Zur Beruflichen Situation von Autoren aus den Ergebnissen der Autoren-Enquete

Fohrbeck, Karla; Wiesand, Andreas J.

doi:10.1007/978-3-322-96985-9_3

Cited by 1 publication

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“…It should not be overlooked, however, that certain modern forms of patronage have to some extent taken over from the traditional relationship. Writers may write on commission for television, for example (Bradbury 1971;Fohrbeck and Wiesand 1972;Sutherland 1978). 9 Another modern corporate patron for writers is the university, especially the American university, which in the past decades has supported many authors as 'creative writers' or 'writers-in residence.'…”

Section: Modern Forms Of Patronagementioning

confidence: 99%

“…In the 1960s and 1970s, in particular, these studies were carried out in the spirit of the positivist sociology of art, aiming at practical applications in cultural policy. Typical examples include the extensive reports on the social status of writers (Fohrbeck and Wiesand 1972) and artists in Germany (Fohrbeck and Wiesand 1975). In recent years, both the sociology of culture and the emerging discipline of cultural economics have yielded important contributions to this area of research (Moulin et al 1985;Throsby 1986;Jeffri 1988;Finnish Arts Council 1988Throsby and Mills 1989;Wassall and Alper 1992;Throsby and Thompson 1994;Towse 1996).…”

Section: Economic Position Of Artistsmentioning

confidence: 99%

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The empirical study of careers in literature and the arts

Janssen¹

2001

Utrecht Publications in General and Comparative Literature

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In the last few decades, scholars from a variety of disciplines -(art) history, literary studies, sociology, mass communication studies, psychology, and cultural economics -have contributed to our understanding of production and profession in literature and the arts. Their studies cover different periods and societies and address a broad range of topics which, in one way or another, relate to the work and careers of those involved in the production and distribution of culture. As space is limited, this rich line of research will be reviewed only in part in this article.Primarily, the focus will be on careers in literature and the visual arts, although occasionally attention will also be paid to other (both artistic and non-artistic) occupations, because such comparisons have yielded useful insights in the past.Secondly, this article focuses on writers and artists; other professionals in the field of art and literature, including publishers, editors, agents, dealers, critics, and reviewers will be discussed mainly in terms of how they affect the work and careers of writers and artists. We have restricted our focus in this way for reasons of brevity, but also because there is a relative absence of systematic, empirical research into such 'para-artistic' occupations and their practitioners, especially for the postwar period.Thirdly, this contribution will deal with the work of writers and other artists in a thematic fashion, rather than focusing on the gamut of theoretical perspectives and approaches in this area. The following sections shed light on the changing support structures on which writers and artists have depended for their livelihood and to gain other types of recognition for their work (section 2), the various ways in which mediators shape individual works and whole careers (section 3), the characteristics of artistic occupations and their implications (section 4), and the recruitment and career development of artists (section 5). The article concludes with some comments on the state-of-the-art of research on artistic work and careers.Of course, the above topics and questions were not picked at random. They stem from several theoretical perspectives and research traditions that were developed by empirically oriented sociologists of literature and the arts from the 1970s onwards, including the production-of-culture perspective (Peterson 1994); the empirical study of literature and literary systems theory (Schmidt 1980(Schmidt ,1993(Schmidt and 1998; art world research (Becker 1982;Gilmore 1990); and field theory, also referred to as the institutional analysis of the field of cultural (literary) production (Bourdieu 1993;Van Rees 1983). Although these approaches have different points of departure, employ different concepts and methodologies, and focus on different aspects of the production of art and literature, there are no clear-cut divisions between them. Many individual researchers and studies, with good reason, can be and have been considered to be representative of more than one approach. It lies out...

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Section: Modern Forms Of Patronagementioning

confidence: 99%