tailieunhanh - From the Critics’ Corner: Logic Blending, Discursive Change and Authenticity in a Cultural Production System*

Final figures have been projected to reflect international statistics and are exclusively based on the estimated number of Plastic Surgeons in each country and the responding sample. Whereas the .‐ based study funded by the American Society of Aesthetic Plastic Surgery includes Board Certified Plastic Surgeons, Dermatologists, and Otolaryngologists, this International Survey is focused entirely on board certified (or national equivalent) Plastic Surgeons. To aid in tallying the world‐wide number of plastic surgeons, representatives from National Societies provided the counts for over 90% of the 33,000 total estimated plastic surgeons. For cases in which the National Society did not provide its country’s total, a regression equation was created to estimate the number of plastic surgeons in the country based on its population size and Gross Domestic Product. . | Journal of Management Studies 42 5 July 2005 0022-2380 From the Critics Corner Logic Blending Discursive Change and Authenticity in a Cultural Production System Mary Ann Glynn and Michael Lounsbury Emory University Atlanta GA University of Alberta ABSTRACT Drawing on an analysis of critics reviews of Atlanta Symphony Orchestra ASO performances we investigate how broader shifts in institutional logics shape the discourse of critics and their judgment of performances. We highlight how the aesthetic logic that traditionally informs the practices of the symphony yielded in the face of declining orchestral resources to a more commercially oriented market logic. As institutionalists have argued shifts in logics are often catalysed by exogenous shocks. In the ASO this blending of aesthetic and market logics became salient in the wake of a pivotal organizational event the 1996 musicians strike. Qualitatively comparing pre- and post-strike reviews of ASO performances we find that the discourse of critics shifted to capture the changing logic of the symphony post-strike reviews were more attuned to market than aesthetic aspects of the symphony. Nonetheless their reviews suggested that judgments based on notions of cultural authenticity were virtually unaffected. Although our results echo existing claims that art world critics often act in a ritualistic fashion serving as gatekeepers for the authenticity of cultural genres we extend scholarship by highlighting how critics stories are embedded in broader discursive fields that reveal how they patrol the boundaries of genres. INTRODUCTION Over the past three decades the development of the production of culture perspective has enhanced our understanding of how cultural artefacts such as music albums books and artwork are produced in modern societies Anand and Peterson 2000 Hirsch 1972 Peterson 1977 2005 for a review see Peterson and Anand 2004 . Research has highlighted how the production of cultural artefacts is shaped by a .