From atypical to paradigmatic? The relevance of the study of artistic work for the sociology of work

• Bataille, Pierre ^[4] ; Bertolini, Sonia ^[1] ; Casula, Clementina ^[2] ; Perrenoud, Marc ^[3]
  1. [1] University of Turin

     University of Turin

     Torino, Italia

     
  2. [2] University of Cagliari

     University of Cagliari

     Cagliari, Italia

     
  3. [3] University of Lausanne

     University of Lausanne

     Lausana, Suiza

     
  4. [4] Université Grenoble-Alpes

  Mostrar afiliaciones +
• Localización: Sociologia del lavoro, ISSN 0392-5048, N. 157, 2020, págs. 59-83
• Idioma: inglés
• DOI: 10.3280/sl2020-157004
• Texto completo no disponible (Saber más ...)
• Dialnet Métricas: 5 Citas
• Resumen
  • English

    Artistic work has been mainly defined in modern industrial societies by its atypical features vis à vis standard productive work; in post-industrial societies, however, it becomes increasingly considered as paradigmatic of a new "creative class", including workers within a variety of knowledge and creative sectors. The article discusses this paradox offering a sample of key contributions offered by sociology to the study of artistic work and professions, useful to uncover the ideological bias hidden behind the supposedly new significance of artistic work within creative economies. It thus introduces and discusses the essays collected in the special issue linking them to the ongoing changes on the nature of work in contemporary societies.

  • italiano

    Il lavoro artistico è stato principalmente definito nelle moderne società industriali per le sue caratteristiche atipiche rispetto al lavoro standard produttivo; nelle società post-industriali, invece, è spesso presentato come paradigmatico di una nuova "classe creativa", che ricomprende i lavoratori nei settori della conoscenza e creatività. L'articolo discute questo apparente paradosso facendo riferimento ad alcuni contributi chiave della sociologia allo studio del lavoro e delle professioni artistiche, utili a svelare il pregiudizio ideologico nascosto dietro alla nuova centralità del lavoro artistico nelle economie creative. Introduce poi e discute gli articoli raccolti all’interno del numero monografico ricollegandoli ai mutamenti nella natura del lavoro nelle società contemporanee.

