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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.
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