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Imagined Engagements: Interpreting the Musical Relationship with the Canadian North

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van den Scott J. , van den Scott L.-J. K.

Qualitative Sociology Review

2019

tom 15

nr 2

90-104

In this article, we extend Benedict Anderson’s notion of imagined communities to examine the idea of an “imagined engagement” between or among people and groups that have not met. These imagined engagements include a blurring of temporal lines, as one group “interacts” with another’s past, present, or future. Imagined engagements are a form of failed interaction, and, as such, have their place in Goffman’s interaction order. We argue that musical language can comprise a meeting point of these engagements. We then demonstrate how two composers-one historic and one contemporary-have used the musical cultures of an Othered people, with a focus on Indigenous America, in an attempt to create a sense of community and common ties between the West and these Others-a sense of community in which the Othered have no part.

Entering Iranian Homes: Privacy Borders and Hospitality in Iranian Movies

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Mohammadi F. , van den Scott L.-J. K.

Qualitative Sociology Review

2023

tom 19

nr 2

50-73

The architecture of homes in Iran has changed significantly over the past four decades since the 1979 Iranian revolution. We ask how these architectural changes shift neighborhood relationships and how they transform the Iranians’ hospitality rituals and practices. We conducted a qualitative content analysis of eighteen Iranian movies filmed after the 1979 revolution. They allowed us to make comparisons among various dwelling patterns and neighborhood relationships. We argue that the representations of neighborhood relationships reflect these changes, demonstrating the impact of architecture on interactions. Our focus in this article is on borders of privacy, power dynamics in the neighborhoods and among families, and communication forms to better understand the impact of changing architecture on hospitality through the lens of cinema. Additionally, we engage with Goffman’s (1956) concepts of frontstage and backstage, demonstrating that these are not dichotomous, although they are opposites, and there can be a thinning of frontstage along with a thickening of backstage. Entrances to homes are often gradual, and visitors may gradually penetrate through layers of the frontstage as they become closer (emotionally and in space) to the heart of the home’s (and its occupants’) backstage.