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The constitution of the arts as cult...

Meamber, Laurie Ann.

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The constitution of the arts as cultural production: The role of the consumer, artist, and cultural intermediary as producer/consumer of meaning.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The constitution of the arts as cultural production: The role of the consumer, artist, and cultural intermediary as producer/consumer of meaning./
作者:	Meamber, Laurie Ann.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 1997,
面頁冊數:	447 p.
附註:	Source: Dissertation Abstracts International, Volume: 58-09, Section: A, page: 3620.
Contained By:	Dissertation Abstracts International58-09A.
標題:	Marketing. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9809830
ISBN:	9780591603446

The constitution of the arts as cultural production: The role of the consumer, artist, and cultural intermediary as producer/consumer of meaning.
Meamber, Laurie Ann.

The constitution of the arts as cultural production: The role of the consumer, artist, and cultural intermediary as producer/consumer of meaning. - Ann Arbor : ProQuest Dissertations & Theses, 1997 - 447 p.

Source: Dissertation Abstracts International, Volume: 58-09, Section: A, page: 3620.

Thesis (Ph.D.)--University of California, Irvine, 1997.

The research problem is to investigate how the arts are constituted as cultural production and the roles that consumers, artists, and cultural intermediaries play in the process of producing and consuming the arts in everyday life. The main contribution of the research is to enlarge the focus within the field of marketing from how to use marketing techniques for promoting arts to advancing our knowledge as to how the field of arts can contribute to our understanding of the consumer, consumer behavior and consumer culture.

ISBN: 9780591603446Subjects--Topical Terms:

536353
Marketing.

The constitution of the arts as cultural production: The role of the consumer, artist, and cultural intermediary as producer/consumer of meaning.
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520 $a This study involved examining selected artistic products and experiences, and observing and interviewing consumers, artists, and cultural intermediaries involved with these, with a relative emphasis on consumers of art. It was with the systematic use of the grounded theory interpretive methodology within the ethnoconsumerist paradigm that the constitution of the arts was understood. The data were collected in the United States and Denmark. A multi-method of data collection involved collecting documentary evidence, unobtrusive observation, and long-interviews.
520 $a For consumers, art is part of life, distinct from other aspects of life; however, life can be experienced as an artistic journey and embraced in artistic production/consumption activities or ignored in phases of their lives. For artists, art becomes life and life becomes art, as they practice art and life coterminously, bringing themselves to art and art into their lives. For cultural intermediaries, art can/cannot be life and life can/cannot be art, as they organize, frame, judge, interpret, define art but distance themselves from living art in their careers.
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