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Audience Evaluations of Contrasting Types of Literature Event: Author Readings and Poetry Slams
No full textIn den 1990er- und den frühen 2000er-Jahren hat die Anzahl der Literaturveranstaltungen stark zugenommen. Neben die klassische Autor*innenlesung traten neue Formate wie Lesebühne und Poetry Slam. Ausgangspunkt dieser explorativ ausgerichteten literatursoziologischen Pilotstudie – eine der ersten umfassenden Arbeiten über Literaturveranstaltungen im deutschsprachigen Raum – war die Frage danach, was Besucher*innen an unterschiedlichen Literaturveranstaltungen gefällt und warum. Um diese Frage zu beantworten, wurden die Wertungen und Wertmaßstäbe von Besucher*innen ausgewählter Literaturhauslesungen und Poetry Slams in München und Stuttgart der Jahre 2009/2010 untersucht, also Veranstaltungen zweier im Feld der Literaturveranstaltungen deutlich voneinander abgegrenzter Formate. Empirische Grundlage der Studie bilden ca. 1.500 Fragebogenbefragungen und ca. 100 Interviews bei/im Anschluss an 13 Veranstaltungen; die hieraus resultierenden quantitativen wie qualitativen Daten werden mithilfe verschiedener Methoden der empirischen Sozialforschung triangulär aufeinander bezogen. Um eine Grundlage für die Entwicklung von Untersuchungskorpus und Erhebungsinstrumenten zu schaffen, wird basierend auf Goffmans Rahmentheorie zunächst ein Modell der Bestandteile von Literaturveranstaltungen und Auftritten mit Literatur entwickelt sowie im Anschluss hieran eine Typologie der Literaturveranstaltungen, die zwischen Lesung, Lesebühne, Literaturlabor, Open Mike, Poetry Slam und Literaturfestival differenziert. Ausgehend hiervon, von Pierre Bourdieus Feldtheorie und einer sozialkonstruktivistischen Wertungstheorie wird anschließend die Geschichte des Literaturveranstaltungsfeldes seit den 1990er-Jahren dargestellt, aus der wiederum die zu untersuchenden Veranstaltungsformate und die voraussichtlich für Zuschauer*innenwertungen relevanten Wertmaßstäbe abgeleitet werden. Die Auswertung der Daten ist fokussiert auf mehrere Schwerpunkte, geht aber über diese hinaus: (1) Faktorenanalytisch werden acht distinkte Wertmaßstabsmuster herausgearbeitet, die in den Autor*innenlesungs- und Poetry-Slam-Publika vertreten sind. Sie zeigen ein Spannungsverhältnis von gegenstandsbezogener und selbstbezogener Rezeption auf, das die erwartete Differenz von bildungskulturell und populärkulturell geprägter Rezeption bei den beiden Formaten Lesung und Poetry Slam spezifiziert; zudem wird die formatsspezifische Bedeutung des Geselligkeitserlebens, von körperlicher Erfahrung und Authentizität ebenso untersucht wie die von Wertmaßstäben des sog. Kreativitätsdispositivs (Andreas Reckwitz) u.a.m. Die Wertmuster prägen das Wertungsverhalten der Publika deutlich und hängen stark vom Alter ab, aber auch von anderen in den Blick genommenen Aspekten. (2) Clusteranalytisch lassen sich vier Publikumsgruppen mit distinkten Präferenzstrukturen bestimmen, die entweder primär bei den untersuchten Autor*innenlesungen (abgrenzungsbewusste Hochkulturkonsument*innen und bildungskultureller Mainstream) oder bei den Poetry Slams (geschmacklich festgelegte und begeisterungsfähige Eventgänger*innen) zu finden sind. (3) Abschließend wird ein inferenzbasiertes Modell der Informationsverarbeitung herangezogen, um am Beispiel mehrerer Lesungsauftritte (F.C. Delius, Eva Menasse) und Poetry-Slam-Auftritte (Bumillo, Pauline Füg, Andy Strauß, „Der Kaiser“) zu zeigen, wie die konkrete Wertungspraxis durch die herausgearbeiteten Wertstrukturen einerseits und andererseits durch situationelle Besonderheiten, insbesondere die Salienz von Auftrittsaspekten, bedingt ist.
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"Ergänzende Materialien zu dieser Publikation (Videos, Tabellen, Anhänge) stehen digital zur Verfügung. Sie werden in Kürze auf entsprechenden Fachrepositorien bereitgestellt und von hier aus verlinkt.“The number of literature events increased sharply during the 1990s and early 2000s. New formats, including poetry slams and author collective performances [Lesebühnen], became prominent, alongside classic author readings. This pilot study – located in both sociology and literary studies, exploratory, and one of the first comprehensive investigations of literature events in the German-language sphere – developed from the question of what audiences at diverse literature events like about them, and why. To answer this, value measurements and evaluations were collected, and examined, from responses to selected events at so called ‘houses of literature’ [Literaturhäuser] and at poetry slams in Munich and Stuttgart, 2009–2010. These two event formats differ decisively. The study’s empirical foundations are the c. 1500 questionnaires and the c. 100 interviews conducted during / following thirteen events. The quantitative and qualitative data resulting thereby is brought into triangular relation using various methods from empirical social research. Goffman’s frame analysis is utilized to create a foundation for the development of a data corpus to be investigated, and to forge data collection instruments. First, a model of the components of literature events and of literature-based performances is established. Subsequently, a typology of events is laid out, which differentiates between readings, author collective events, ‘literature laboratories’, open mikes, poetry slams, and literature festivals. Proceeding from this empirical foundation, from Pierre Bourdieu’s theory of social fields, and from a social constructivist theory of value, the history of the literature events field since the 1990s is presented. From this can be extrapolated which event formats are to be investigated, and which value-measurements will presumably be relevant to the audience members’ evaluations. Several priorities are set in the data evaluation stage, which also, however, goes beyond these foci: (1) Through factor analysis, eight distinct value-measurement patterns are identified, which are represented in audiences at author readings and at poetry slams. These demonstrate a strong contrast in audience receptions between those that are object-oriented and those that are self-oriented. This contrast, in relation to the different formats of classic reading and poetry slam, specifies the expected divergence between receptions shaped by pop culture and those shaped by what is commonly seen as highbrow culture. Moreover, aspects of the events’ format-specific significance include: convivial experience; bodily experience; authenticity; and value-measurements pertaining to Andreas Reckwitz’s creativity dispositif. Value patterns clearly impact on the audience members’ evaluation behavior – these depend strongly on age, but also on other aspects looked at. (2) Cluster analysis facilitates the definition of four audience groups with distinct preference structures. These groups can be found either primarily at the author readings examined – the first is ‘highbrow’ consumers, conscious of cultural demarcations, the second an educated, cultural mainstream – or in the two groups going to poetry slams, both experience-and-sensation oriented, the first with less flexible tastes, the second enthusiastic about the new. (3) In conclusion, an inference-based model for information processing is cultivated, to show – using the examples of further public readings (the authors F.C. Delius and Eva Menasse) and poetry slam performances (Bumillo, Pauline Füg, Andy Strauß, and Der Kaiser) – how the concrete praxis of valuation is conditioned by the value structures established, on the one hand, and by situational exceptions, particularly the salience of performance aspects, on the other.
Editor's note: "Supplementary materials to this publication (videos, tables, appendices) are available digitally. They will be made available shortly on appropriate subject repositories and linked from here."2022-02-2
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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