Since the 1990s, urban cultural policy in the UK has been bound to the cause of urban regeneration. Much has been written in examination and critique of this relationship, but what happens when the direction of strategic attention is reversed and civic leadership seeks to regenerate culture itself? The city of Glasgow, having made capital of culture over many decades, has moved towards a strategy for the development of literary Glasgow. This thesis documents a search for those factors crucial to that strategy. The research focuses on literary Glasgow as one aspect of the city’s cultural sector; identifies and examines gaps in the relationship between the civic cultural organisation and literary communities; and highlights those elements vital to the formation of a strategy for development of the literary in Glasgow. An extended period of participatory ethnographic research within the Aye Write! book festival and Sunny Govan Community Radio, is supplemented with data from interviews conducted across the literary sector and analysis of organisational documentation. Through these a gap has been identified between the policies and operations of a civic cultural organisation, and the desires of those engaged within the literary community. This gap is caused, in part, by the lack of a mechanism with which to reconcile contrasting narratives about the cultural essence of the city, or to negotiate the variations in definitions of value in relation to cultural engagement. The interdisciplinary approach builds upon insights from existing work within publishing studies, cultural policy, complexity theory and organisational studies to construct an understanding of the dynamics of Glasgow’s literary sector. This reveals the need for a framework in support of a landscape of practice, a desire for the placement of boundary objects to facilitate engagement, and the significance of value in relation to participation in literary activity. This work informs a strategy for literary Glasgow and contributes to conversations on strategies for cultural development in other cities.

隨著文化創意產業的興起，傳統的宗教信仰如何結合數位互動科技，以輔助參與者加深對宗教信仰文化的理解與體驗，是數位內容產業值得研究的議題。月下老人是華人傳統信仰中的姻緣之神。本研究因此將針對月老文化內容，設計一多人互動體驗情境，以探究月老文化內容以傳統和數位化的形式呈現，對參與者體驗感受的影響程度。 在設計研究方法上，包括創作概念發想以及互動裝置雛型實作兩部分。首先透過文獻探討，歸納出互動體驗設計原則，接著針對月老文化進行數位化設計與互動體驗流程設計，並以Unity 3D遊戲引擎結合Kinect體感科技與Android系統平台，實作一數位化月老文化互動體驗情境，以兩大體驗主題：數位化月老之參拜體驗與體感互動之繡球牽線等情境，以呈現月老文化創意設計概念。 針對參與者對月老文化內容的理解程度與體驗感受，進行問卷與訪談分析後發現，本研究設計之互動體驗情境能有效提昇參與者對文化內容起源與意義的理解。再以Schmitt 提出之策略體驗模組（Strategic Experiential Modules, SEMs）進行分析，發現此體驗情境皆有助於提昇參與者於感官、情感、思考、行動、關聯體驗的感受程度與認同感，進而創造深刻的互動體驗感受。最後，期望此互動體驗情境的設計過程與雛形的實作經驗，能轉移到同性質的文化體驗情境設計的應用上，並提供建議給後續研究做參考。 / With the advent of the cultural and creative industry, it is worth to investigate the integration of traditional religious culture with the interactive technology to improve the participants' understanding of culture. The Matchmaker, the old man of the moonlight, is the god of marriage and love in Chinese traditional religious culture. In the thesis, the design of a multiplayer interactive experiential environment for the integration of the Matchmaker culture with the interactive technology is investigated and developed to improve the participants’ experience. For the design methodology, the creative concept design is performed and the interactive device prototyping is implemented. We draw out the related interaction design principles and used Unity 3D game engine along with the Kinect somatosensory Technology and Android platform to implement the Matchmaker interactive environment. Two themes of the developed environment are the digital prayer experience of the Matchmaker and the interactive embroidered ball throwing. To evaluation the user experience of the developed environment, the questionnaire analysis and interviews are performed based on the Schmitt’s strategic experiential modules. The result showed that the developed environment can enhance the participants' understanding of the culture of the Matchmaker and improve participants’ perception and recognition towards the experience of sensing, feeling, thinking, acting and relating.