• Referencias bibliográficas
  • Baumol W.J., Bowen W.G. (1966). Performing Arts, the Economic Dilemma: A Study of Problems Common to Theatre, Opera, Music, and Dance. New...
  • Becker H.S. (1963). Outsiders, New York: Free Press.
  • Becker H.S. (1951). The Professional Dance Musician and His Audience. American Journal of Sociology, 57(2): 136-144.
  • Becker H.S. (1982). Art Worlds. Berkeley: University of California Press.
  • Becker H.S. (1986). Mondi artistici e tipi sociali. In: Luise A., Minardi E. (eds.) Il lavoro artistico, Sociologia del lavoro, 25: 39-53.
  • Bellini P.P. (2005). Pronipoti di Mozart. Modelli, teorie, condizioni delle professioni musicali in Italia. Firenze: SEF.
  • Benhamou F. (2011). L’économie de la culture. Paris: La Decouverte.
  • Benjamin W. (1998). L’opera d’arte nell’epoca della sua riproducibilità tecnica. Arte e società di massa. Torino: Einaudi (original edition:...
  • Bertolini S., Cappellato V. (2011). Professionisti creativi: i percorsi di carriera nello spettacolo dal vivo. In: Luciano A., Bertolini S....
  • Bertolini S., Maggiora A. (2018). Le figure professionali in ambito musicale in Italia: tra precarietà e nuovi percorsi di imprenditorialità....
  • Binkiewicz, D.M. (2004). Federalizing the Muse: United States Arts Policy and the National Endowment for the Arts, 1965-1980. Chapel Hill...
  • Boltanski L., Esquerre A. (2017). Enrichissement : une critique de la marchandise, Paris: Gallimard.
  • Bouquillion P. (2012). Creative economy, creative industries : des notions à traduire. Saint-Denis: Presses universitaires de Vincennes.
  • Bourdieu P. (1971). Le marché des biens symboliques. L’Année sociologique, 22: 49-126.
  • Bourdieu P. (1980). Questions de sociologie. Paris: Minuit.
  • Bourdieu P. (1992). Les règles de l’art. Genèse et structure du champ littéraire. Paris: Seuil.
  • Bourdieu P. (2013). Manet, Une révolution symbolique. Cours au collège de France (1998-2000). Paris: Seuil.
  • Boutang Y.M. (2011). Cognitive Capitalism, Polity Press, Cambridge-Malden (original edition: 2007, Le Capitalisme cognitive. Paris: Éditions...
  • Burke P. (1979). L’artista: momenti e aspetti. In: Aa.Vv. (eds.) Storia dell’arte italiana, II, Torino: Einaudi.
  • Castel R. (1995). Les métamorphoses de la question sociale. Une chronique du salariat. Paris: Fayard.
  • Casula C. (2018.a). Diventare musicista. Indagine sociologica sui Conservatori di musica in Italia. Mantova: Universitas Studiorum.
  • Casula C. (2018.b). Torn Between Neoliberal and Postmodern Trends, Corporatist Defence and Creative Age Prospects: The Ongoing Reshaping of...
  • Cloonan M., Williamson J. (2017). Introduction. Popular Music and Society, 40(5): 493-498.
  • Cook N. (2009). The economics and business of music. In: Harper Scott J.P.E., Samson J. (eds.) An Introduction to Music Studies. Cambridge:...
  • DeNora T. (1995). Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792-1803. Berkeley: University of California Press.
  • DeNora T. (2000). Corpo e genere al piano. Repertorio, tecnologia e comportamento nella Vienna di Beethoven. Rassegna italiana di Sociologia,...
  • DiMaggio P. (2009). Organizzare la cultura. Imprenditoria, istituzioni e beni culturali, Bologna: Il Mulino.
  • Dubois, V. (1999). La politique culturelle. Genèse d’une catégorie d’intervention publique. Paris: Belin.
  • Dubois V. (2015). Cultural Policy Regimes in Western Europe. In: Wright J.D. (ed.), International Encyclopedia of the Social & Behavioral...
  • Ducret A., Glauser A., Moeschler O., Rolle, V. (2017). Introduction: Artistic Work as a “Laboratory” of Labour Market Deregulation?. Revue...
  • Elias N. (1991). Mozart, sociologie d’un génie. Paris: Seuil (original edition: Mozart: Zur Soziologie eines Genies, 1991, Frankfurt am Main:...
  • Faulkner R.R. (1983). Music on demand. New Brunswick: Transactions Books.
  • Fineman M., T. Dougherty (2005). Feminism Confronts Homo Economicus: Gender, Law, and Society. Ithaca NY and London: Cornell University Press.
  • Florida R. (2002). The Rise of the Creative Class: And How It’s Transforming Work, Leisure, Community and Everyday Life. New York: Basic Books.
  • Frederickson J., Rooney J.F. (1990). How the Music Occupation failed to become a Profession. International Review of the Aesthetics and Sociology...
  • Freidson E. (1986). Les professions artistiques comme défi à l’analyse sociologique. Revue française de sociologie, 27(3): 431-443.
  • Galloway S., Dunlop S. (2007). A Critique of Definitions of the Cultural and Creative Industries in Public Policy. International Journal of...
  • Giorgiantonio C., Rizzica L. (2018). Il lavoro nella gig economy. Evidenze dal mercato del food delivery in Italia. Questioni di Economia...
  • Gold M., Fraser J. (2002). Managing self-management: successful transitions to portfolio careers, Work Employment and Society, 16(4).
  • Grégoire, M. (2013). Les intermittents du spectacle : enjeux d’un siècle de luttes. Paris: La Dispute.
  • Heinich N. (1993). Du peintre à l’artiste. Paris: Minuit
  • Horkheimer M., Adorno T. (2010). Dialettica dell’illuminismo. Torino: Einaudi (original edition: 1947, Dialektik der Aufklärung Philosophische...
