Thesis advisor: Mary Ann Glynn / This dissertation examines the organizational appropriation and deployment of cultural resources and, in particular, cultural capital (Bourdieu & Passeron, 1977), i.e., “high status cultural signals used in cultural and social selection” (Lamont & Lareau, 1988: 164), in manners that account for broader social status dynamics and institutional pressures. I conduct three interrelated empirical studies, all situated in the context of the U.S. hotel industry, and particularly, the luxury market segment. Building from archival, interview, and observational data collected from multiple sources, the first study focuses on the industry level, examining sweeping changes in hotels over time (from 1790–2015) and linking them with shifts in broader socio-cultural sentiments; the second study examines how the luxury segment of the industry sought to maintain its high status by appealing to elite guests in the face of such changes; and the third study highlights the organizational level, examining how luxury hotels managed cultural resources to transform the meaning of luxury for guests and signal status in an age of egalitarianism. Taken together, the three studies offer insights on the cultural embeddedness of industries and especially, how macro-level processes (at the industry level) yield dominant cultural codes and, in turn, how micro-level processes (at the organizational level) deploy and contribute to legitimating those codes. My studies strengthen the theoretical connection between research on culture, status and market adaptation by integrating and extending applicable ideas from cultural sociology (DiMaggio, 1987; Hirsch, 1972; Swidler, 1986, 2001) and by illuminating these with empirical evidence to explain when, why, and how processes of cultural entrepreneurship are undertaken to enable change and adaptation to the market and to society. / Thesis (PhD) — Boston College, 2016. / Submitted to: Boston College. Carroll School of Management. / Discipline: Management and Organization.

This thesis explores the challenges and opportunities of cultural entrepreneurship, exploring current conceptualisations of cultural entrepreneurs and to find new perspectives and recommendations for cultural entrepreneurs of the future. Cultural entrepreneurship is a contested, yet essential aspect of the growth of artists and arts organisations globally. Though there are similarities, this research demonstrates that cultural entrepreneurs from different backgrounds, industries and of varied sizes need different things and have different barriers so cannot be understood in the same way. Digital technologies and local networks do offer new possibilities for innovation however these are limited in scope and require further investigation and investment. Despite psychological, political and financial barriers to entrepreneurship in the creative industries, finding a balance between artistic, social, economic and institutional innovation for the various actors throughout the arts offers key insights to how artists and arts organisations can be more entrepreneurial. Through a grounded theory approach, this research connects previously disparate fields of cultural policy, social entrepreneurship and business model innovation to derive new perspectives of how cultural entrepreneurs can survive and thrive in the dynamically shifting world. Themes that emerged through the data analysis connect in new ways to Cohendet et al.’s (2012) ‘Anatomy of a Creative City’, outlining the underground, middleground and upperground actors; Albinsson’s (2017) theories of the quadruple bottom line in the creative industries; and a value ecosystem’s approach with a focus on value creation (Allee, 2002; Curtis, 2017). From this combination of literature and data collected, a novel approach to understanding cultural entrepreneurs emerges, creating a model to understand more holistically how value is created and captured for the artist or arts organisation. This model has a range of practical approaches intended to provide tangible pathways into combining the concepts of the quadruple bottom line, value ecosystems and different conceptualisations of cultural entrepreneurs, offering a novel contribution to all of these fields in addition to, and most significantly the topic of cultural entrepreneurship.

