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In her first three books, Patricia Clough gave sociology a new subject, to replace the static, fully conscious, volitional, 19th century “self” who was not only the sole source of meaning but the author of society itself. In her newest work – The Affective Turn: Theorizing the Social (Duke University Press, forthcoming) – Patricia leads sociology beyond the subject to rethink “society” since, since as she says, “it is not from the position of the subject that sociality can now be grasped” (forthcoming, p. 32).

In 1985, I was moving along a more or less definable disciplinary path, writing qualitative sociology guided by my understanding of leading symbolic interactionist texts, productively disturbed by affection for Harold Garfinkel's ethnomethodology. Although there were prior lines of influence, my writing then was focused especially on various “social constructionist” projects, first with Peter Conrad (Conrad & Schneider, 1992 [1980]; Schneider & Conrad, 1983) and then with Malcolm Spector and John Kitsuse (Kitsuse & Schneider, 1984, 1989). I also read closely and had many conversations with Anselm Strauss about how to do what he and Barney Glaser called “grounded theory” and with Howard Becker about “doing sociology.” Not only did I feel that I was getting better at doing ethnography or field work and “writing it up,” as we put it in Sociology, I felt I was engaged in an epistemologically superior practice relative to the more quantitative and structurally oriented work that was then and still is defined as “mainstream” (a land from which I had emigrated, gradually, after the Ph.D.).

From the pioneering work of Howard Becker (1982) on jazz scenes as art worlds, to the influence of Erving Goffman (1967) on Ingrid Monson’s (1996) foundational framework for jazz ethnography, symbolic interactionist premises have already had a powerful impact on the study of jazz and popular music. Nonetheless, they still have much to contribute toward a richer and more nuanced understanding of how jazz musicians jointly improvise meaningful musical discourses. Building upon these earlier precedents, I propose that further critical elaboration of symbolic interactionist notions – including social worlds, generalized others, and facework – could hold the key to a hermeneutics of musical meaning premised upon improvisational interplay. Specifically, I propose that the internal structure of local jazz worlds or scenes, arising from distinctive modes of meaning production, gives rise to particular types of generalized other, which in turn structures the development of artists’ professional selves or personae through the dialogic internalization of durable aesthetic predispositions. From this perspective, the common stylistic commitments that make group improvisation possible and productive may begin with widely acclaimed paradigmatic performances, whose import is then encapsulated in the shared technical conceptions of artist peer circles, broadened through articulation with the consensus aesthetic principles of culture industries, and deepened by investment with the normative beliefs associated with audience identification and consumption. Ultimately, through improvisational interaction predicated on such shared paradigms, conceptions, principles, and beliefs, jazz musicians construct and project mutually compatible creative selves, whose onstage encounters with one another suggest dramaturgical processes of meaning production, which endow the interplay of their spontaneous aesthetic gestures with narrative significance.

Growing up in a small (l,000) Nevada town in the l930s and 1940s, I acquired a neophyte's sociological eye and sensibility, though, of course, not an analytical framework from which to make sense of that social world. The everyday life in that little town encouraged perception of subtle, but nevertheless very sharp social, cultural, economic, racial, gender, and class differences among its residents.

This study aims to follow a rigorous approach to identify, critically analyze and synthesize 75 papers published from 2000 to 2022.

The study presents a systematic literature review on identity expressiveness (IE), clarifying and expanding what is currently known about the concept.

To synthesize current knowledge on IE, the study uses the overarching framework of antecedents-phenomenon-consequences, using this same framework to identify gaps and future research directions. The findings show individual and brand-related factors such as the need for uniqueness and anthropomorphism as antecedents of IE, and eWOM/WOM, impulse purchases and upgrading to more exclusive lines as consequences of IE.

The study contributes to theory by synthesizing and mapping current understanding of the state of knowledge on the concept of IE while highlighting gaps in the extant literature and paving future research directions for scholars in the field.

The study offers useful insights for practitioners, broadening marketers’ actionable options in identity-based marketing. Marketers can use insights from this study to inform marketing strategy and communication campaigns for different types of brands.

To the best of the authors’ knowledge, this study is the first of its kind and offers an integrative review of the current literature on IE, thus enhancing understanding of the concept, its antecedents and consequences. The study also contributes to knowledge by highlighting future research priorities for researchers in this field of enquiry.