This paper considers the impact of the Covid-19 pandemic on right-wing populists' constructions of German collective identity. In their "Covid-19 crisis" narratives, German populists attempted to rearrange the discursive and institutional space of the German civil sphere through a symbolic inversion of the heroic signifier and legitimization of violence against perceived enemies. To analyze such discursive dynamics, this paper utilizes multilayered narrative analysis, drawing on the synthesis of civil sphere theory, the anthropological conceptualization of the relationship between mimetic crisis and symbolic substitution of violence and the sociological narrative theory of the sacralization and desacralization of heroism. This analysis structures the investigation of positive and negative symbolic constructions of German collective identity by German right-wing populist narratives. The analysis shows that although German right-wing populists are politically peripheral, their affective, antagonistic and anti-elite narratives contribute to the semantic erosion of the liberal democratic core of the German civil sphere. This in turn reduces the ability of democratic institutions to control violence and leads to the restriction of civil solidarity.

Realism has predominated in discussions about the coronavirus pandemic where politicians, authorities, and commentators debate over the substance and consequence of scientific facts. But while biology played a crucial role in triggering the pandemic, the resulting crisis developed through a social process. In this paper, I argue that the coronavirus pandemic in Britain was successfully framed as a crisis, but that the ritualization of solidarity normally generated by this meaning was compromised. Through an analysis of media coverage and official statements from the government, I trace the discursive construction of the crisis through the deployment of battle metaphors. Building on this discourse analysis, I show how the symbolic alignment of the pandemic and the Second World War revived symbols and tropes that informed the cultural construction of pandemic heroes. To explain why the intensity of the crisis framing was not matched in ritual performance, I consider how the government's ambiguous policies and erratic social performance produced a state of indefinite liminality, subverting solidarity processes in lockdown. The paper offers insight into the experience of anomie during the pandemic and contributes to the strong program in cultural sociology by incorporating the crisis approach in disaster studies into the social drama framework.

Face-to-face (F2F) embodied interaction is the initial ingredient of interaction ritual (IR), the buildup of shared emotion, mutual focus of attention, and rhythmic entrainment that produces interpersonal solidarity. What happens when a natural experiment (the COVID-19 epidemic) prevents most F2F encounters or limits the modes of micro-interactional communication by masking? The paper examines evidence of the effects of masking and social distancing on public behavior, family life, remote schooling and remote work, prohibition of large audiences and assemblies, and attempts to substitute non-embodied electronic media. Most effects are consistent with IR theory predictions.

The essay reviews the trajectories of cultural sociology in three East Asian societies, namely Hong Kong, Taiwan and Korea, which show interesting parallels and distinctive developments within their respective social and historical contexts. Sociologists in these societies in general, and cultural sociologists in particular, have endeavored to reflect on the cultural ramifications of the social and political changes wrought by the processes of modernization, (de-)colonization and democratization. By building on the efforts of their predecessors and taking inspiration from new theoretical ideas from the West, cultural sociologists in these Asian societies have blazed a long trail beyond the conventional approach of the sociology of culture. By seriously considering the analytic autonomy of culture, their works have sought to wrestle with the issues of meaning, identity, morality, trust, everyday life, collective consciousness, community and resistance under the increasing influences of state power, markets and global hegemony.

This paper examines the influence of both the agential and structural aspects of culture on the 2017 UK General Election. The empirical section of the paper is organised around three aspects of the Labour campaign narrative: its promise to provide a national 'alternative', its mobilisation of Corbyn as simultaneously an individual and an icon, and its use of rallies and social media as alternative stages from which to project its meanings. It identifies the material conditioning, coding and counter-coding, narrativisation and counter-narrativisation of key events, issues, and figures, demonstrating how the substantive contestation of the campaign occurred within a consensual formal grammar that constrained symbolic action and often produced consequences unintended by cultural workers themselves. It, therefore, demonstrates how culture retained a relative autonomy in influencing meaning outcomes in part due to its formal semiotic logic. It introduces the notion of 'code-rerouting' to cultural sociology's stock of conceptual tools and highlights how failure to conform to the structuring norms of civil rituals, such as presenting oneself to public scrutiny during a campaign, or failure to project coherence between surface and depth, individual and icon, past and present, or between private and public can prove fatal to performative felicity.