因應時代的改變，構成國家實力的資源也跟著改變。不同於自然資源、軍事力量、經濟或科技實力等有形的力量，文化資源以價值觀念為核心，是經濟發展的要素之一，也是柔性權力發展的重要基礎。創意產業，是目前全球新興的產業，透過創意產業對於外交上的幫助能強化國家的柔性力量，為國家塑造良好形象，並促進國家經濟利益。 本文以「創意產業作為俄國一項柔性權力」的角度為出發點，思考電影與文化觀光中所體現出的俄國價值與俄國文化，結合文化創意產業創新的概念，如何提升並發揮作用影響國家品牌形象。 透過國家品牌指數及相關國際指標可以得知，俄國成功藉由電影與文化觀光對外國公眾展現文化吸引力，傳達文化精神並提升國家品牌形象。因此，本文研究發現有以下幾點：第一，俄國創意產業作為一種柔性權力，以俄羅斯文化為因子散播並影響著世界。第二，文化吸引力為俄羅斯重要資產。俄羅斯的電影及文化觀光的文化吸引力使得外國公眾能受到吸引而心生嚮往，產生認同感；第三，國家扮演創意產業發展的關鍵推手。藉由俄國政府的主導，使得俄國創意產業能順利與國際接軌，發揮柔性力量；第四，柔性權力可建構出國家品牌形象，讓外國公眾對於俄國的印象不再只有軍事與核武等剛性力量，俄羅斯文化在國際上也具有不容小覷的影響力。 / In respond to the era of changes, the resources that constitute a nation's strength change accordingly. Unlike tangible forces such as natural resources, military power, economic or scientific technological strength, etc., cultural resources have sense of value as its core, and is one of the elements in economic development and also the important basis for the development of soft power. The creative industry is currently an emerging industry around the globe. Through the creative industry, the diplomatic assistance can help strengthen the country's soft power by adding a good image of the country and promoting national economic interests. This paper uses the perspective of "Creative industry as one of Russia’s soft power" as the starting point to reflect on how Russian values and culture expressed in film and cultural tourism, combined with the concepts of the innovation in cultural creative industry, can enhance and influence its national brand image. Through Nation Brands Index and the relevant international indexes we can have learned that Russia successfully exhibits its cultural attraction to the foreign public through cinema and culture, conveys its cultural spirit and enhances its national brand image. Therefore, this paper is meant to study and discover the following: First, Russia’s creative industry is used as a soft power to spread Russian culture as a factor and influence the world; Secondly, cultural attraction is an important asset for Russian. The cultural attraction of Russian films and culture tourism can attract the foreign public and create a sense of longing and a sense of identity; Thirdly, the country plays a key force behind the development of the creative industry. Being led by the Russian government, the Russian creative industry can thereby successfully connect with its international counterparts and bring soft power into play; Fourthly, the soft power can construct a nation’s brand image. It gives the foreign public an impression of Russia not only about hard power like military and nuclear weapon etc.; Russian culture also has influences, which are not to be underestimated internationally.

