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Kitchens takes us into the robust, overheated, backstage world of the contemporary restaurant. In this rich, often surprising portrait of the real lives of kitchen workers, Gary Alan Fine brings their experiences, challenges, and satisfactions to colorful life. A new preface updates this riveting exploration of how restaurants actually work, both individually and as part of a larger culinary culture.

Status has long been a core concept motivating sociology as a discipline. As related to the positioning and valuing of individuals, status often takes the form of reputation. How is an individual treated as a cultural object with identity provided by those who have reason to judge? Reputation may be given to known individuals, to those who are widely celebrated within a society, and to those whose past achievements are worth recalling through institutionalized forms of memory. Not all reputations are positive, and individuals may be remembered for misdeeds or violations of norms as embedded in the recall of scandal, political and otherwise. Both reputation and scandal have effects within the interaction order, local group cultures, and institutional structures, including media. As consensus develops, the linkages of individuals and their known status shape shared conceptions of morality.

Learning to argue and persuade in a highly competitive environment is only one aspect of life on a high-school debate team. Teenage debaters also participate in a distinct cultural world--complete with its own jargon and status system--in which they must negotiate complicated relationships with teammates, competitors, coaches, and parents as well as classmates outside the debating circuit. InGifted Tongues, Gary Alan Fine offers a rich description of this world as a testing ground for both intellectual and emotional development, while seeking to understand adolescents as social actors. Considering the benefits and drawbacks of the debating experience, he also recommends ways of reshaping programs so that more high schools can use them to boost academic performance and foster specific skills in citizenship. Fine analyzes the training of debaters in rapid-fire speech, rules of logical argumentation, and the strategic use of evidence, and how this training instills the core values of such American institutions as law and politics. Debates, however, sometimes veer quickly from fine displays of logic to acts of immaturity--a reflection of the tensions experienced by young people learning to think as adults. Fine contributes to our understanding of teenage years by encouraging us not to view them as a distinct stage of development but rather a time in which young people draw from a toolkit of both childlike and adult behaviors. A well-designed debate program, he concludes, nurtures the intellect while providing a setting in which teens learn to make better behavioral choices, ones that will shape relationships in their personal, professional, and civic lives.

If all politics is local, then so is almost everything else, argues sociologist Gary Alan Fine. We organize our lives by relying on those closest to us—family members, friends, work colleagues, team mates, and other intimates—to create meaning and order. In this thoughtful and wide-ranging new book, Fine argues that the basic building blocks of society itself are forged within the boundaries of such small groups, the “tiny publics” necessary for a robust, functioning social order at all levels. Action, meaning, authority, inequality, organization, and institutions all have their roots in small groups. Yet for the past twenty-five years social scientists have tended to ignore the power of groups in favor of an emphasis on organizations, societies, or individuals. Based on over thirty-five years of Fine’s own ethnographic research across an array of small groups, Tiny Publics presents a compelling new theory of the pivotal role of small groups in organizing social life. No social system can thrive without flourishing small groups. They provide havens in an impersonal world, where faceless organizations become humanized. Taking examples from such diverse worlds as Little League baseball teams, restaurant workers, high school debate teams, weather forecasters, and political volunteers, Fine demonstrates how each group has its own unique culture, or idioculture—the system of knowledge, beliefs, behavior, and customs that define and hold a group together. With their dense network of relationships, groups serve as important sources of social and cultural capital for their members. The apparently innocuous jokes, rituals, and nicknames prevalent within Little League baseball teams help establish how teams function internally and how they compete with other teams. Small groups also provide a platform for their members to engage in broader social discourse and a supportive environment to begin effecting change in larger institutions. In his studies of mushroom collectors and high school debate teams, Fine demonstrates the importance of stories that group members tell each other about their successes and frustrations in fostering a strong sense of social cohesion. And Fine shows how the personal commitment political volunteers bring to their efforts is reinforced by the close-knit nature of their work, which in turn has the power to change larger groups and institutions. In this way, the actions and debates begun in small groups can eventually radiate outward to affect every level of society. Fine convincingly demonstrates how small groups provide fertile ground for the seeds of civic engagement. Outcomes often attributed to large-scale social forces originate within such small-scale domains. Employing rich insights from both sociology and social psychology, as well as vivid examples from a revealing array of real-world groups, Tiny Publics provides a compelling examination of the importance of small groups and of the rich vitality they bring to social life.

