This edited collection offers an in-depth analysis of the complex and changing relationship between the arts and their markets. Highly relevant to almost any sociological exploration of the arts, this interaction has long been approached and studied. However, rapid and far-reaching economic changes have recently occurred. Through a number of new empirical case studies across multiple artistic, historic and geographical settings, this volume illuminates the developments of various art markets, and their sociological analyses. The contributions include chapters on artistic recognition and exclusion, integration and self-representation in the art market, sociocultural changes, the role of the gallery owner, and collectives, rankings, and constraints across the cultural industries. Drawing on research from Japan, Switzerland, France, Italy, China, the US, UK, and more, this rich and global perspective challenges current debates surrounding art and markets, and will be an important reference point for scholars and students across the sociology of arts, cultural sociology and culture economy.

This edited collection offers an in-depth analysis of the complex and changing relationship between the arts and their markets. Highly relevant to almost any sociological exploration of the arts, this interaction has long been approached and studied. However, rapid and far-reaching economic changes have recently occurred. Through a number of new empirical case studies across multiple artistic, historic and geographical settings, this volume illuminates the developments of various art markets, and their sociological analyses. The contributions include chapters on artistic recognition and exclusion, integration and self-representation in the art market, sociocultural changes, the role of the gallery owner, and collectives, rankings, and constraints across the cultural industries. Drawing on research from Japan, Switzerland, France, Italy, China, the US, UK, and more, this rich and global perspective challenges current debates surrounding art and markets, and will be an important reference point for scholars and students across the sociology of arts, cultural sociology and culture economy.

War die Ehescheidung noch vor wenigen Jahrzehnten gesellschaftlich stark stigmatisiert und eher eine Ausnahmeerscheinung, gehoert sie inzwischen fur einen Grossteil der einmal Verheirateten zur Normalbiografie. Erheblich gewandelt haben sich im 20. Jahrhundert auch die Vorstellungen davon, was eine Ehe normativ zu sein hat - und damit die als legitim erachteten und vor Gericht akzeptierten Grunde, sie aufzuloesen. Thomas Mazzurana leistet einen Beitrag zu einer Soziologie der Ehescheidung, indem er in einer wissenssoziologischen Perspektive die subjektiven Begrundungen und Bewertungen der Scheidung in mehreren institutionellen Feldern untersucht. Er macht in den Diskursen der Akteure die Rechtfertigungsmuster und damit die sozialen Reprasen tationen von Ehe und ihrer institutionellen Aufloesung in der Spatmoderne sichtbar.

Until recently still a blank spot on the world map of art, China today occupies one of the top positions in the rankings of the global art market and has moved into the center of the speculations and the covetousness of its protagonists. But what is really happening on the spot, beyond the ethnocentric distortions of the Western viewpoint? What social representations and uses of art can be identified? A research team from the University of St. Gallen has taken up such questions in an ethnographical field research project which enables the actors in this emergent and nonetheless already market-dominated art field to have their say.