自金融風暴之後，不論是政府或是企業，皆意識到產業結構轉型之重要與迫切性，而產學合作於其中扮演不可或缺之角色。事實上，政府推動產學合作多年，過去產學合作之投入與產出、衍生效益不符，經探究，發現主要原因在於大學研發成果與市場端中間存有缺口（Gap），研究與技術對企業來說不具誘因，中間需要商管知識協助技術之商品化；此外，隨著產業結構之轉型，很大契機來自於商業模式之創新。 然而，過去學術界與實務業皆鮮少談論商管領域之產學合作，成功案例更是少之又少。商管知識相對無形，要執行產學合作勢必有所困難，但是，一旦成功將對企業甚至是社會作出貢獻。 是以，本研究透過文獻回顧探討促成產業界與學術界成功合作之主要因素，以及影響產學合作績效之重要要素，並藉由個案研究組織之分析提出關於商管領域產學合作之關鍵成功要素，作為未來執行商管產學合作之參考。此外，本研究更以關鍵成功因素為基礎，由現行產學合作相關績效評估模式中選取適合之模式，以商管學者於文化創意產業之產學合作為例，探究合作過程中商管學者應有之功能與角色，據以說明績效評估構面與關鍵績效指標應如何訂定，希冀架構一系統化之商管領域產學合作之績效評估模式，驅動更多之商管學者投入產學合作，為台灣產業之突破與創新做出貢獻。 / After the financial crisis，both government and enterprises are aware of the importance and urgency of industry structure transformation, and the industry-university collaboration in which plays essential roles. In fact, the government has promoted industry-university collaboration for many years. However, there is a discrepancy in the inputs and outputs of industry-university collaboration. From related researches’, the main problem is the gap between universities’ R & D results and market side. In other words, enterprises have no incentives to buy universities’ research results. Indeed, business and management knowledge can minimum the gap. In addition, with the transformation of industry structure, there’s a huge need for innovation of business model. However, academic and industry rarely talk about the managerial industry-university collaboration. And there are few success cases about it. In fact, managerial knowledge is more invisible than technology. It is difficult to implement managerial industry-university collaboration cases. But, if it succeeds, it will make great contribution to enterprise and industry. Therefore, this research is to explore the key success factors and performance evaluation of industry-university collaboration from literatures review, and to establish the key success factors and performance evaluation of managerial industry-university collaboration by case study. Hope of the research is to provide some guidance for related parties. Moreover, this research takes the key success factors of managerial industry-university collaboration as a basis of building up performance evaluation. Because of a lack of industry-university collaboration in cultural and creative industries, the research explores managerial scholars’ function and role in it, and then designs the structure and index of performance evaluation. The main object of the research is to systematize performance evaluation for managerial scholars in implementing managerial industry-university collaboration cases. Without right performance evaluation, managerial scholars have no incentives to help industry improve and solve practical problems.

In the shift to a globalised creative economy where innovation and creativity are increasingly prized, many studies have documented direct and indirect social and economic benefits of the arts. In addition, arts workers have been argued to possess capabilities which are of great benefit both within and outside the arts, including (in addition to creativity) problem solving abilities, emotional intelligence, and team working skills (ARC Centre of Excellence for Creative Industries and Innovation, 2007). However, the labour force characteristics of professional artists in Australia and elsewhere belie their importance. The average earnings of workers in the arts sector are consistently less than other workers with similar educational backgrounds, and their rates of unemployment and underemployment are much higher (Australian Bureau of Statistics, 2005; Caves, 2000; Throsby & Hollister, 2003). Graduating students in the arts appear to experience similar employment challenges and exhibit similar patterns of work to artists in general. Many eventually obtain work unrelated to the arts or go back to university to complete further tertiary study in fields unrelated to arts (Graduate Careers Council of Australia, 2005a). Recent developments in career development theory have involved discussion of the rise of boundaryless careers amongst knowledge workers. Boundaryless careers are characterised by non-linear career progression occurring outside the bounds of a single organisation or field (Arthur & Rousseau, 1996a, 1996b). The protean career is an extreme form of the boundaryless career, where the careerist also possesses strong internal career motivations and criteria for success (Baruch, 2004; Hall, 2004; Hall & Mirvis, 1996). It involves a psychological contract with one's self rather than an organisation or organisations. The boundaryless and protean career literature suggests competencies and dispositions for career self-management and career success, but to date there has been minimal empirical work investigating the predictive value of these competencies and dispositions to career success in the boundaryless or protean career. This program of research employed competencies and dispositions from boundaryless and protean career theory to predict career success in professional artists and tertiary arts graduates. These competencies and dispositions were placed into context using individual and contextual career development influences suggested by the Systems Theory Framework of career development (McMahon & Patton, 1995; Patton & McMahon, 1999, 2006a). Four substantive studies were conducted, using online surveys with professional artists and tertiary arts students / graduates, which were preceded by a pilot study for measure development. A largely quantitative approach to the program of research was preferred, in the interests of generalisability of findings. However, at the time of data collection, there were no quantitative measures available which addressed the constructs of interest. Brief scales of Career Management Competence based on the Australian Blueprint for Career Development (Haines, Scott, & Lincoln, 2003), Protean Career Success Orientation based on the underlying dispositions for career success suggested by protean career theory, and Career Development Influences based on the Systems Theory Framework of career development (McMahon & Patton, 1995; Patton & McMahon, 1999, 2006a) were constructed and validated via a process of pilot testing and exploratory