Gary Alan FINE gehört weltweit zu den prominentesten Persönlichkeiten der zeitgenössischen soziologischen Ethnografie. In diesem Gespräch spricht er über Einflüsse in seiner akademischen Laufbahn und prägende intellektuelle Entscheidungen. Er gilt als \"serieller Ethnograf\", der in zahlreichen Feldkontexten gearbeitet hat und dabei einerseits Kleingruppen und eine von Menschen bevölkerte Ethnografie favorisiert, sich andererseits mit Gerüchten, Klatsch und moralischen Geschichten beschäftigt, die in kleinen und größeren Publiken erzählt werden. FINE beschreibt sein theoretisches Kerninteresse als die Untersuchung des Wechselspiels von Struktur, Interaktion und Kultur. In seinem Werk analysiert er die vielfältigen ortsgebundenen Arten und Weisen, in denen Gesellschaft von Menschen in formellen und informellen sozialen Settings verwirklicht wird, angefangen bei Baseballteams über Restaurantküchen oder die Wetterberichterstattung bis hin zum Schachspielen –um nur einige wenige Gegenstände seiner Forschungen zu nennen. Wesentlich beeinflusst durch symbolisch-interaktionistisches Denken und im Rekurs auf weitere wichtige Perspektiven auf soziale Welten plädiert er für eine selbstbewusste Haltung der ethnografischen Forschung und des ethnografischen Schreibens sowie für die Bedeutung der Konzeptarbeit in einer theorie-informierten empirischen Soziologie dessen, was Menschen zusammen tun.

Purpose – In recent years, scholars have begun suggesting that marketing can learn a lot from art and art history. This paper aims to build on that work by developing the proposition that successful artists are powerful brands. Design/methodology/approach – Using archival data and biographies, this paper explores the branding acumen of Pablo Picasso. Findings – Picasso maneuvered with consummate skill to assure his position in the art world. By mid-career, he had established his brand so successfully that he had the upper hand over the dealers who represented him, and his work was so sought-after that he could count on selling whatever proportion of it he chose to allow to leave his studio. In order to achieve this level of success, Picasso had to read the culture in which he operated and manage the efforts of a complex system of different intermediaries and stakeholders that was not unlike an organization. Based on an analysis of Picasso's career, the authors assert that in their management of these powerful brands, artists generate a complex, multifaceted public identity that is distinct from a product brand but shares important characteristics with corporate brands, luxury brands and cultural/iconic brands. Originality/value – This research extends prior work by demonstrating that having an implicit understanding of the precepts of branding is not limited to contemporary artists and by connecting the artist to emerging conceptualizations of brands, particularly the nascent literatures on cultural, complex and corporate brands.

In recent decades, sociologists have too often ignored the group level—the meso-level of analysis—in their emphasis on either the individual or the institution. This unfortunate absence misses much of what is central to a sociological analysis of community based on “action.” I draw upon Erving Goffman’s (1983) concept of the interaction order as I argue that a rigorous political sociology requires a focus on group cultures and tiny publics. Group dynamics, idiocultures, and interaction routines are central in creating social order. This approach to civic life draws from the pragmatism of John Dewey, as well as the broad tradition of symbolic interactionist theorists. Ultimately, I argue that a commitment to local action constitutes a commitment to a more extended social system.

The desire for authenticity now occupies a central position in contemporary culture. Whether in our search for selfhood, leisure experience, or in our material purchases, we search for the real, the genuine. These terms are not, however, descriptive, but must be situated and defined by audiences. In this analysis, I examine the development of the market for self-taught art, an artistic domain in which the authentic is a central defining feature, conferring value on objects and creators. Self-taught art is a form of identity art in which the characteristics of the artists and their life stories are as important as the formal features of the created objects. The article examines the justifications for this emphasis and the battles over the construction of biography. My examination of self-taught art is grounded in five years of ethnographic observation, interviews, and analyses of texts.