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This chapter explores the symbolic connections between coming of age liminality and identity-oriented consumption practices in postmodern American culture, specifically among adolescent girls.

Forty-two female participants (ages 20–23) participants were asked to answer the general question of “Who am I?” through creating identity collages and writing accompanying narrative summaries for each of three discrete life stages: early adolescence (past-self), late adolescence (present-self), and adulthood (future-self). Data were analyzed using a hermeneutical approach.

Coming of age in postmodern American consumer culture involves negotiating paradoxical identity tensions through consumption-oriented benchmarks, termed “market-mediated milestones.” Market-mediated milestones represent achievable criteria by which adolescents solidify their uncertain liminal self-concepts.

In contrast to the traditional Van Gennepian conceptualization of rites of passage, market-mediated milestones do not necessarily mark a major transition from one social status to another, nor do they follow clearly defined stages. Market-mediated milestones help adolescents navigate liminality through an organic, nonlinear, and incremental coming of age process.

Rather than traditional cultural institutions (e.g., church, family), the marketplace is becoming the central cultural institution around which adolescent coming of age identity is constructed. As such, organizations have the power to create market-mediated milestones for young people. In doing so, organizations should be mindful of adolescent well-being.

This research marks a turning point in understanding traditional rites of passage in light of postmodern degradation of cultural institutions. The institutions upon which traditional rites of passage are based have changed; therefore, our conceptions of what rites of passage are today should change as well.

In this chapter, I discuss the artistic representation of the musical illustration of funeral rites and ceremonies in contemporary Poland. The death of a person in many cultures is perceived as an important point in the life of a given community, especially a family; hence, people tend to express feelings stemming from these circumstances through art. Songs sung at funerals and during the mourning period have been used for centuries as a way for the living to express their grief for the person who has died. From an anthropological point of view, the main function of music accompanying funeral rites is to help family and friends of the deceased recover from their loss.

To illustrate my argument, I analyse the recording of folk songs by Adam Strug and Kwadrofonik: ‘Requiem Ludowe’ (‘The Folk Requiem’), released on CD in 2013. The musical motifs and lyrical themes are based on original folk tunes of Eastern Poland (Podlasie and Lubelszczyzna regions) that are still used in the villages during the bereavement period. The songs on the CD, which are: ‘Czemu tak rychło, Panie’ (‘Why is it So Soon, my Lord’); ‘Żegnam cię mój świecie wesoły’ (‘Goodbye my Merry World’); ‘Żegnam was mitry i korony’ (‘Goodbye to you Mithra and Crowns’); ‘Żegnam was wszystkie elementa’ (‘Goodbye to you all the Elements’); ‘Powiem prawdę świecie tobie’ (‘I Shall Tell you the Truth, my World’); ‘Piekło’ (‘The Hell’); ‘Czyściec’ (‘The Purgatory’); ‘Niebo’ (‘The Heaven’); and ‘Wieczność’ (‘The Eternity’) are rooted in Christian funeral traditions and they are supplemented by elements of Slavic folklore.

The lyrics of the mourning songs published on the recording display a specific attitude to the mythology of death and bereavement present in the culture of Polish peasants. The main themes of these folk songs, namely, the praise of the deceased, the grief of the remaining family, the preparation of the dead one for eternal life or the attempts to cross the threshold of life and death, are presented by the artists as the soul’s journey from the Earth to the Underworld, and through Purgatory to Eternal life as a final stage of a person’s destination. They show how the rural people imagine death itself and express their feelings of loss and grief in art to overcome the fear of the unknown.

Despite all recent changes in families, and maybe because of them, the birth of a child remains an event of intense expectation, investment, and symbolic meaning. In this chapter, we offer a simultaneously new, innovative, and contemporary perspective on the social construction of the family through the lens of family rituals, specifically directed to the postnatal hospital visit following the birth of a child. The raw data were collected through episodic interviews carried out to Portuguese middle-class men and women. A qualitative content analysis of their detailed descriptions was then conducted making use of software NVivo (©QSR International). The sociological perspective we used allows us to conclude that the moment of the birth of a child is a quintessential time–space for the social construction of the family. Around the baby, for the task of rocking the cradle, men and women join and take on their old and new roles. While the postnatal hospital visit allows the presentation of the newborn family member for the extended family and friends, it strongly underlies the strategies and senses of belonging to one particular family, thereby serving the purpose of its social construction.

The Slender Man, an online monster born to the internet in 2009, loves to live in the boundaries, specifically the boundary between the digital and the non-digital worlds. This chapter seeks to explore the full engagement of the community with the myth, analysing it structurally to understand the way, in which the narrative’s construction reflects the relationship of monster to society and society to itself. The sincerity in which the narratives are told, at first appearing intense, is actually a form of play, revealing a boundary blurring between play and non-play as well. While fully engaging in play, the community’s structured narrative is more than this: pulling them into a trapped world in which they play with death in the digital. The triadic structure of the Slender Man narratives reveals an anxiety to the community and their place within broader non-digital worlds.

This chapter delineates the interactional structure of flirtation. Refining Simmel's analysis, I show flirtation as a way in which two time frames are continuously maintained within the same interaction. Rather than moving into a future interaction by using what I term “actualization practices” – actions which thrust the present interaction into a future – interactants simultaneously use practices from both time frames, careful not to irrevocably shift the situation. The management of interactional ambiguity in flirtation is then analyzed as a key to examine other ambiguous or “suspended” interactions, where interactants must work to keep different potential future possibilities open.

This chapter explores the radical potentials of mycelic practice. Mycelium is the root network of mushrooms, consisting of spores, which seeks nourishment in their surroundings, constantly spreading, showing ability to interpret its environmental circumstances and distributing nourishment to the spores needing it the most. Each spore develops individual and flexible characteristics, but always in contact with the communal mycelic body. The chapter unpacks the four phases of mycelic life and death: expansion, cannibalism, heksering formation and communication. Mycelic practice, as expansive and cannibalistic, invites us to surpass our individuality, reject the ego and any given dominant order of, say, Western civilisation, such as individual ownership or capitalist logics of growth. Death is part of life. Death sustains life. Just as closeness or intimacy involves awareness of absence understood as that which is not visibly present. Each of the phases in the life and death of mycelium points towards particular strategies and ways of working: politics, organising, methods, writing and citing. Each phase contributes to the critique disrupting the hegemonic political orders.