Thesis advisor: Mary Ann Glynn / This dissertation examines the construction of entrepreneurial possibilities, i.e., opportunities for entrepreneurial action (Lounsbury & Glynn, 2019: 37) in an institutional field. In particular, I conceptualize the field as a relational space (Wooten & Hoffman, 2008) made up of multiple actors and their identities, and set out to unpack the relational and cultural dynamics that shape what actors imagine and construe as possible. I conduct an historical ethnography (Vaughan, 2004) situated in the context of the U.S. specialty coffee segment. Building from a wealth of data, including archival, interview, and observational data, I trace the actions of a particular group within the field—roasters—and ask how, when, and why different sets of roasters spearheaded the assembly of new entrepreneurial possibilities in the field. My findings situate the actual construction of an entrepreneurial possibility as resulting from a two-part process involving: (1) the revealing of relational and cultural holes through field-level events, and (2) the bridging of these symbolic holes by actors in distinct field-level positions (e.g., insiders, outsiders, and ‘outsiders within’). Relational spaces referred to the symbolic void existing between actors who did not relate with one another (e.g., between farmers and roasters). Cultural spaces, or holes (Lizardo, 2014; Pachucki & Breiger, 2010; Vilhena et al., 2014 West, Evans & Bergstrom, 2014) referred to gaps or absences of shared meanings, tastes, or interests that led to impoverished relations between actors. As such, the dissertation offers insights on the cultural embeddedness of assembling entrepreneurial possibilities (e.g., Weber, Heinze, & DeSoucey, 2008) and especially, on the collective nature of revealing and seizing spaces of opportunity. Importantly, my work complements current research examining the link between identity and the flexibility of new ventures (Zuzul & Tripsas, 2019) by showing how, early on, when the field was dominated by one type of actor (e.g., commercial roasters), the spaces of opportunity that opened up revealed essential differences regarding the identity component of ‘who we are.’ As the field evolved, the ‘who we are’ varied less, but differences regarding ‘what we do’ became central to the assembly of new entrepreneurial possibilities. Overall, the dissertation extends the reach of cultural entrepreneurship (Gehman & Soublière, 2017; Lounsbury, Gehman, & Ann Glynn, 2019b; Lounsbury & Glynn, 2001) by casting it as a lens that can deepen our understanding of multiple facets of the entrepreneurial process, especially of its early stages where so much of what entrepreneurs do is riddled with uncertainty. / Thesis (PhD) — Boston College, 2019. / Submitted to: Boston College. Carroll School of Management. / Discipline: Management and Organization.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2017-04-04T13:04:58Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Lednara_Castro_Mestrado_2015.pdf: 1068885 bytes, checksum: a9e9d3a2634412ca8dc2aa5ecf571f0d (MD5) / Made available in DSpace on 2017-04-04T13:04:59Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Lednara_Castro_Mestrado_2015.pdf: 1068885 bytes, checksum: a9e9d3a2634412ca8dc2aa5ecf571f0d (MD5) Previous issue date: 2015-07-31 / CNPQ / A Economia Criativa apresenta uma crescente importância nos estudos do campo dos Estudos Organizacionais e da Economia, com reflexos no enfoque organizacional; as organizações que formam a Indústria Cultural se encontram em um contexto de mudanças frequentes, em que a geração e a gestão de ideias são ferramentas essenciais para se dinamizar a criatividade na sua condição de chave mestra do processo de inovação no mercado. O debate sobre a produção cultural emerge num espaço marcado pela relevância do seu potencial quanto à criação de sistemas produtivos que contribuem para o desenvolvimento dos chamados bens simbólicos. Este estudo tem como foco o empreendedor cultural e o entende como o produtor que é concebido sob o prisma de um agente coletivo que interage de forma intensa com suas comunidades, planejando, elaborando e executando produtos culturais, seguindo critérios artísticos, sociais, políticos e econômicos. Para procurar compreender melhor este cenário buscou-se descrever o modo como a expertise é potencializada em meio à ação empreendedora de dirigentes de empresas da indústria cinematográfica domiciliados na cidade do Recife. No modelo utilizado a expertise é formada por dimensões, que nos permitem perceber a importância de cada uma na sua formação como ferramenta de gestão abordando categorias como: o aprendizado reflexivo, que engloba as categorias inerentes ao desenvolvimento de competências, ao intercâmbio de conhecimento e a inversão; e comunicação como tecnologia, que inclui a transformação da linguagem e inovação. A perspectiva do empreendedorismo cultural contribui de modo considerável com uma análise específica com respeito à expertise do produtor na indústria cinematográfica pernambucana. Esse desenvolvimento de competências no mercado cinematográfico e a ampliação na quantidade e na qualidade das produções vem solidificando o setor e, consequentemente, proporcionando a formalização de muitas empresas que há pouco tempo existiam. Em meio a este contexto, encontramos um empreendedor polifônico, que mesmo tendo visões e experiências diferentes na ação de empreender utilizando sua expertise, comungam entre si um alto grau de comprometimento com todas as fases da produção de sua obra e que tenta, com cada produto colocado no mercado, se legitimar como um produtor de produtos com consumo simbólico. / The Creative Economy has a growing importance in the field of studies of Organizational Studies and Economics, reflected in organizational approach; organizations that make up the cultural industry are in a context of frequent changes in the generation and management of ideas are essential tools to foster creativity in your master key condition of the innovation process in the market. The debate on cultural production emerges in a space marked by the relevance of their potential to create production systems that contribute to the development of so-called symbolic goods. This study focuses on the cultural entrepreneur and understands how the producer that is designed from the perspective of a collective agent that interacts intensively with their communities, planning, developing and running cultural products, following artistic, social, political and economic criteria . To search for a better understanding of this scenario we attempted to describe how the expertise is enhanced through the entrepreneurial action of company directors in the film industry domiciled in the city of Recife. In the model used the expertise is made up of dimensions that allow us to realize the importance of each in their training as a management tool covering categories such as reflective learning, which includes the categories inherent in the development of skills, the exchange of knowledge and inversion; and communication technology and which includes the processing of language and innovation. The perspective of cultural entrepreneurship contributes considerably to a specific analysis with respect to the producer's expertise in Pernambuco film industry. This development of skills in the film market and expansion in the quantity and quality of production has been strengthening the sector and thus providing the formalization of many companies that recently existed. Amid this context, we find a polyphonic entrepreneur who despite having different views and experiences on the action undertaken using their expertise, they share among themselves a high degree of commitment to all stages of production of his work and trying, with each product placed on the market to legitimate products as a producer with symbolic consumption.