factor analyses. This process was followed by confirmatory factor analyses with data collected from two samples: 310 professional artists, and 218 graduating arts students who participated at time 1 (i.e., at the point of undergraduate course completion in October, 2005). Confirmatory factor analyses via Structural Equation Modelling conducted in Study 1 revealed that the scales would benefit from some respecification, and so modifications were made to the measures to enhance their validity and reliability. The three scales modified and validated in Study 1 were then used in Studies 3 and 4 as potential predictors of career success for the two groups of artists under investigation, along with relevant sociodemographic variables. The aim of the Study 2 was to explore the construct of career success in the two groups of artists studied. Each participant responded to an open-ended question asking them to define career success. The responses for professional artists were content analysed using emergent coding with two coders. The codebook was later applied to the arts students' definitions. The majority of the themes could be grouped into four main categories: internal definitions; financial recognition definitions; contribution definitions; and non-financial recognition definitions. Only one third of the definition themes in the professional artists' and arts graduates' definitions of career success were categorised as relating to financial recognition. Responses within the financial recognition category also indicated that many of the artists aspired only to a regular subsistence level of arts income (although a small number of the arts graduates did aspire to fame and fortune). The second section of the study investigated the statistical relationships between the five different measures of career success for each career success definitional category and overall. The professional artists' and arts graduates' surveys contained several measures of career success, including total earnings over the previous 12 months, arts earnings over the previous 12 months, 1-6 self-rated total employability, 1-6 self-rated arts employability, and 1-6 self-rated self-defined career success. All of the measures were found to be statistically related to one another, but a very strong statistical relationship was identified between each employability measure and its corresponding earnings measure for both of the samples. Consequently, it was decided to include only the earnings measures (earnings from arts, and earnings overall) and the self-defined career success rating measure in the later studies. Study 3 used the career development constructs validated in Study 1, sociodemographic variables, and the career success measures explored in Study 2 via Classification and Regression Tree (CART - Breiman, Friedman, Olshen, & Stone, 1984) style decision trees with v-fold crossvalidation pruning using the 1 SE rule. CART decision trees are a nonparametric analysis technique which can be used as an alternative to OLS or hierarchical regression in the case of data which violates parametric statistical assumptions. The three optimal decision trees for total earnings, arts earnings and self defined career success ratings explained a large proportion of the variance in their respective target variables (R2 between 0.49 and 0.68). The Career building subscale of the Career Management Competence scale, pertaining to the ability to manage the external aspects of a career, was the most consistent predictor of all three career success measures (and was the strongest predictor for two of the three trees), indicating the importance of the artists' abilities to secure work and build the external aspects of a career. Other important predictors included the Self management subscale of the Career Management Competence scale, Protean Career Success Orientation, length of time working in the arts, and the positive role of interpersonal influences, skills and abilities, and interests and beliefs from the Career Development Influences scale. Slightly different patterns of predictors were found for the three different career success measures. Study 4 also involved the career development constructs validated in Study 1, sociodemographic variables, and the career success measures explored in Study 2 via CART style decision trees. This study used a prospective repeated measures design where the data for the attribute variables were gathered at the point of undergraduate course completion, and the target variables were measured one year later. Data from a total of 122 arts students were used, as 122 of the 218 students who responded to the survey at time 1 (October 2005) also responded at time 2 (October 2006). The resulting optimal decision trees had R2 values of between 0.33 and 0.46. The values were lower than those for the professional artists' decision trees, and the trees themselves were smaller, but the R2 values nonetheless indicated that the arts students' trees possessed satisfactory explanatory power. The arts graduates' Career building scores at time 1 were strongly predictive of all three career success measures at time 2, a similar finding to the professional artists' trees. A further similarity between the trees for the two samples was the strong statistical relationship between Career building, Self management, and Protean Career Success Orientation. However, the most important variable in the total earnings tree was arts discipline category. Technical / design arts graduates consistently earned more overall than arts graduates from other disciplines. Other key predictors in the arts graduates' trees were work experience in arts prior to course completion, positive interpersonal influences, and the positive influence of skills and abilities and interests and beliefs on career development. The research program findings represent significant contributions to existing knowledge about artists' career development and success, and also the transition from higher education to the world of work, with specific reference to arts and creative industries programs. It also has implications for theory relating to career success and protean / boundaryless careers.

