Recognition and renown, the structure of cultural markets: evidence from French poetry

Dubois, Sébastien

doi:10.1007/s10824-011-9153-3

Cited by 7 publications

(3 citation statements)

References 58 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…As interviewee 12 notes, the State can no longer decide “what is poetry and who is a poet.” Selection is thus based on poets’ reputation, which are assessed by committees of experts. The State delegates the choice of who to support to the poetry world, as poetry reputations are made within the world of poetry (Boschetti, 2001; Dubois, 2012). The new academy is thereby “invisible,” an echo of the invisible colleges in academia (Crane, 1972), as public powers confirm the choices and hierarchies established by poetry actors themselves.…”

Section: The New Academymentioning

confidence: 99%

Back to the (invisible)Académie? The organization of poetry as a “pure” art form

Dubois

2022

Organization

Self Cite

View full text Add to dashboard Cite

Using the case of French contemporary poetry, this article investigates the organization of “pure” art forms. These are highly legitimate art forms which, instead of being profit-oriented, comprise actors who strive primarily for esthetic recognition. The organizational life of such arts is based on a new academy system which is in some regards comparable to that of the 17th century—leading me to call the current system a “return to the academy.” I define an academy system as an assemblage of artistic institutions coupled with public funding for artists and artistic organizations. This two-pronged system organizes the arts along four dimensions: strategic, administrative, ideological, and professional. Its strategic mission is to support artistic creation, spread cultural democracy, and guarantee the construction and transmission of literary heritage. Paradoxically, the State cannot make these choices directly, firstly because of the widely accepted autonomy of art, and secondly because, in a democracy, the State can no longer select artists according to an explicit ideology. The academy is thereby “invisible.” Second paradox, its organization has led to the marketization of pure arts, and the transformation of artists into independent workers providing goods and services. Finally, I discuss how this system fits a new consumerist definition of culture, based on “traces” that have to be recorded and managed as heritage. These findings question the typical narrative that the arts were emancipated from the patronage system thanks to the market, as this does not apply to most artists.

show abstract

Section: The New Academymentioning

confidence: 99%

Back to the (invisible)Académie? The organization of poetry as a “pure” art form

Dubois

2022

Organization

Self Cite

View full text Add to dashboard Cite

show abstract

“…With an apparently open access to artistic professions that is not regulated by academic titles or certifications (Freidson 1986), new entrants need to accumulate quality signals to establish a position in the art world (Dubois 2012;Mauger 2008). Accumulated experience, affiliation to institutions and groups, diplomas from certain schools and competitive evaluations like awards, prizes and grants serve as such signals and contribute to reputation and to uncertainty management (Lincoln 2007;Pénet and Lee 2014).…”

Section: Theoretical Framework: Grants As Incentives To Migration And...mentioning

confidence: 99%

Institutional policies and individual decision-making in artistic migrations: the case of Spanish artists and art mediators in the European Union

Soro

2022

European Societies

View full text Add to dashboard Cite

Long-established hierarchies of power between territories persist in the socalled global art world. Spanish participants in the art world take advantage of the European free movement regime to internationalise their profiles and improve their chances of global success by migrating to global art hubs like Berlin, Paris or London.Institutional programmes fostering international mobility of European citizens serve a double function. Firstly, they provide a migration channel and advantages to individuals seeking to acquire international experience. Secondly, because of their selective nature, they can function as quality signals for individuals involved in the art world. Thus, institutional mobility programmes can be seen as tools that help manage the uncertainties of both the artistic career and the migration project. Taking Spanish art world participants currently living in European capitals as a case study, this paper presents three empirical types that represent individual profiles emerging from the examined population. These profiles are defined by repeated, lack of or occasional resorting to institutional mobility programmes, as well as to their career orientation and their visions of art and migration. Social characteristics such as gender, social class background and age appear as important factors shaping strategies of career development through migration.

show abstract

“…First, cultural industries are inhabited by majors and independents. Majors tend to go with proven solutions while independents handle specialized styles and new artists (Brunet and Gornostaeva ; Burnett ; Dubois ). Independents have relational assets valuable in identifying new artists and contracting venues which make them superior in supporting early careers (Montanari and Mizzau ).…”

Section: Industry Dynamicsmentioning

confidence: 99%

Cultural Industries: Product–Market Characteristics, Management Challenges and Industry Dynamics

Peltoniemi

2014

Int J Management Reviews

View full text Add to dashboard Cite

During the last decade cultural industries have grown in economic importance, and research interest in them has increased. Despite prolific research, there is a lack of a comprehensive view on the subject. The purpose of the present paper is to offer a reconceptualization of cultural industries by tracing their boundaries, their features and the dynamics that follow from these features. This is achieved through a review of 314 cultural industries studies, whereby a classification system of three main and six sub-categories is constructed. On the basis of the review, a framework for future research is presented. Most importantly, future research should examine selection criteria and selection performance, and explore the relationships between tastes, sales, diversity and quality. In this way, researchers might be able to create some order in the extreme uncertainty that cultural industries managers face. 2 INTRODUCTIONResearch on cultural industries has become increasingly popular. This has been motivated by the growth of the economic importance of such sectors (see e.g. United Nations 2010), by the introduction of cultural and creative industries policies (e.g. DCMS 2008), and perhaps also by researchers' passion for and interest in sectors like film, music and video games.Despite increasing popularity, we lack a comprehensive view of the subject. Some cultural industries researchers emphasize the selection system cultural goods need to pass through to reach audiences (e.g. Hirsch 1972), while others highlight the inherent uncertainty concerning the success potential of any cultural good when they do so (e.g. De Vany 2004). For yet others cultural goods are defined by their non-utilitarian value (e.g. , while many have expressed interest in the conflicts between artistically-motivated creatives and financiallymotivated managers (e.g. Eikhof and Haunschild 2007). Despite a vast and varied body of work, it remains unclear what characteristics make industries cultural, which industries belong under the cultural umbrella, and what phenomena are specific to them. The purpose of the present paper is to offer a reconceptualization of cultural industries by tracing their boundaries, their features and the dynamics that follow from these features. Based on this, a framework for future research is presented.Based on a review of 314 cultural industries studies we propose the following definition: Cultural industries are those that produce experience goods with considerable creative elements and aim these at the consumer market via mass distribution. The creative elements consist of stories and styles, and they serve the purposes of entertainment, identity-building and social display. Mass distribution refers to storage and delivery where economies of scale play an important role. On the basis of this definition, the activities belonging under the cultural 3 industries concept include film, music, book and magazine publishing, TV and radio, fashion and video games.There are two features that are specific to cultural...

show abstract

Recognition and renown, the structure of cultural markets: evidence from French poetry

Cited by 7 publications

References 58 publications

Back to the (invisible)Académie? The organization of poetry as a “pure” art form

Back to the (invisible)Académie? The organization of poetry as a “pure” art form

Institutional policies and individual decision-making in artistic migrations: the case of Spanish artists and art mediators in the European Union

Cultural Industries: Product–Market Characteristics, Management Challenges and Industry Dynamics

Contact Info

Product

Resources

About