  • Howkins J. (2001). The Creative Economy: How People Make Money from Ideas. London: Allen Lane.
  • Hughes E. (1971). The sociological eye: Selected papers. New York: Aldine.
  • Kleppe B. (2017). Theatres as risk societies: Performing artists balancing between artistic and economic risk. Poetics, 64: 53-62.
  • Kris E., Kurz O. (1989). La leggenda dell’artista. Torino: Bollati Boringhieri (original title: Die Legende wom Künstler: Ein historischer...
  • Lahire B. (2015). Ceci n’est pas qu’un tableau: Essai sur l’art, la domination, la magie et le sacré. Paris: La Découverte.
  • Laillier J. (2017). Entrer dans la danse. L’Envers du Ballet de l’Opéra de Paris. Paris: CNRS.
  • Langeard C. (2013). Les intermittents en scènes. Rennes: Presses Universitaires de Rennes.
  • Lehmann B. (2005). L’orchestre dans tous ses éclats. Paris: La Découverte.
  • Leicht K. (2015). Market fundamentalism, cultural fragmentation, post-modern skepticism, and the future of professional work. Journal of Professions...
  • Lowies J.-G. (2013), La diversité culturelle. Repères, 3: 4-19.
  • Luciano A., Bertolini S. (eds.)(2011). Incontri dietro le quinte. Imprese e professionisti nel settore dello spettacolo. Bologna: Il Mulino.
  • Luise A., Minardi E. (eds.)(1986). Il lavoro artistico, Sociologia del lavoro, 25.
  • Lyotard J.-F. (1979). La Condition postmoderne. Rapport sur le savoir. Paris: Editions de Minuit.
  • Mangset P., Kleppe B., Røyseng S. (2012). Artists in an Iron Cage? Artists’ Work in Performing Arts Institutions. The Journal of Arts Management,...
  • Menger P.-M (2002). Portrait de l’artist en travailleur. Paris: Seuil.
  • Menger P.-M. (1999). Artistic labor markets and careers. Annual Review of Sociology, 25: 541-574.
  • Moulin R. (1967). Le marché de la peinture en France. Paris: Minuit.
  • Moulin R. (1986). Dall’artigiano al professionista: l’artista. In: Luise A., Minardi E. (eds.) Il lavoro artistico. Sociologia del lavoro,...
  • Moulin R. (1992). L’artiste, l’institution et le marché. Paris: Flammarion.
  • Moyano C. (2017). Assembling the Self : Biographical Narratives of Chilean Musicians [Thèse de doctorat en sciences sociales]. Lausanne: Université...
  • Murgia A., Maestripieri L., Armano E. (2016). The Precariousness of Knowledge Workers: Hybridisation, Self-employment and Subjectification....
  • Paradeise C. (1998). Les comédiens. Professions et marchés du travail. Paris: Presses universitaires de France.
  • Perrenoud M. (2007). Les musicos. Enquête sur des musiciens ordinaires. Paris: La Découverte.
  • Perrenoud M., Bataille P. (2017). Artist, Craftsman, Teacher: “being a musician” in France and Switzerland. Popular Music and Society, 40(5):...
  • Perrenoud M., Bois G. (2017). Ordinary artists: From Paradox to Paradigm?. Biens symboliques / Symbolic Goods, 1:2-35.
  • Perrenoud, M., Bataille, P. (2019). Vivre de la musique? Lausanne: Antipodes.
  • Pierre C. (1990). Le Conservatorie national de musique et de déclamation. Paris: Imprimerie Nationale.
  • Pierson P. (1996). The new politics of the welfare state. World Politics, 48(2):143-179.
  • Prandstraller G. (1986). La produzione artistica nelle arti visive. In: Luise A., Minardi E. (eds.) Il lavoro artistico. Sociologia del lavoro,...
  • Saglio J. (1998). Les comédiens, profession et marchés du travail, Travail et Emploi, n.77.
  • Santagata W. (2004). I beni della creatività tra arte contemporanea e moda, Dipartimento di Economia “S. Cognetti De Martiis”, Working Paper...
  • Santagata W. (ed.)(1994). Economia dell’Arte. Istituzioni e mercati dell’arte e della cultura. Torino: Utet.
  • Santoro M. (2010). Constructing an Artistic Field as a Political Project: Lessons from La Scala. Poetics, 38(6): 534-554.
  • Sennett R. (2008). The Craftsman. New Haven, CT: Yale University Press.
  • Simmel G. (1911). Philosophische Kultur. Leipzig: Klinkhardt.
  • Tessarolo M. (2014). Il lavoro dell’artista come professione. Cambio: Rivista Sulle Trasformazioni Sociali, 4(7): 75-88.
  • Thévenin O., Moeschler O. (2018). The Changing Role of the Cultural State: Art Worlds and New Markets. A Comparison of France and Switzerland....
  • Trasforini M.A. (2007). Nel segno delle artiste. Bologna: Il Mulino.
  • Turner V. (1974). Liminal to Liminoid. In: Play, Flow, and Ritual: An Essay in Comparative Symbology. Rice University Studies, 60(3): 53-92.
  • Turrini M., Chicchi F. (2014). Precarious subjectivities are not for sale: the loss of the measurability of labour for performing arts workers....
  • Umney C. (2016). The labour market for jazz musicians in Paris and London: Formal regulation and informal norms. Human Relations, 69(3): 711-729.,...
  • Wagner I. (2015). Producing Excellence. The Making of Virtuosos. New Brunswick: Rutgers University Press.
  • Weber M. (1921). Die rationale und soziologischen Grundlagen der Musik. Munich: Drei Masken Verlag.
  • Weber W. (1992). The Rise of Musical Classics: A Study in Canon, Ritual and Ideology. Oxford: Oxford University Press.
  • Weber W. (1994). Mass Culture and the Reshaping of European Musical Taste, 1770-1870, International Review of the Aesthetics and Sociology...
  • Zolberg V.L. (1990). Constructing a Sociology of Arts. Cambridge: Cambridge University Press.