Abstract This study addresses the justifications of the duration of copyright, the revenue-generating models in the music business, and the availability of digital music in Finland. The first goal was to understand how different stakeholders in the music industry relate to copyright and how they justify what they consider the optimal duration. The second goal was to map out the revenue-generating models in the music industry at a time when the consumption of music has changed from analogue to digital formats, from physical products to streaming services. The third goal was to find out the different ways in which digital music is available on the internet in Finland. The research material consists of survey research, half-structured theme interviews and documentary material. The applied research methods are theory- and material-based content analysis. The theoretical approaches utilized are the theory of justice by John Rawls, the theory of hegemony by Antonio Gramsci, the classical communication model by Roman Jakobson, and power theory by Lawrence Lessig. It uses as its interpretational theory the model of justification of copyright by Laura Leppämäki. The results state the following: The most common justification provided for the optimal duration of copyright is utilitarianism – advantage to society as a whole. The same justification is given by stakeholders who want to keep the duration as it stands, and also by those who wish to shorten it. Another common justification is to see copyright as a natural item of ownership, claimed by work, and especially as a subject of inheritance, preferably for two subsequent generations. The problems concerning the revenue-generating models in the digital world tend to focus on distribution of income on three different levels: record contracts; the distribution models of the streaming companies; and contracts between content sharing companies, record companies and rights organizations. The authors and artists have the weakest bargaining position in the negotiations. The results on availability of digital music show that digital music can be discovered via public services (music libraries), commercial services (streaming companies), and ad hoc societal services (peer-to-peer networks). The role of music libraries as a content provider has decreased since the majority of music consumption has altered to digital services. / Tiivistelmä Tutkimus käsittelee musiikin tekijänoikeuden keston perusteluja, musiikkialan ansaintalogiikoita ja digitaalisten musiikkiaineistojen saatavuutta Suomessa. Tarkoituksena oli hahmottaa, miten musiikkiteollisuuden eri osapuolet suhtautuvat tekijänoikeuteen ja miten ne perustelevat tekijänoikeuksien optimaalista kestoa. Tavoitteena oli myös kartoittaa musiikkialan ansaintalogiikat, jotka ovat muuttuneet siirryttäessä analogisesta musiikin kulutuksesta digitaaliseen musiikin kulutukseen, ennen kaikkea suoratoistopalveluihin. Kolmantena tehtävänä oli selvittää, millä tavoilla digitaalista musiikkia on saatavilla internetin välityksellä Suomessa. Tutkimusaineisto koostuu kyselytutkimuksesta, puolistrukturoiduista teemahaastatteluista sekä dokumenttiaineistosta. Tutkimusmenetelmänä käytettiin sekä teoria- että aineistolähtöistä sisällönanalyysia. Tutkimuksessa sovellettuja teorioita ovat John Rawlsin oikeudenmukaisuusteoria, Antonio Gramscin hegemoniateoria, Roman Jakobsonin klassinen kommunikaatiomalli ja Lawrence Lessigin valtateoria. Tutkimus käyttää tekijänoikeuksia koskevan tutkimuskysymyksen kohdalla tulkintateoriana Laura Leppämäen esittämää mallia oikeuksien perusteluista. Tutkimuksen tuloksena on, että sekä tekijänoikeuden nykyistä kestoa että sen lyhentämistä perustellaan ennen kaikkea utilitarismilla. Toinen keskeinen perustelukeino oli työn kautta teoksiin saatava omistusoikeus ja tämän omistusoikeuden kautta tarjoutuva mahdollisuus oikeuksien jättämiseen perintönä tekijän jälkipolville. Ansaintalogiikoiden kohdalla esiin nousi digitaalisesta myynnistä generoituvien tulojen jakamiseen liittyvät ongelmat, joita esiintyy niin musiikintekijöiden ja levy-yhtiöiden välisissä sopimuksissa, suoratoistopalvelujen sisäisissä maksumalleissa kuin internetin alustapalveluiden ja oikeudenhaltijoiden sekä heitä edustavien järjestöjen välisissä sopimuksissa. Heikoimmassa asemassa sopimuksia koskevissa neuvotteluissa ovat musiikintekijät ja artistit. Digitaalisen musiikkiaineiston saatavuuden kohdalla keskeisenä tuloksena on, että aineistoa on saatavilla julkisen palvelun eli yleisten musiikkikirjastojen, kaupallisten palveluiden eli suoratoistopalveluiden ja yhteisöllisten palveluiden eli vertaisverkkojen välityksellä. Musiikkikirjastojen rooli aineistojen tarjoajana on pienentynyt siirryttäessä analogisen musiikin kulutuksesta digitaalisen musiikin kulutukseen.