The creative class, creative economy and creative cities are all heralds of current North American planning directions. My research seeks to understand how the Art Factory, a multi-tenant and multi-purpose artist space, contributes to the lives of artists and the general creative potential of a city. This research is a case study of cre8ery, an art factory located in Winnipeg’s Exchange District, the gentrifying cultural quarter of the city. I interviewed ten artists, exploring how cre8ery affected their social, professional and economic lives. cre8ery serves as a gateway into the art world for emerging artists by providing stability and opportunities to them. In general, Art Factories are centres of cultural entrepreneurship, an activity essential to the health of artists and the city. I also explore the shift of the artist populations in Winnipeg due to gentrification, offering several policy initiatives that would either stem or support this shift. / February 2009

The creative class, creative economy and creative cities are all heralds of current North American planning directions. My research seeks to understand how the Art Factory, a multi-tenant and multi-purpose artist space, contributes to the lives of artists and the general creative potential of a city. This research is a case study of cre8ery, an art factory located in Winnipeg’s Exchange District, the gentrifying cultural quarter of the city. I interviewed ten artists, exploring how cre8ery affected their social, professional and economic lives. cre8ery serves as a gateway into the art world for emerging artists by providing stability and opportunities to them. In general, Art Factories are centres of cultural entrepreneurship, an activity essential to the health of artists and the city. I also explore the shift of the artist populations in Winnipeg due to gentrification, offering several policy initiatives that would either stem or support this shift.

The creative class, creative economy and creative cities are all heralds of current North American planning directions. My research seeks to understand how the Art Factory, a multi-tenant and multi-purpose artist space, contributes to the lives of artists and the general creative potential of a city. This research is a case study of cre8ery, an art factory located in Winnipeg’s Exchange District, the gentrifying cultural quarter of the city. I interviewed ten artists, exploring how cre8ery affected their social, professional and economic lives. cre8ery serves as a gateway into the art world for emerging artists by providing stability and opportunities to them. In general, Art Factories are centres of cultural entrepreneurship, an activity essential to the health of artists and the city. I also explore the shift of the artist populations in Winnipeg due to gentrification, offering several policy initiatives that would either stem or support this shift.