Prior studies on growing formal rationalization in evaluation systems have overwhelmingly shown that they operate as "iron cages," which redefine standards of excellence around quantifiable metrics. However, existing literature may have overestimated the extent of isomorphism in individual or organizational practices under highly rationalized systems of assessment. The judging system in figure skating both rewards quantifiable technical merit and valorizes a circumscribed notion of artistry characterized by maturity and authenticity. It constitutes a combination of formal rationalization and culturally specific productions of artistry, offering participants a distinct set of options in constructing their competition routines. Drawing on exclusively obtained interview data with 40 Olympic-level figure skaters from the U.S. and 5 other countries, and following Alexander's (Sociol Theory 22(4):527-573, 2004) social performance theory, I explore the contingent process by which figure skaters maneuver between conformity to the formally rationalized rulebook and the non-isomorphic yet culture-structured performances of artistry. In doing so, I identify three types of skaters based on their embodiment of artistry: the emerging phenoms, the athletic performers and the "authentic" artists. My article reveals that despite rationalizing tendencies of the scoring system, skaters strive for social performances of artistry based on shared cultural scripts of greatness in the sport.

The 2020 coronavirus pandemic is puzzling from a visual point of view. There are millions of photographs published about the crisis every day, yet we can see the key actor, the virus, only in artistic representations. Most of us also have very restricted access to central sites of the crisis, as intensive care units, nursing homes, meat packing plants and prisons are often not available for photographic representation. At the same time, we are oversupplied by other images that try to capture the "essence" of the moment. This article analyzes three prevalent visual genres in connection with the ongoing pandemic: abstract representations of the virus and public responses to it, images of heroes and sinners, and photographs of the "stage": the iconic spaces including empty public buildings and busy domestic spaces. All these iconic representations try to grasp the "deep meaning" of the crisis through a particular scene or moment. Their expressive surfaces have become our key sources to imagine the coronavirus crisis, and to socially connect in a time of painful and prolonged physical distance.

This paper studies the ritual and aesthetic performances of Ohio Gov. Mike DeWine's Coronavirus press conferences. It argues that the press conferences are mediatized sanctuaries-solidaristic respites from the chaos of pandemic and partisan politics. They achieve this via performing a regular ritual of affliction where basic cultural commitments are affirmed, institutional action is validated, and the where the trouble of Coronavirus can healed as a result.

Both lay understandings of crisis moments and influential psychological models of cognition in times of uncertainty emphasize how crises limit thinking. Conversely, scholars as diverse as Foucault, Swidler, Bourdieu, and Butler have elaborated generative conceptions of crisis, which specify crises as moments of change, transformation, and heightened cognition. The research presented here takes up the question of how crises become thinkable, as actors gradually make sense of a newly uncertain context. Against a backdrop of polarization on the topic, in-depth interviews with 60 businesspeople navigating the coronavirus pandemic show that they see public health and economic well-being as interrelated. This has important effects on how businesses interpret and implement government directives and public health guidelines, from choosing to close before being mandated to do so, to staying closed even when allowed to reopen. Taken together, these findings substantiate generative models of crisis while drawing attention to the polysemous justifications elaborated by actors as they navigate shifting cultural and social scaffoldings.

How do performances contribute to meaning-making processes in cultural fields? This paper focuses on the spaces where performances happen and how music is framed and staged by intermediaries. I engage critically with cultural pragmatics from a Bourdieusian perspective to argue that performance contexts are central to the structure of music scenes, and that fusion may be understood as a moment when the "rules of the game" (Bourdieu 1993) of a cultural field are enacted, perpetuated, or contested. This article points to the role that cultural intermediaries play in shaping performances, interpreting systems of collective representation, and achieving fusion. I devise a framework to analyze how the Parisian music scene is organized and structured by a pure/impure binary linking specific music genres to performance contexts. I also examine how cultural intermediaries in Paris work within this frame, playing with performance "rules" to shape audiences' understandings and experiences of music in particular venues. Drawing on ethnographic observations conducted in two major venues, I show how bookers attempt to transform the "rules of the game" and position their venues as part of the avant-garde by mixing "pure" and "impure" elements of performance during the events.