Considérant l’environnement numérique qui se caractérise par la convergencedes modes et des formes discursifs, à quels cadres les auteurs et les lecteurs héritiers de la bande dessinée se référent-ils et de quelle manière s’y réfèrent-ils ? Il s'agit de comprendre comment des auteurs confrontés à de nouveaux dispositifs de publication produisent le sens commun nécessaire à la création de récits numériques dont les lecteurs parviennent à partager les standards de transcription, tirent des routines d’usage pour leur interprétation, et jugent attrayante la sélection et la mise en forme des évènements racontés. Après avoir présenté lecontexte dans lequel ont émergé les premiers récits identifiés comme des « bandes dessinées numériques de création », l'étude porte sur l'analyse indexicale d'entretiens conduits auprès des auteurs et des lecteurs de deux de ces récits. L'analyse fait apparaître l'originalité des assemblages de cadres de références opérés par les auteurs et reconnus de leurs lecteurs. Cette étude montre ainsi l'importance des dynamiques de production de sens dans l'invention et l'adoption de nouvelles formes narratives. Le retour critique sur ce travail soulève plusieursquestions méthodologiques, notamment quant à la place du chercheur en tant qu'acteur engagé dans la production de sens, mais aussi quant à la prépondérance accordée au mot dans ce type d'étude, et enfin quant aux modalités d'entretien les plus favorables à la recherche et à l'élucidation des marques indexicales par lesquelles s'expriment les cadres de référence des acteurs. / What are the frames to which authors inspired by the comics legacy refer inthe digital environment, characterized by the convergence of media and discursive forms ? How do they refer to such frames in order to make sense and to tell digital stories from which readers are able to share the standards of translation, find routines for their interpretation, and feel entertained by the selection and the arrangement of events ? After setting the context in which emerged the first accounts identified as « original digital comics », the study focuses on the indexical analysis of interviews with authors and readers of two such stories. The analysis reveals the originality of the frames arrangements made by the authors and recognized by their readers. This study shows the importance of sensemaking activities for the invention and adoption of new narrative forms. The critical review of this work raises several methodological issues, particularly regarding the place of the scientist as an actor engaged in the sensemaking activity, but also about the the importance given to words in this kind of researches, and finally about the appropriate interview methods in order to find and explain indexical marks leading to the actors' frames

This study presents insights on career management in the creative and cultural industries in Scotland with detailed exploration into practices and strategies employed by cultural workers. Following a phenomenological approach, the study has used subjective data of individual career experiences and interpreted them into objective patterns of career management. Using qualitative research interviews and thematic analysis, the doctoral study explored the career management experiences of thirty six cultural workers and identified particular strategies adopted in the self-management of precarious and unpredictable careers. Employment in the creative and cultural industries is with precarious which constitutes a specific environment for career management and career progression. Not enough is known about the ways in which cultural workers manage their careers in these circumstances. The aim of this study was to understand the realities of contemporary career management in the creative and cultural industries and to identify particular practices and strategies in which creative careers might be managed. Beyond the scholars in this field, this