Submitted by Tatiana Lima (tatianasl@ufba.br) on 2017-02-07T18:08:59Z No. of bitstreams: 1 Campos, Israel Marques.pdf: 1870430 bytes, checksum: b35f0aee5f0f4530bda48df6ecee9007 (MD5) / Approved for entry into archive by Tatiana Lima (tatianasl@ufba.br) on 2017-02-07T18:29:46Z (GMT) No. of bitstreams: 1 Campos, Israel Marques.pdf: 1870430 bytes, checksum: b35f0aee5f0f4530bda48df6ecee9007 (MD5) / Made available in DSpace on 2017-02-07T18:29:46Z (GMT). No. of bitstreams: 1 Campos, Israel Marques.pdf: 1870430 bytes, checksum: b35f0aee5f0f4530bda48df6ecee9007 (MD5) / A capacitação de jovens artistas em empreendedores culturais, especialmente nos contextos dos bairros periféricos, é uma importante ação para o desenvolvimento tanto dos jovens quanto dos territórios potencialmente criativos. No entanto, alcançar esses jovens por meio do ensino formal ou convencional do empreendedorismo apresenta muitas dificuldades, seja pela falta de ensino do empreendedorismo cultural nas escolas ou pela forma do ensino que repele os jovens nas instituições de ensino. Carecemos de atualizações pedagógicas para alcançar as novas gerações em contextos de aprendizagem mais fecundos ou adequados. Essa dissertação configura-se em uma tecnologia social, pois propõe um saber que possa ser utilizado em comunidades para fomentar e desenvolver as forças empreendedoras locais no âmbito da cultura e das artes. Tratamos os empreendedores culturais como aqueles que são voltados para a emancipação e a promoção de mudanças sociais, através de um trabalho coletivo, participativo e com fundamento na identidade cultural local. A tecnologia social se constitui através de três elementos: empreendedorismo cultural, a pedagogia artística e a gestão participativa. A dissertação busca contribuir na capacitação de empreendedores atuantes na dinamização da cultura a partir de um formato que é familiar e desejável aos jovens: o sarau, a arte, a sociabilidade comunitária e o lazer. Cada comunidade aplicará a tecnologia social de ensino do empreendedorismo cultural através das artes. Implicações e orientações para aplicação do desenho da tecnologia social são formuladas, apresentadas e debatidas. / The training of young artists into cultural entrepreneurs, especially in peripherical neighborhoods contexts, is an important action for the development of both young people and potentially creative territories. However, reaching those young people through formal or conventional education presents many difficulties due to the lack of teaching of cultural entrepreneurship in schools or the current way of teaching that repels young people in schools. We lack pedagogical updates to reach new generations in a more fertile or appropriate learning context. This dissertation proposes a social technology to be used in communities to promote and develop local entrepreneurial forces within the culture and the arts. We recognize as cultural entrepreneur those focused on emancipation and the promotion of social change thought participative and collective work based on local cultural identity. The social technology is composed by three elements: cultural entrepreneurship, artistic pedagogy and participative management. This dissertation highlights the contribution on the training of cultural entrepreneurs on a format that is familiar and desirable to young people: the “sarau”, art, community sociability and recreation. Local cultural identity is the basis of cultural entrepreneurship since it is through their now identity that each community will apply cultural entrepreneur teaching social technologies though the arts. Implications and guidelines for implementation of the social technology design are formulated, presented and discussed.

The Swedish Island of Gotland is well-known for being prosperous in cultural  and natural values, as well as for its attractiveness as a touristic destination that draws local and international visitors to its myriad of cultural activities, offerings and establishments. For those reasons, Region Gotland has created comprehensive plans aimed at achieving goals related to exalting the image of the island as place for sustainable tourism and the promotion of culture. However, it is important to identify possible problematics that may arise during the implementation of such plans, and additionally it is important to compare and analyze the directives of the Region against what cultural actors and artists perceive in their day-to-day activities. Therefore, based on the existing literature, the collected data, and the identified themes in this research, a model that seeks to incorporate concepts related to the Promotion of Culture, Culturally Sustainable Enterprises and Cultural Tourism will be presented as a solution to tackle the problems and issues that cultural destinations such as Gotland might face.

The main purpose of this thesis is to recognize the entrepreneurial identity of femaleartists today in Greece, as portrayed from their accounts on Instagram. This study uses aquantitative method to examine the ways in which artists become digital and culturalentrepreneurs. The results reveal that cultural and digital entrepreneurial identity is evidentthrough entrepreneurial marketing by female artists in Greece. The findings can also supportfuture research on the digitization of art and the entrepreneurial activities and marketingstrategies from the art world in Greece.The proposed research question of this study refers to the ways in which Greek femaleartists act as digital and cultural entrepreneurs on Instagram. The study is based on a specificsample of female artists in Greece who use Instagram to project and promote their artworks.In doing so, there are samples of entrepreneurial marketing which indicate that beside theirrole as artists they act as entrepreneurs and they are heading towards a social impact on the artworld in Greece.The “4Ps” of marketing mix were used as a method for collecting data from Instagramaccounts while for the analysis a code book was created, in order to interpret the collecteddata. The findings of this research were able to confirm that the traditional marketing mixapplies to the accounts of the five artists and also can be used in a digital and cultural context.One main limitation of this study was the number of accounts included in the research, aswell as the weaknesses of content analysis as a method itself. However, the findings can shedlight in the area of female entrepreneurship in Greece and valuable insights in how the “4Ps”of marketing can be applied in a modern context. Additionally, this research can be used as astarting point for further research on female entrepreneurship and for the application ofvarious research methods on the subject.