This work presents a synthesis of a debate regarding taken-for-granted assumptions and challenges in entrepreneurship education, matured after a developmental workshop organized to increase the research salience of the field. From the five contributions selected, three challenges emerge. The first is recognizing that participants’ representations about entrepreneurship play a crucial role in defining goals and impact of entrepreneurship education; second, integrating new perspectives of conceiving entrepreneurship into the current models of teaching entrepreneurship; and, lastly, facilitating the integration of entrepreneurship knowledge into practice. These challenges opened up to a conception of entrepreneurship education as a dynamic concept reflecting personal values, societal changes, and cultural differences. As a result, learning places of entrepreneurship education promotes exploration and not adaptation to existing schemes, where personal models for practicing entrepreneurship have room to emerge. Defining knowledge priorities, instead of targeting knowledge exhaustiveness, becomes of greatest importance to make entrepreneurship education‘s impact more relevant.

Purpose -As some areas of the luxury market have been industrializing because of their expanding scale and scope, the commoditization trend is threatening luxury brands along the value chain. Too many products might flood the market. Because the commodity trap has not so far been commonly referred to as the source of the problem, the efforts of firms to decommoditize have seldom been described. The purpose of this paper is to describe and interpret one type of successful reaction to this problem: the exclusive partnership made by Louis Vuitton with artist Takashi Murakami. The paper identifies the strategy along the value chain and its step by step implementation and influence on commoditization. Design/methodology/approach -The paper identifies the strategy behind this partnership and its step by step implementation. It uses a qualitative method because it would like to understand complex phenomenon and explore in depth, some strategic operations and decisions. More precisely, it is a case study research because it works on a contemporary situation and allows to retain the meaningful characteristics of real-life events as organizational, managerial and social processes Findings -LV strategy raises the difficulty for competitors to imitate or to propose same value products as the value added to LV product is almost unique with Murakami's touch. With this strategy they impact commoditization as defined by Reimann et al. Also, we formulate a few recommendations and insist on the integration of all the parts of the upstream value chain-especially operations -to achieve a successful long-term retail strategy. Research limitations/implications -There are no research on partnerships between art and luxury. Our extensive analysis of the partnership between LV and Murakami gives a comprehensive view of how this kind of collaboration helps to fight back commoditization. However, more case studies should be studied to know if the strategy is replicable. Practical implications -This research gives a comprehensive analysis of the adaptation of the value chain to make the partnership a success. It also underlines the need to conduct and to adapt the whole value chain to the specifities of the artist. Originality/value -There are few research investigating the links and partnerships between artists and luxury brands. The originality is to describe a particular partnership concerning all the parts of the upstream value chain -especially operations -it also makes recommendations concerning potential partnerships between art and luxury to fight back against commoditization.

Purpose – This paper aims to show the representation of entrepreneurship in movies (blockbusters) as a source of influence on popular representations. Design/methodology/approach – The author uses semiotics to contrast dominant representations in popular movies about Chanel with the reality of her professional life as can be found in archives about the fashion world and couture workers. Findings – The changes in the account of the entrepreneur's success may disregard important elements such as the importance of collective work and the role of social history on entrepreneurial ventures. Practical implications – Is entrepreneurship really a source of information in the general representations of what it is to be an entrepreneur and what explains the success and failure of entrepreneurial venture when we observe that popular representations are so far away from what research can describe and interpret using primary data? Originality/value – By displaying the discrepancy between entrepreneurship theory and popular representations, especially in the movies, one may be able to grasp some of the reasons why entrepreneurship needs more in-depth analysis of actors' representations in relation to the image of popular entrepreneurs in the public eye.

Social impact bonds (SIBs) were recently introduced in France as a result of the creation of a state label. A set of promises were associated with the bonds allowing experimental projects to test new methods in dealing with social risk. Social entrepreneurs offered to pioneer them and engage in social innovation. Yet the device immediately triggered questions about the benefits of this type of public−private partnership and the compatibility of the welfare system with social finance. Empirically, it had already been tested abroad, with mixed results. Theoretically, some assumptions to help modelize social risk proved debatable. This paper documents key actors' views on SIBs in terms of their present and foreseeable effects. Its specific subfield is that of children's services. Its main contribution is dual. It first consists of identifying what type of arguments and positions work better to promote SIBs in France. Secondly, it points to several forms of decoupling between discourse and practices caused by the superior success of moderate and relatively vague descriptions of SIBs as a set of promises, prefigurative of a major restructuration of the field.

Presented here is an analysis of Schumpeter's interest in political economy, as it relates to his use of history to investigate economic change and capitalism. This aspect of Schumpeter's work-referring to style and involving a range of moral and aesthetic considerations-is largely neglected in entrepreneurship studies despite his influence on the discipline. This paper argues these considerations are essential to understand Schumpeter's entrepreneur and the role of creative destruction in rejuvenating capitalism. However, his theory also involves political inclinations and choices, such as elitism and a fear of declinism, both of which are more typical to conservative not destructive worldviews. To illustrate my argument I examine and describe two cases, those of Oberkampf and Knoll, the latter a rough contemporary of Schumpeter. The findings point to the central role of political economy in past and present debates about the political role of entrepreneurship in society, suggesting a need for further attention to the zeitgeist (spirit of the time) in future research.