Resumo Este trabalho objetiva apresentar e discutir os conceitos de Gilberto Velho, bem como a forma pela qual estes possibilitam o aprofundamento teórico e novas perspectivas para os estudos de carreira, com vistas a uma elaboração interdisciplinar para compreender carreiras de indivíduos ou de coletividades. Para tanto, revisamos as noções de Gilberto Velho sobre projeto, campo de possibilidades, negociação da realidade e metamorfose, bem como as noções de carreira, com especial enfoque no interacionismo de Everett Hughes. Com a análise dos entrelaçamentos conceituais expostos, avançamos na discussão teórica dos estudos de carreira apresentando: como o campo de possibilidades se relaciona com os aspectos objetivos e subjetivos de uma carreira; como os conceitos de negociação da realidade e metamorfose permitem analisar conflitos e dilemas que emergem do sujeito que transita por diferentes mundos; como a noção de projeto pode ser vinculada à recursividade entre indivíduo, grupo e instituição; e como a memória pode ser utilizada como conceito de dinamismo temporal para a compreensão da carreira. Destas conjugações, propomos uma nova noção de carreira. Por fim, apresentamos uma agenda de pesquisa necessária para ampliar, aprofundar e aperfeiçoar os conceitos arranjados e propostos neste artigo.
Crowdfunding is an innovation from the cultural sector that has found broad applications in other aspects of the economy. We document that cultural economics provides a refined structure to explain much of the crowdfunding phenomenon, which will be useful for any research on this topic. Based on central themes of cultural economics (including quality and demand uncertainty, socially interdependent demand formation, public good attributes, and intrinsic motivation to create), we extend on the current understanding in the crowdfunding literature regarding three fundamental questions: (1) under what circumstances is crowdfunding a superior alternative to traded means of financing innovative projects? (2) What types of crowdfunding are best suited for specific (cultural and creative) industries (CCI)? (3) What is the potential of crowdfunding for cultural and creative industries? Overall, we describe crowdfunding as a flexible tool for mitigating various, fundamental challenges in CCI and beyond. We also identify limitations of crowdfunding, which for now, severely restrict its application. Arguably, the main boon of crowdfunding for cultural economics is not so much that it makes markets (for cultural products) much more efficient and fosters growth. Instead, crowdfunding enables sophisticated empirical research on central topics of cultural economics, and a rich and diverse literature has begun lifting that treasure.
Which novelties do donation-and reward-based crowdfunding bring to philanthropy? Scholars interested in crowdfunding contributed to developing empirical explanations on which features impact online giving. However, the focus on theory building is limited. We developed a theoretical framework by categorizing the empirical findings reported in 198 studies, which resulted in four crowdfunding features impacting giving: (1) project creator, (2) social information,(3) rewards, and (4) project description. We explain why these features impact giving by integrating them with insights from several fields of social sciences, deriving ten giving mechanisms. We conclude that with impacting donations via crowdfunding, three giving themes exist: being affected by (1) the perceived project's quality, (2) social connections and/or (3) tangible rewards. The categorization of mechanisms for giving allows initiators to extract best practice examples for increasing the probability of successful crowdfunding projects considering the giving mechanisms.
This article analyzes the role that crowdfunding plays for artists who create small-scale projects. We find that artists struggle to reach new audiences and, thus, mainly use this funding tool to transform monetary gifts into reputation for their careers. Crowdfunding platforms are believed to lower transaction costs while allowing for more direct engagement between founders and funders. Instead, our study demonstrates that artists use the platform to build distance from their thick relationships and intimate networks where most of their funding originates. They hope that a successful project will help them cross the symbolic boundaries between amateur and professional realms. Despite a high success rate, most of them report not wanting to create crowdfunding campaigns again since they rarely reach other social networks. We develop these arguments to contribute to a socio-economic perspective of online funding platforms as important intermediaries in the career path of users operating at the boundary of amateur and professional production. This article contributes to developing a critical understanding of platforms, especially when users are not typical entrepreneurs or business-oriented agents but artists and do-it-yourself creators searching for funding opportunities.
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