research is of interest to cultural workers, policy makers in the creative and cultural industries more broadly and higher education institutions preparing graduates for work in the creative and cultural industries. The empirical evidence gathered can better inform cultural workers of effective career management strategies and propose policy interventions that would facilitate effective career management and career management education. Key findings focus on the use of online / social media within creative careers and how such activity takes place; the development of a new harmony between art and economic logics and the application of development based career strategies in creative careers, with cultural workers being more managerial than they even recognise themselves. The findings from this study offers confirmation to what is already known about careers in the creative and cultural industries, greater depth and detail to what is already known and extend understanding about the relationship disconnect between individual career Career Management in the Creative and Cultural Industries Abstract management strategies and the policies designed to support cultural workers – policies which focus on growth and development of the industry but not those individuals who make up the industry. Exploration of the phenomenon of career management in the creative and cultural industries requires further research, which could include: alternative methodologies to elicit perceptions based on the findings from this study, deeper exploration into both the difference in career management within the creative and cultural industries and the emerging relationship between art and economic logic.

The purpose of the study is to examine similarities between the role as a songwriter with the role as an entrepreneur, as well as the conceptions about working with songwriting. To examine this three questions was asked: What similarities are there between the role as a songwriter and the role as an entrepreneur? What characteristics are described as important to succeed as a songwriter compared to those of an entrepreneur? What conceptions are there about working with songwriting? As a foundation for the thesis the history of the music industry is depicted in its own chapter with focus on the sales of music from the 15th century until today. The chapter describes how the music industry for a long time used sheet music as the main way to distribute new music. In the end of the 19th century the record industry started to emerge with the development of record players. During the 20th century the industry went through a lot of changes where new technology like the radio and the TV became important channels to reach a bigger audience. In the beginning of the 21st century the record sales plummeted as the music market became more and more dominated by different streaming services. The thesis empirical data is based on eight interviews, including a group interview, conducted in Los Angeles with four Swedish and seven American informants. It is also based on a forum thread from a Swedish music forum on the internet. The results from the interviews are first described in an overview and then divided into three categories; aspiring songwriters, songwriters in the music industry and informants working with songwriters. The results from the interviews shows that a songwriter should be a good person to collaborate with, be good at establishing important contacts in the music industry, and pay attention the administrative work of accounting, contracts and agreements. From the forum thread of the music forum disappointment is expressed about how DJ’s do not single handedly write and produce all the music they are attributed to in the media.   The analysis shows that professional songwriters have much in common with entrepreneurs because they both need to take risks, be creative, and start business. The similarities between the conceptions of what is required to succeed as a professional songwriter with what it takes to succeed as an entrepreneur includes having a good idea, having a supportive environment as well as being involved in marketing, sales and administration. Furthermore, the analysis shows that the work of songwriting is often glorified or overlooked, which creates misleading representations of what the work of a songwriter actually consists of.

