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This book provides a concise, interdisciplinary perspective on the emotion and practice of hope'. Based on the idea that hope is a dream that we carry in different ways, the five chapters draw on the authors original research and align it with literature on the sociology of culture and emotion, to explore the concept in relation to cultural and community practices and mental health. The climate crisis, violence, hostility, pandemics, homelessness, displacement, conflict, slavery, economic hardship and economic downturn, loneliness, anxiety, mental illness are intensifying. There is a need for hope. There is also a need to confront hope - what is hope and what can, and cannot, be achieved by hoping. This confrontation includes distinguishing hope from wishful thinking and blind optimism. Using examples from different spheres of social life, including health, religion, music therapy, migration and social displacement, the book sets the idea of hope in context of situations of uncertainty, challenge and pain, and goes on to highlight the practical application of these ideas and outline an agenda for further research on hope.

An accomplished and thought provoking study of everyday ''reality'' and how we represent, perceive and experience it. With examples throughout, it offers readers an exciting new way of understanding identity, perception and culture

Comment l'être et le corps se nouent-ils dans une configuration culturelle ? Comment les produits culturels sont-ils mobilisés, et comment les textes, les images, les structures et les représentations sonores « entrent-elles en action » ? Ce sont là des questions fondamentales pour les études culturelles, la sociologie et la psychologie sociale. Pourtant elles n'ont guère été abordées de front jusqu'ici, et elles ne sauraient faire l'objet d'une « mise à l'épreuve empirique » à partir d'une théorisation de l'agentivité déjà complète. Cet article suggère que l'on peut développer une bonne théorie de l'agentivité en observant des milieux sociaux et des matériaux culturels particuliers. Dans ce but, après quelques considérations théoriques sur les liens entre culture, nature et agentivité sociale, je pars de la question érotique pour développer un propos plus général sur la relation entre les moyens expressifs et l'agentivité sociale. Plus spécifiquement, je me penche sur la question de comment l'agentivité érotique peut être « composée musicalement », c'est-à-dire comment l'agentivité peut se déployer par des moyens musicaux.

ABSTRACT
Arts markets are not 'neutral'. Rather, they are inevitably coloured by socio-cultural practices and regularities, some of which are embedded in and afforded by aesthetic forms and the values and images associated with these forms. The stabilisation of distribution and consumption patterns over time may thus be linked to, and structured by, often tacitly delineated meanings, values and practices associated with artistic products (musical works and their performance, in this case). These associations afford emotional attachments and identity-stances that may become integral to artistic distribution and in ways that are socially consequential. To the extent that distribution and consumption are inflected in these ways, markets may be understood to be culturally inflected. Market processes, in other words, can be seen as structures that are both shaped by, and shape, the flow and exchange of passion, emotion and often unremarked forms of sensibility. I explore these themes through a case study of the production and distribution of Beethoven's keyboard concertos in early nineteenth century Vienna. I describe how the distribution of Beethoven's works offered gendered 'object lessons' about music producer/distributers (composer/performers) and music consumers. Through these lessons, the market for high culture music came to be associated with exhibitions of physical prowess, a heroic mien, and, almost exclusively, performances by men.