Sociology is usually associated with the rise of capitalist modernity. Its standard approaches privilege Euro-centred histories and neglect the processes of imperialism. This has consequences for how sociology understands contemporary social and political issues, especially those associated with class, race, and religious difference.
The Sociological Review is delighted to be supporting The Connected Sociologies Curriculum Project. Connected Sociologies responds to these challenges by providing resources designed to support students and teachers interested in ‘decolonising’ school, college, and university curricula. There are currently three modules on the website; follow them on Social Media for updates @CSociologies.
Our Current Issue, Volume 68 Issue 6, includes papers on race and racism in Poland and the reimagining of the human-animal boundaries within the digital sphere. A selection of our Free to Access papers include an examination of resident experience of stigma on an Edinburgh council estate by Camilla Lewis and an analysis of Brexit, biomedicine and the NHS in Britain developed by Des Fitzgerald, Amy Hinterberger, John Narayan and Ros Williams, and much more.
You can also find all our Online First papers here.
Digital Series: Methodologies
This month’s digital theme is Methodologies. This can hardly be called a ‘theme,’ so central is it to the practice of sociology and cognate disciplines. Cutting across research interests and tackling some of the most difficult questions we face – of ontology and epistemology – we expected to receive an exciting and diverse set of pitches for this month. We have not been disappointed, and have decided to make ‘Methodologies’ an annual digital theme. In this way, we hope to keep our finger on the pulse of methodological developments in the discipline and beyond.
Felix Kaufmann implores readers of the journal to ‘go back to the fundamentals of knowledge’ through ‘thoroughgoing reflection.’ This process of reflecting on the production of sociological knowledge has continued throughout the decades and notable advances in methodology have been made in the pages of The Sociological Review. In 2000-2001, for example, Ruth Halliday and Sarah Pink exchanged their views on visual and video methods, hashing out the contours of this methodological discussion. In 2012, The Sociological Review published the Monograph Live Methods, edited by Les Back and Nirmal Puwar, which reflected on old and new sociological methods, and invited us to think again about ‘what sociology was, is and might be’. Live Methods is still making waves today, as testified to by some of our blogs this month.
Our Image Maker in Residence is taken on by the research team behind the ‘Sizing Up Gender’ project, Ben Barry, Calla Evans, and May Friedman. Follow us on IG for all of the images, which are also published in a photobook on the blog.
All of the ‘Methodologies’ digital series can be found here.
The monthly series ‘Sociological Literature’ continues with additions from Laura Harris who explores the slow-burn horror of Kirsty Logan’s Things We Say in the Dark and Clare Fisher who contemplates the formation of queer time in Yelena Moskovitch’s Virtuoso.
We are interested in exploring what it means for something to be ‘sociological literature’ and have invited practice-researchers and sociologists to reflect on sociological encounters with contemporary poetry and prose.
The blog series can be found here.
Solidarity and Care
‘Solidarity and Care’ continues to document, report on, and archive the lived experiences, caring strategies and solidarity initiatives of people across the globe during the COVID-19 pandemic.
We are particularly interested in hearing your reflections on care in everyday ‘campus life’ as Covid-19 continues to rearrange our learning and teaching environments. Are you a student starting your University life under lockdown? Are you a lecturer working out how best to provide pastoral support? We want to hear from you, and to use the platform to share experiences and analysis.
Follow the link below for more information on how to take part. As ever, we are open to creative responses – from poetry, to photographs, moving image or sketches.