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This chapter aims to outline the ways in which symbolic interactionism shifts the focus of inquiry into sex from being sexual toward becoming sexual, which takes into account doing sexualities, rather than tracing their origins in a static conception of nature. This means that our being sexual varies according to the rituals and performances in which we are involved as part of our daily lives. Such is the case any time we perform a role to communicate our identity to one or more audiences from communicative, expressive, aesthetic, and verbal points of view. This process is particularly manifest in male sex working where social actors are involved in the use of excuses, justifications and, generally, motive talk that are useful to neutralize their own sexual conducts and negotiate the gender appearance and sexual practices. Using the late developments of sexualities' symbolic interactionist studies emphasized by sexual scripts theory, the chapter focuses on the theoretical necessity to understand that there are far more reasons to be sexual than ways to be sexual.

Knowledge of how social movements move, diffuse, and expand collective action events is central to movement scholarship and activist practice. Our purpose is to extend sociological knowledge about how movements (sometimes) diffuse and amplify insurgent actions, that is, how movements move. We extend movement diffusion theory by drawing a conceptual analogue with military theory and practice applied to the case of the organized and highly disciplined nonviolent Nashville civil rights movement in the late 1950s and early 1960s. We emphasize emplacement in a base-mission extension model whereby a movement base is built in a community establishing a social movement school for inculcating discipline and performative training in cadre who engage in insurgent operations extended from that base to outlying events and campaigns. Our data are drawn from secondary sources and semi-structured interviews conducted with participants of the Nashville civil rights movement. The analytic strategy employs a variant of the “extended case method,” where extension is constituted by movement agents following paths from base to outlying campaigns or events. Evidence shows that the Nashville movement established an exemplary local movement base that led to important changes in that city but also spawned traveling movement cadre who moved movement actions in an extensive series of pathways linking the Nashville base to events and campaigns across the southern theater of the civil rights movement. We conclude with theoretical and practical implications.

This chapter argues that the concept of ‘mass supervision’, and indeed the concept of ‘mass incarceration’ from which it derives, is both quantitatively and qualitatively indeterminate when applied outside of the context of the US. However, the qualitative indeterminacy of mass supervision only holds so long as one treats the word ‘mass’ as being an analogy to mass consumption. This chapter therefore considers an alternative construction of ‘mass’ punishment in terms of mass production. Comparing the philosophies of production associated with Henry Ford and William Morris with the scholarship of Michel Foucault and Fergus McNeill reveals that mass supervision can authentically claim to be qualitatively ‘massive’, given the bespoke and one-on-one nature of traditional supervision. It is thus possible to speak coherently of ‘mass supervision’ in an international context, although this negative conception of a problem invites questions about the best solution that it generally leaves open.

Fun at workplace is considered an important initiative to build co-working communities, and this study aims to study its role in promoting the innovative behaviour of co-workers [members of co-working spaces (CWS)] and the mechanism of its influence.

Based on the theory of social exchange and resource conservation, the authors conducted a qualitative study to explore the four dimensions of workplace fun and a quantitative study to empirically analyse the relationship between community embeddedness, organisational embeddedness, workplace fun and creativity of co-workers, taking K-space as an example.

Workplace fun is positively correlated with co-workers' creativity. Community embeddedness plays a complete mediating role between workplace fun and organisational embeddedness. Community embeddedness and organisational embeddedness play a chain-mediating role between workplace fun and creativity.

This study explores the process and impact of fun on employee creativity in a shared office environment by clarifying the composition of fun in CWS workplaces and the transmission mechanism of fun through informal community embeddedness and formal organisational embeddedness, expanding the research perspective on the factors influencing employee creativity in the new office model and enriching the research findings on the impact of fun at work on job performance.

The Pacific Island nation of Fiji, spanning 100s of islands, has been characterised by both geographical and ethnic divisions between, mainly, Indigenous Fijians and Fijians of Indian descent. The latter took shape in quite blatant forms in the island nation's historical tendency towards ethnic politics but has also been enacted across its sporting traditions. Today, while ethnic politics still exists to a degree, encouraged by ethnopolitical entrepreneurs, the reality is more nuanced. Divisions remain not only along the popularised lines of ethnicity but also across hierarchical, class and gender boundaries that have received somewhat less scholarly attention. This nuance is visible in the performance and packaging of Fijian sport and through the meanings that local people attach to it. This chapter, therefore, draws upon the experience of ethnographic fieldwork within and across Fijian subcultures with a focus on rugby and soccer. Inclusive of participant observation and interviews with diverse Fijian sporting stakeholders from differing intersections of local sport and society, the key threads above will be untangled to reveal a more three-dimensional and collective impression of contemporary Fiji.