The purpose of this paper is to assess the impact of the recommendation to replace identity-first language with person-first language on people who self-identify as recovering…
Abstract
Purpose
The purpose of this paper is to assess the impact of the recommendation to replace identity-first language with person-first language on people who self-identify as recovering addicts as part of a recovery programme. Narcotics Anonymous (NA) will be used to illustrate the contextualised nature of the recovering addict identity.
Design/methodology/approach
To demonstrate the value of the recovering addict identity and social relations in NA, this paper draws on Axel Honneth’s theory of mutual recognition and self-formation.
Findings
Person-first language overlooks the significance of identity-first language to people in 12-step recovery. This oversight is linked to the logic of stigma reduction which excludes all identity-first language by association rather than assessing the impact of such terms on a case-by-case basis. Honneth’s theory is used to show how the recovering addict identity facilitates self-confidence and self-esteem through relations of mutual recognition in NA.
Research limitations/implications
The argument excludes people who identify as recovering addicts, but do not attend 12-step groups. Further research would be needed to understand how the recommendation to use person-first language instead of identity-first language impacts upon other recovery communities and pathways.
Practical implications
The recommendation to replace identity-first language with person-first language might result in 12-step fellowships becoming marginalised within the broader academic and policy and practice arena. Language preferences can become a contentious issue when 12-step groups and their members enter the wider recovery arena where their preferred terminology is viewed as stigmatising and dehumanising.
Originality/value
To the best of the author’s knowledge, this is the first article to propose an alternative theoretical framework to stigma reduction for judging morally appropriate language in the alcohol and drugs field.
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Commencing immediately Polyvinyl Chemie Holland b.v. has changed its name into ICI RESINS b.v.
The purpose of this paper is to demonstrate how researchers in the field of arts marketing are gradually abandoning the traditional marketing concept in order to respond to…
Abstract
Purpose
The purpose of this paper is to demonstrate how researchers in the field of arts marketing are gradually abandoning the traditional marketing concept in order to respond to established and emerging modes of audience engagement.
Design/methodology/approach
The study is based on a comprehensive content analysis of the past three decades of journal articles related to arts marketing.
Findings
The results of the content analysis highlight that a paradigm shift in arts marketing has occurred over the past two decades, from an overriding focus on neoliberal processes of consumption towards a relational, humanistic approach, which aims to enrich audiences and interrogate the wider value and impact of their arts experiences.
Research limitations/implications
The logical conclusion to be derived from this paradigmatic shift is that “arts marketing” is increasingly becoming an outmoded misnomer, which suggests the need for a fundamental reassessment of the traditional arts marketing concept.
Practical implications
In order to develop meaningful relationships with audiences, arts and cultural organisations should prioritise the long-term relational approaches offered by audience engagement over short-term tactical activities such as segmentation and promotion.
Originality/value
The paper advocates a radical reconceptualization of the field that would replace the transactional 4P model with a relational 4E model, derived from an adoption of theories, processes and practices related to the elements of experience, exchange, environment and engagement.
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Chloe Preece and Finola Kerrigan
In this chapter, we focus on the three examples of ‘destructive’ art by contemporary artists Ai Weiwei, Michael Landy and Banksy to unpack issues of dematerialisation. By adopting…
Abstract
In this chapter, we focus on the three examples of ‘destructive’ art by contemporary artists Ai Weiwei, Michael Landy and Banksy to unpack issues of dematerialisation. By adopting the lens of object-oriented ontology, we reveal the hidden agency of artworks as objects. We find that artworks are charismatic objects that are alive to infinite possibilities and interpretations. As this meaning changes over time, we argue that any attempt at measuring or pinpointing cultural value is bound to fail. Instead, we suggest a need for further consideration of how art can operate as a hypo-object, presenting us with new perspectives on the world.
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Ian Fillis, Boram Lee and Ian Fraser
The authors consider the role of institutional relationships in providing an exhibition as a launching platform for emerging artists to develop their careers, as well as…
Abstract
Purpose
The authors consider the role of institutional relationships in providing an exhibition as a launching platform for emerging artists to develop their careers, as well as contributing to the broader creative economy. The authors view this as an entrepreneurial intervention in challenging the status quo through its potential to stimulate artist career development.
Design/methodology/approach
Data were collected using a case study approach in order to understand the complex inter-relationships between stakeholders of an emerging artists' exhibition at a well-known art institution. A total of 26 interviews were held with a selection of the exhibiting artists, artists from previous years' exhibitions, institution staff, the exhibition selection panel and major prize givers.
Findings
The main relationship value created by the institution as perceived by the exhibiting artists was high-level publicity and exposure of their work. Related benefits such as the potential to build career-enhancing networks were also emphasised. Some of the artists interviewed were aware of the art market structure and how they could create and sustain value within it. Others expressed a lack of awareness of and interest in its operationalisation where more assistance from the institution could help.
Research limitations/implications
This research focussed on the institutional relationships relating to one organisation, albeit one which leads the way in terms of helping to accelerate emerging artist careers. However, best practice lessons emerge from the research in terms of informing similar institutions elsewhere. The authors move beyond quantitative measurement of cultural value activities in developing in-depth qualitative insight into these relationships so that more nuanced understanding is revealed.
Practical implications
There is a need to develop pathways to assist new graduates and for a more strategic focus by art institutions to help develop their careers by creating and sustaining impact and engagement in the marketplace. This will be of interest to policy makers in helping to shape programmes of assistance in the future beyond the art institution. The authors also uncover broader cultural value impacts beyond the exhibition site where these institutional relationships can contribute positively to health and well-being.
Originality/value
The exhibition is one of only a very limited number of similar events throughout the UK and can be viewed as a successful entrepreneurial intervention.