Match!

Leveraging Youth: Overcoming Intergenerational Tensions in Creative Production:

Published on Sep 26, 2019in Social Psychology Quarterly1.75
路 DOI :10.1177/0190272519871297
Alexandre Frenette4
Estimated H-index: 4
(Vandy: Vanderbilt University)
Abstract
The sociological literature on creativity would suggest that collaboration between newcomers and more experienced members of an art world results in the fruitful combination of novelty and usefulne...
  • References (34)
  • Citations (0)
馃摉 Papers frequently viewed together
2018
2019
9 Citations
78% of Scinapse members use related papers. After signing in, all features are FREE.
References34
Newest
#1Alex van Venrooij (UvA: University of Amsterdam)H-Index: 6
#2Vaughn Schmutz (UNCC: University of North Carolina at Charlotte)H-Index: 7
Abstract Recent studies find that objects that do not clearly fit within the categories of their field are penalized by relevant audiences. We examine whether this 鈥榗ategorical imperative鈥 is dependent on the symbolic and institutional structure of fields by comparing the effects of genre ambiguity across two popular music subfields. The results show that genre ambiguity has a negative effect within the commercial subfield, but not in the artistic subfield. The effects of genre fuzziness on the ...
7 CitationsSource
#1Gary Alan FineH-Index: 1
2 CitationsSource
#1John N. Parker (ASU: Arizona State University)H-Index: 17
#2Ugo Corte (Uppsala University)H-Index: 5
Collaborative circles theory explains how innovative small groups develop and win acceptance of their creative work but assumes a single type of circle and would benefit from considering how circle ...
6 CitationsSource
鈥淐reativity鈥濃攁n original action or object鈥攐ccurs frequently. Usually praised in the abstract, it鈥檚 seldom recognized or rewarded in ordinary life and in the workings of organizations. Seen in organizational contexts, it can be understood as an interesting activity whose potential value organizational constraints make it impossible to recognize for what it is.
5 CitationsSource
#1Noah Askin (Ad: INSEAD)H-Index: 2
#2Michael Mauskapf (Columbia University)H-Index: 2
In this article, we propose a new explanation for why certain cultural products outperform their peers to achieve widespread success. We argue that products鈥 position in feature space significantly predicts their popular success. Using tools from computer science, we construct a novel dataset allowing us to examine whether the musical features of nearly 27,000 songs from Billboard鈥檚 Hot 100 charts predict their levels of success in this cultural market. We find that, in addition to artist famili...
22 CitationsSource
#1Kathryn Oakley (RMIT: RMIT University)H-Index: 2
#2Dave O'Brien (Goldsmiths, University of London)H-Index: 10
ABSTRACTInequality has become essential to understanding contemporary society and is at the forefront of media, political and practice discussions of the future of the arts, particularly in the UK. Whilst there is a wealth of work on traditional areas of inequality, such as those associated with income or gender, the relationship between culture, specifically cultural value, and inequality is comparatively under-researched.The article considers inequality and cultural value from two points of vi...
18 CitationsSource
#1Tom R. Burns (Uppsala University)H-Index: 29
#2Nora MachadoH-Index: 4
Last. Ugo Corte (Uppsala University)H-Index: 5
view all 3 authors...
Creativity is a universal activity, essential in an evolutionary perspective, to adaptation and sustainability. This first part of a three part article on the sociology of creativity has three purposes: (1) to develop the argument that key factors in creative activity are socially based and developed; hence, sociology can contribute significantly to understanding and explaining human creativity; (2) to present a sociological systems approach which enables us to link in a systematic and coherent ...
5 CitationsSource
#1Gary Alan Fine (NU: Northwestern University)H-Index: 43
#2Tim Hallett (IU: Indiana University Bloomington)H-Index: 12
Purpose 鈥 Classical ethnographic research begins with the recognition that the observer starts as a stranger to the group being studied, a recognition as evident in the analysis of formal organizations as of gangs or tribes. From this position of difference the researcher must learn the themes and dynamics of a setting of otherness. The researcher begins as an outsider, a stance that creates initial challenges, yet permits the transmittal of novel information to external audiences. This is parti...
10 CitationsSource
#1Gino Cattani (York University)H-Index: 13
#2Simone Ferriani (City University London)H-Index: 12
Last. Paul D. AllisonH-Index: 46
view all 3 authors...
Building on recent research emphasizing how legitimacy depends on consensus among audiences about candidates鈥 characteristics and activities, we examine the relationship between cultural producers鈥 (candidates) position in the social structure and the consecration of their creative work by relevant audiences. We argue that the outcome of this process of evaluation in any cultural field, whether in art or science, is a function of (1) candidates鈥 embeddedness within the field, and (2) the type of...
49 CitationsSource
#1Colin Jerolmack (NYU: New York University)H-Index: 12
#2Shamus Khan (Columbia University)H-Index: 8
This article examines the methodological implications of the fact that what people say is often a poor predictor of what they do. We argue that many interview and survey researchers routinely conflate self-reports with behavior and assume a consistency between attitudes and action. We call this erroneous inference of situated behavior from verbal accounts the attitudinal fallacy. Though interviewing and ethnography are often lumped together as 芒鈧搎ualitative methods,芒鈧 by juxtaposing studies of ...
181 CitationsSource
Cited By0
Newest