The Invictus Games is an international sporting competition involving military veterans who have become either wounded, injured or sick during their service. Having become a prominent event in the public sphere of participating nations that are drawn from Western security alliances, this article outlines results from a thematic analysis of Australian media surrounding the 2018 Sydney Games. While reporting of the Games included the use of cultural frames that reflect traditional symbolic relationships between sport and war, the data reveal new military-civilian discourses drawn from identity politics and focused on cultural recognition. These discourses emerge through the Invictus Games by (1) disability providing a cultural basis to demand greater respect for contemporary veterans and military service; and (2) empowerment narratives of rehabilitation being symbolically connected to participants' reengagement with their former military identity. Institutional problems central to rising political activism amongst contemporary veterans did not feature in the media coverage. It is argued that the Invictus Games illustrates the need for sociology to conceive of militarization in more multidimensional ways, appreciating both the prominence of a civilian-military gap in contemporary culture and how various social actors in Defense utilize post-heroic narratives in seeking to redress this cultural divide.

With eSports and video games rapidly gaining popularity, we are witnessing a rise of semi-autonomous gaming communities. I propose using Alexander's civil sphere theory and my concept of the gaming sphere to understand the dynamics of the meaning-making processes herein. I ask: why did the Blitzchung controversy spark such outrage? I explore the hidden meanings behind the controversy where the professional Hearthstone eSports player Ng Wai Chung was punished for expressing his opinion during post-game interview by calling to "Liberate Hong Kong," losing $4000-all happening in the ostensibly apolitical gaming sphere. I first build the gaming sphere from the civil sphere, establishing the constitutive and communicative institutions of gaming as well as identifying the sacred and profane binary oppositions within the gaming sphere. Second, I provide a thick description and interpretation of the Blitzchung controversy using my concept of the gaming sphere. Lastly, I conclude that despite winning fairly, Blitzchung's punishment for being "political" was not removed entirely. However, as the civil sphere was invited into the gaming sphere, the controversy shifted toward Hong Kong protests. The gaming sphere was partially restored as apolitical, even supporting a noble cause, but the Blitzchung controversy never achieved full societalization.

The emergence of an unprecedented wave of race-based athletic activism in the last decade presents the opportunity to formulate a more critical, cultural theory of the significance and socio-political function of sport in contemporary life. We begin by centering athlete agency and highlighting the distinctive performative, communicative, and symbolic opportunities that sport affords. However, athletic activism and social messaging are also structured-and their impacts shaped-by a range of contextual factors and institutional forces as well as sport's own unique cultural status and ideological claims. We catalog these constraints to capture the larger cultural field of sport as a site of racial commentary and contestation. Situating this multifaceted field of protest and response in its larger social, cultural, and media contexts leads us to argue that sport presents a vehicle not only for the performance of protest (as existing theory might have it), but for the representation and dramatization of social contestation, struggle, and change more generally. The lessons and broader implications of this synthesis are discussed in the conclusion.

Through analysis of the UK government's management of the COVID-19 outbreak, this paper offers an empirical demonstration of the principle of culture's relative autonomy. It does so by showing how the outcome of meaning-making struggles had impacts on political legitimacy, public behaviour, and control over the spread of the virus. Ultimately, these impacts contributed to the avoidable deaths of tens of thousands of UK citizens. Dividing the crisis into phases within a secular ritual passage or 'social drama', it shows how each phase was defined by struggles between the government and other actors to code the unfolding events in an appropriate moral way, to cast actors in their proper roles, and to plot them together in a storied fashion under a suitable narrative genre. Taken together, these processes constituted a conflictual effort to define the meaning of what was occurring. The paper also offers more specific contributions to cultural sociology by showing why social performance theory needs to consider the effects of casting non-human actors in social dramas, how metaphor forms a powerful tool of political action through simplifying and shaping complex realities, and how casting can shift responsibility and redefine the meaning of emotionally charged events such as human death.

How is meaning produced in and around the art gallery? Sociological answers to this question are limited by a narrow focus on inter-gallery group interaction and cognitive interpretation. I argue that such approaches would be strengthened by accounting for the diverting effects of gallery context and atmosphere, both in and beyond the gallery. Art gallery windows offer a lens through which to explore how issues of context and atmosphere are negotiated in and around an art gallery in everyday life. I trial this approach using data from a fourteen-month case study of Bluecoat, a city center art gallery in Liverpool, UK, which has a series of windows that mediate between the gallery and the neighboring shopping street. The windows partition zones of meaning; frame vision; contribute to the symbolic meanings of a gallery's exterior architecture; and modulate its interior atmosphere. The analysis models a meaning-centered sociology of the art gallery that moves beyond interpretation and towards a broader understanding of the currents of meaning in and around the art gallery.