Cette thèse étudie la place des Galeries Lafayette dans l’échange marchand entre l’offre et la demande, au cœur du système de la mode. Elle réévalue le rôle de la distribution en général et du grand magasin en particulier comme intermédiaire créateur de valeur dans la relation entre le producteur et le consommateur. Au tournant du XXe siècle, sur le marché de la nouveauté et le segment émergent de la confection, l’enseigne répond aux attentes des consommateurs qui cherchent à se distinguer et se différencier en suivant de près les phénomènes de mode. Alors que les maisons de couture exercent un monopole sur les tendances, et limitent leur diffusion en France à un cercle de clientes privilégiées, les Galeries Lafayette ont fait « entrer la mode dans le grand magasin ». Elles fabriquent et vendent sous leur propre marque des modèles inspirés de ceux des couturiers. Cette appropriation efficace de la création construit la légitimité de l’entreprise en tant qu'intermédiaire ainsi que le pouvoir prescripteur de la marque sur le marché de la mode. Elle fait aussi des Galeries Lafayette un acteur de l’économie de la contrefaçon, au centre des enjeux de l’industrie du vêtement dans l’entre-deux-guerres. La thèse montre cependant qu’il existe plusieurs régimes de management de la création aux Galeries Lafayette. A travers l’analyse des investissements de l’entreprise dans les industries créatives et en particulier les cas des Parfums Chanel, des maisons Madeleine Vionnet et Jean Patou, elle se saisit pour la première fois de la question du financement de la couture et décloisonne l’étude des principaux acteurs du système de la mode. La période couverte, de la fin du XIXe aux années 1960, rend compte des transformations de l’industrie du vêtement, mais aussi de la plasticité de la stratégie et des structures de l’organisation. Après la Seconde Guerre mondiale, l’intégration verticale de la fabrication laisse progressivement la place à de nouvelles modalités de construction de l’offre. Dans un contexte marqué par la modernisation de la filière habillement, la « révolution » du prêt-à-porter, et l’émergence de nouvelles capitales de la mode, la centrale d’achats élargit ses approvisionnements aux marques et à l’international. La mise en place pionnière d’un bureau de style au début des années 1950 est centrale dans cette transformation pour faire le lien entre les créateurs, les industriels et les clients avec lesquelles les Galeries Lafayette sont en contact direct.Une partie des développements est consacrée aux associations professionnelles internationale qui sont le véhicule privilégié des transferts transatlantiques mais aussi de la construction d’un réseau européen favorisant la circulation des idées et des marchandises. Ces échanges montrent que la diffusion des méthodes nouvelles d’organisation, importées et adaptées des États-Unis, ne s’est pas limitée à l’industrie. Les efforts des Galeries Lafayette pour rationaliser l’organisation sont une nouvelle démonstration de la nécessité de réévaluer le rôle de la distribution et des intermédiaires du système de la mode longtemps négligés au profit de la figure du créateur. / This thesis researches the role of Galeries Lafayette at the heart of the French fashion system. It re-evaluates the role of retail and department stores as value-creating intermediaries in the relationship between producer and consumer. Additionally, the research highlights the innovative capacity of a family business and shows that the introduction of new organizational methods in retail trade along the 20th century, imported and adapted from the United States, was as much present as in manufacturing enterprises. In the first part, the thesis looks at the foundation of the company, its competitors and its customers. To differentiate themselves, Galeries Lafayette manufactured and sold models inspired by those of the couturiers under the store private label. At the turn of the twentieth century, while fashion houses claimed a monopoly on trend setting, Galeries Lafayette introduced fashion in department store. This effective appropriation of fashion design built the legitimacy of the company as an intermediary, and posited the prescribing power of the brand in the fashion market. It also made Galeries Lafayette a player in the economy of counterfeiting, a major issue for the apparel industry in the inter-war period. The thesis shows, however, that various management regimes for design exist at Galeries Lafayette. In a second part, we analyze the investments of the company in the creative industries and in particular the cases of Chanel Perfumes as well as Madeleine Vionnet and Jean Patou fashion houses. In doing so, for the first time, the thesis analyzes the financing of fashion houses thus unbundling the study of the main actors in the fashion system. In a third part, the thesis studies competitive and market change from World War II onwards: the modernization of the clothing industry, the ready-to-wear revolution, and the emergence of new capitals of fashion besides Paris. The dismantling of the vertical integration in manufacturing, the opening of central purchasing to new suppliers, the pioneering establishment of in-house fashion forecasting office in the early 1950s induced a new organization and changes in the link between creators, designers, industrialists and customers for Galeries Lafayette.