- The Oxford Handbook of Creative Industries
- List of Figures
- List of Tables
- List of Contributors
- Creative Industries: A Typology of Change
- The Creative Mind
- Creativity in Teams: Processes and Outcomes in Creative Industries
- Creativity in Social Networks: A Core-Periphery Perspective
- Creativity in the City
- ‘The Market for Symbolic Goods’: Translating Economic and Symbolic Capitals in Creative Industries
- Trading Places: Auctions and the Rise of the Chinese Art Market
- The Market for Creative Labour: Talent and Inequalities
- Stars and Stardom in the Creative Industries
- Creative Entrepreneurs: The Business Models of Haute Cuisine Chefs
- Entrepreneurship in Creative Industries and Cultural Change: Art, Fashion, and Modernity in India
- Performance in the Creative Industries
- Projects and Project Ecologies in Creative Industries
- Managing Project-Based Organization in Creative Industries
- Organizing Events for Configuring and Maintaining Creative Fields
- User Innovation in Creative Industries
- User Innovation in the Music Software Industry: The Case of Sibelius
- Niches, Genres, and Classifications in the Creative Industries
- Sunk Costs and the Dynamics of Creative Industries
- Creative Industries and the Wider Economy
- Brokerage, Mediation, and Social Networks in the Creative Industries
- Digitizing Fads and Fashions: Disintermediation and Glocalized Markets in Creative Industries
- Copyright, the Creative Industries, and the Public Domain
- Copyright and its Discontents
- Public Policy for the Creative Industries
- Global Production Networks in the Creative Industries
- Creative Industries and Development: Culture in Development, or the Cultures of Development?
- Author Index
- Subject Index
Abstract and Keywords
Encompassing the spheres of aesthetic quality and economic viability, market goods in the creative industries raise the contentious issue of the nature of value, and the inter-relationship between the symbolic and the economic. This article uses Bourdieu’s identification of different capitals (the economic, social, cultural, and symbolic) to addresses the relationship between economic and symbolic value, and to challenge conventional dichotomised readings that pit the cultural or symbolic against the economic. Following Bourdieu’s analysis of the market for symbolic goods, his work is used to illustrate how the relationship between the aesthetic realm and monetary value is intimately and inseparably related, with economic and symbolic capitals being played out within specific fields of cultural production, each informed by their own spheres of practice. The article concludes by illustrating how an attempt to capitalize on the upsurge of interest in Scottish writing was thwarted by misunderstanding the relationship between economic and symbolic capital that characterizes the publishing industry.
Barbara Townley is Chair of Management at University of St Andrews, Scotland, and has taught at Lancaster, Warwick, and Edinburgh in the UK and the University of Alberta, Canada. She has published widely in North American and European management and organization studies journals and held a number of ESRC and AHRC grants. Her current area of research is the mediation between artistic and commercial interests in the creative industries and the role of intellectual property in creative organizations.
Elizabeth Gulledge, University of St Andrews.
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