Memories Formamentioning

confidence: 99%

“…Admittedly, characteristics of cultural objects have been examined less than memory entrepreneurs or social context, but a concept that can be usefully applied to this area is Griswold's (1987b) cultural power. Specifically, cultural power can be used to explain the higher commemorability of some presentations of the past.…”

Section: Challenging the "Official" Memoriesmentioning

confidence: 99%

“…Griswold (1994) uses the 19 metaphor of cultural diamond to describe the four main points in the study of culture (cultural object, creators, recipients, social world) and six links between these four points that need to be examined for a comprehensive grasp of the cultural matters. Cultural objects or cultural products are the Geertzian publicly available symbols or the embodied culture (Griswold 1987b(Griswold , 1994.Although it is possible to study cultural objects in isolation (for instance, we can approach a cultural object as a self-contained semiotic system or text, study the code underlying it, its genre characteristics, etc. ), a full cultural understanding requires also examining how meanings of cultural objects were created or produced, how they were received and (re)interpreted, and how both the creation/production and the reception/consumption of cultural objects were situated in the social world/context (Griswold 1994).…”

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confidence: 99%

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Social Changes and the Generational Differences in the Formation of Collective Memories (Dissertation, 2012)

Juroš¹

2016

Preprint

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The present study found that the textbook and newspaper presentations, primarily shaped by the 1990s nation-building elites, mainly portrayed Yugoslavia in negative political, economic and ethnic terms. However, findings from 72 in-depth interviews with the two young Croatian generations suggested that the influence of the dominant negative re-evaluations was limited, particularly among the vocationally educated individuals who were least exposed to the institutionalized presentations of the Yugoslav past. In contrast, the young Croats, independently of their differences, generally dominantly evaluated Yugoslavia in positive social terms, which was a perspective obtained from their parents and older people recounting their good lives in Yugoslavia. This perspective was appropriated not only because its sources were emotionally available and credible, but also because the social lens on Yugoslavia helped the young Croats make sense of their lives in the social insecurities of the contemporary Croatian society.ix Therefore, the present study showed how different beliefs on the Yugoslav past, available from different sources, were appropriated and used by the young Croats. I also proposedInteractional Model of Collective Memories Formation, which elaborated how the influences on the beliefs of the past were formed at the macro, micro and the level of social interaction. Finally, this study also illuminated how active actors reinterpreted the presentations of the past, thus demonstrating how individuals can use culture in diverse and adept ways. They wore their hair long, discovered LSD and pot They sang about peace, with Tito they were non-aligned On national basis, they were not divided It was easy to talk philosophy in a student mess, To be a penniless artist and a musician in-between In a place where things were working out all-right, where the state functioned It was easy to be a student in the 1970s My folks -they easily found their first job Nobody hit the unemployment office with a degree in their hands The living was good in that party system Nobody talked about Goli otok, you just changed the subject The students with their hair long got a degree and got a job, got their paycheck regularly You even could get an apartment from the United Work It was easy then to have big plans To make your own nest, to be relaxed, no tensions there To have your spot in the company reserved, in the selfmanagement committee as well You stayed until you retired -all your life at the same desk Everything didn't seem as a bluff, a cheap trick in those days Nobody went hungry They were happy in their little apartment Secure job and a retirement fund It was an easy decision to have us Nothing is the same anymore, there is no secure path There is no direct flight to the stars, to the better tomorrow Black-and- (born 1989-91), was born after the break-up, but it spent its formative years in democratizing post-Yugoslav period.Both these generations were hardly able to form mature meaningful evaluations of the past. 4Rather, for th...

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Section: Figure 11: Interactional Model Of Collective Memories Formamentioning

confidence: 99%

Section: Challenging the "Official" Memoriesmentioning

confidence: 99%

mentioning

confidence: 99%

mentioning

confidence: 99%

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Social Changes and the Generational Differences in the Formation of Collective Memories (Dissertation, 2012)

Juroš¹

2016

Preprint

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“…Influential studies in this model for research include Griswold (1987a) on literature, Wolff (1990) on the visual arts, and DeNora (1995DeNora ( , 2000 on music. Such empirical studies have been bolstered by theoretical and methodological arguments for the necessity of advancing the discipline along these lines (Alexander, 2003;Bowler 1994;Griswold, 1987b;Wolff, 1992;Zolberg, 1990).…”

Section: Meaning and Measurementmentioning

confidence: 99%

Art at the crossroads: The arts in society and the sociology of art

Alexander

Bowler

2014

Poetics

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The arts face a number of challenges in the 21 st century brought about by various factors.These include rapid expansion of art markets at an international level, the impact of economic restructuring in public funding for the arts, the increasing dominance of neoliberal models of institutional and organizational success, changes in the definition of artistic work and artistic identity, and changes in the definition of audiences and new modes of arts participation in the face of technological innovations in communication technologies. In this paper, we identify and analyze six major themes central to the arts and the sociology of art: the marginalization of the arts in society and sociology, art and the state, arts institutions and organizations, artists and audiences, and issues of meaning and measurement. We argue that the arts and arts scholarship face a crossroads in the current environment. We conclude with some observations about directions for future research. Drawing inspiration from these changes in arts worlds and their implications for both the arts and arts scholarship, we explore six major themes central to the arts and the sociology of the arts in the current environment. Each of the themes-the marginalization of the arts in society and sociology, changing markets, art and the state, institutions and organizations, artists and audiences, and issues of meaning and measurement-includes observations about changes in the art world as well, as a discussion of scholarship in the area. We conclude with a discussion of directions for future research. It is our hope that this article will provide a useful overview of the state of arts scholarship at this challenging time, and suggestions for its future development. The articles in this special issue of Poetics are a contribution to that development. The marginalization of the arts in society and sociology 3The arts have occupied a marginalized position in both modern society and the discipline of sociology. Historically and today, the arts have been judged less important than other areas of study for the social sciences. As a recognized area of specialization, the sociology of art is relatively new and still developing (see below). The marginalization of art in society may be less obvious or even puzzling. After all, the arts hold an exalted, even sacred, position in society; they have the ability to confer status honor on the people who consume and possess expert knowledge about them; and expensive sales of art are reported frequently in the media. But as we demonstrate below, it is precisely this exalted status that results in the marginalization of the arts in the broader social context.The sharp, hierarchical distinction between the fine and popular arts that was drawn in the nineteenth and twentieth centuries created a dichotomous model of aesthetic objects and practices, the institutions and audiences to which they belong, and the functions or purposes they serve (DiMaggio, 1982a(DiMaggio, , 1982bLevine, 1988). 2 Put simply, the fine arts were ...

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Symbolic Interactionism and Cultural Studies

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The Fabrication of Meaning: Literary Interpretation in the United States, Great Britain, and the West Indies

Cited by 292 publications

References 28 publications

Social Changes and the Generational Differences in the Formation of Collective Memories (Dissertation, 2012)

Social Changes and the Generational Differences in the Formation of Collective Memories (Dissertation, 2012)

Art at the crossroads: The arts in society and the sociology of art

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