We examine how the contemporary art market has changed as a result of the disruptions caused by the novel coronavirus. Based on interviews with artists, collectors, a dealer, and an auction house executive, we argue that the decline of face-to-face interaction, previously essential to art market transactions, has placed strain on each corner of the community. In the absence of physical co-presence with the artworks and art world actors, participants struggle to evaluate and appreciate artworks, make new social ties, develop trust, and experience a shared sense of pleasure and collective effervescence. These challenges especially impact the primary gallery market, where participants emphasize a communal commitment to art above instrumental speculation, which is more accepted in the secondary auction market. We find a transition to distant online communication, but the likelihood of this continuing after the lockdowns end and the virus dissipates varies according to the subcultures of these market segments.

In this article, I examine the case of a viral film entitled "Plandemic," its sequel, and the epidemiologist that is its main subject, and develop a cultural sociology of conspiracy theorizing through the concept of "performative conspiracy." I argue that the Plandemic case represents a cultural performance within the (ongoing) serious social drama of the Covid-19 pandemic. I focus primarily on the "alternative" narrative put forth by the Plandemic case; however, the (Western/US) "mainstream" narrative becomes clear as well. Both call upon the same sets of binary oppositions, chief among them, science vs. blind faith, truth vs. deception, and evidence vs. supposition. Audiences, who are themselves fragmented and differentiated, are exposed to multiple narrative paths. Within the mainstream, they encounter an apocalyptic-turned romantic story, in which science, evidence, and the truth, the sacred trio, will lift humanity out of perilous danger. Plandemic's alternative narrative begins in a tragic tone and builds apocalyptically into a tale of terror, waged by the very same forces of science, truth, and evidence, to create a "plague of corruption" that will "kill millions." To conclude, I reflect on the potential implications of the increasing popularity of conspiracy theorizing about Covid-19.

Since the World Health Organization (WHO, February 2, 2020) reported that the spread of coronavirus disease has been accompanied by a "massive infodemic," the COVID-19 outbreak has become a national and international battleground of a struggle against misinformation. Fact-checking outlets around the world have been actively counteracting false and misleading information surrounding the pandemic. In this article, we conceptualize fact checkers in terms of the "interpretative power" that journalism holds in processes of political performances (Alexander in Soc Theory 22(4): 527-573, 2004, in: The performance of politics. Obama's victory and the struggle for democratic power. Oxford University Press, Oxford/New York, 2010). Drawing on virus-related fact checks from Poynter's International Fact-Checking Network (IFCN) database, we make two arguments. First, we argue that the new phenomenon of specialized "fact checking" might be considered as a further explicitly differentiated element of Alexander's model of cultural performance, which fulfills a double duty: trying to contribute to further "de-fusion" (separating audiences from actors when the latter lack authenticity and credibility) on the one hand, and working to overcome it on the other. Second, we explain how new fact-checking practices have become a reflexive supplement to the news media of the civil sphere that might be able to help the civil sphere's communicative institutions to defend truthfulness in a manner that contributes to democracy.

Whether the result of purposeful nation-branding projects or longstanding traditions, associations endure between specific nations and the particular goods they produce. Such associations can be harnessed on behalf of the symbolic and economic value recently recognized as national cultural wealth. Further, the cultivation of impression management strategies about geographical origins is requisite for specialty food firms: terroir is a foundational convention of the gourmet food industry, and its potential value is significant. For entrepreneurial firms in the specialty food market, the process of strategically connecting to cultural wealth would seem to depend upon their particular geographic location. But while some national origins add both symbolic and economic value to cultural products within the global marketplace, others potentially threaten that value. In this paper, I read closely the discursive data contained on a nearly complete collection of two case study firms' food packages ( = 100) to illustrate the firms' unexpectedly divergent perceptions of cultural wealth, despite their identical national location. I further analyze interview data to describe the vital (and potentially valuable) interaction between producer perception, imagination, and cultural production. By redirecting analytical attention toward profit-seeking producers, this paper aims to increase the analytical power of the concept of cultural wealth.