Complete bibliography

 

This is a complete Bibliography. Literature in the published text, the web-notes on this website and the web-texts on this website is included.

(Last updated 12-12-2019)

 

Abbing, H. (2002).​​ Why Are Artists Poor? The Exceptional Economy of the Arts.​​ Amsterdam: Amsterdam University Press.

Abbing, H. (2006).​​ From High Art to New Art. Amsterdam: Vossius Pers (Amsterdam University Press).

Abbing, H. (2009).​​ Van Hoge naar Nieuwe Kunst. Groningen: Historische Uitgeverij.

Abbing, H. (2014a).​​ Inner Art World Exploitation of Artists. Presented at the Yearly conference of Seoul Foundation for Arts and Culture, Seoul, Korea. Retrieved from https://www.academia.edu/9793278/Inner_Art_World_Exploitation_of_Artists

Abbing, H. (2014b). Notes on the Exploitation of Artists. In​​ Joy Forever: The Political Economy of Social Creativity. MayFlyBooks (also available as pdf).

Abbott, A. (1991). The order of professionalization: An empirical analysis.​​ Work and​​  Occupations,​​ 18(4), 307–336.

Accominotti, F., Khan, S. R., & Storer, A. (2018). How Cultural Capital Emerged in Gilded Age America: Musical Purification and Cross-Class Inclusion at the New York Philharmonic.​​ American Journal of Sociology,​​ 123(6), 1743–1783. https://doi.org/10.1086/696938

Adams, R. B., Kräussl, R., Navone, M. A., & Verwijmeren, P. (2017).​​ Is Gender in the Eye of the Beholder? Identifying Cultural Attitudes with Art Auction Prices​​ (SSRN Scholarly Paper No. ID 3083500). Retrieved from Social Science Research Network website: https://papers.ssrn.com/abstract=3083500

Adler, M. (1985). Stardom and Talent.​​ American Economic Review,​​ 75, 208–212.

Adler, M. (2006). Stardom and Talent. In V. A. Ginsburgh & D. Throsby (Eds.),​​ Handbook of the Economics of Art and Culture. Amsterdam a.o.: North-Holland.

Adorno, Theodor. W., & Horkheimer, M. (1991). The Culture Industry: Enlightenment as Mass Deception. In Th. W. Adorno & J. M. Bernstein (Eds.),​​ The Culture Industry. Selected Essays on Mass Culture.​​ London: Routledge.

Alexander, V. D. (2003).​​ Sociology of the Arts. Exploring Fine and Popular Forms. Malden etc: Blackwell Publishing.

Alper, N. O., & Wassall, G. H. (2000).​​ More Than Once in a Blue Moon: Multiple Jobholdings by American Artists.​​ Washington, DC: National Endowment for the Arts.

Alper, N. O., & Wassall, G. H. (2006). Artists’ Careers and Their Labor Markets. In V. A. Ginsburgh & D. Throsby (Eds.),​​ Handbook of the Economics of Art and Culture​​ (pp. 813–864). Amsterdam a.o.: North-Holland.

Alper, N., Wassal, G., Jeffri, J., Greenblatt, R., Kay, A., & al., ​​ et.​​ (1996).​​ Artists in the Work Force: Employment and Earnings 1970-1990. Santa Anna: National Endowment for the arts; Seven Locks Press.

Anderson, B. (1991).​​ Imagined Communities: Reflections on the Origin and Spread of Nationalism. London: Verso.

Appadurai, A. (1996).​​ Modernity at Large: Cultural Dimensions of Globalization. Minneapolis London: University of Minnesota Press.

Arian, E. (1971).​​ Bach, Beethoven, and Bureaucracy: The Case of the Philadelphia Orchestra​​ (1st edition). University, Ala: The University of Alabama Press.

Arora, P., & Vermeylen, F. (2013). The End of the Art Connoisseur? Experts and Knowledge Production in the Visual Arts in the Digital Age.​​ Information, Communication & Society,​​ 16(2), 194–214. https://doi.org/10.1080/1369118X.2012.687392

Bakhshi, H., & Throsby, D. (2012). New technologies in cultural institutions: Theory, evidence and policy implications.​​ International Journal of Cultural Policy,​​ 18(2), 205–222. https://doi.org/10.1080/10286632.2011.587878

Baumann, S. (2001). Intellectualization and Art World Development: Film in the United States.​​ American Sociological Review,​​ 66(3), 404–426. https://doi.org/10.2307/3088886

Baumol, W. J. (1993). Health care, education and the cost disease: A Looming crisis for public choice.​​ Public Choice,​​ 77, 17–28.

Baumol, W. J. (1997).​​ Public Support for the Arts: Why and Wherefore. Washington: President’s Committee on the Arts and the Humanities.

Baumol, W. J., & Bowen, W. G. (1966).​​ Performing Arts. The Economic Dilemma. New York: The Twentieth Century Fund.

Becker, H. S. (1982).​​ Art Worlds.​​ Berkeley, University of California Press.

Becker, H. S. (2006). The work itself. In​​ Art from Start to Finish. The University of Chicago Press.

Beech, D. (2015).​​ Art and Value: Art’s Economic Exceptionalism in Classical, Neoclassical and Marxist Economics. BRILL.

Benjamin, W. (1969). The work of Art in the Age of Mechanical Reproduction. In​​ Illuminations: Essays and Reflections. New York: Shocken books.

Bennett, T. (1995).​​ The Birth of the Museum: History, Theory, Politics. Routledge.

Benzecry, C., & Collins, R. (2014). The High of Cultural Experience: Toward a Microsociology of Cultural Consumption.​​ Sociological Theory,​​ 32(4), 307–326. https://doi.org/10.1177/0735275114558944

Bevers. (1990). Convergenties tussen Overheid, Markt en Kunstwereld.​​ Boekmancahier,​​ 2(3).

Bevers, A. M., Colenbrander, B., Heilbron, J., & Wilterdink, N. (2015).​​ Nederlandse kunst in de wereld: Literatuur, architectuur en beeldende kunst, 1980-2013. Nijmegen: Uitgeverij Vantilt.

Bickerdike, J. O. (2016).​​ The Secular Religion of Fandom: Pop Culture Pilgrim. https://doi.org/10.4135/9781473912694

Bille, T., & Jensen.​​ (2016). Artistic education matters: Survival in the arts occupations.​​ Journal of Cultural Economics,​​ 42(1), 23–43.

Blanning, T. C. W. (1969). The commercialization and Sacralization of European Culture in the Nineteenth Century. In T. C. W. Blanning (Ed.),​​ The Oxford Illustrated History of Modern Europe. Oxford: Oxford University Press.

Blanning, T. C. W. (2008).​​ The Triumph of Music. The Rise of Composers, Musicians and their Art. Cambridge, Mass.: Belknap Press of Harvard University Press.

Blokland, H. (1997).​​ Freedom and Culture in Western Society. London: Routledge.

Bohme, G. (2017).​​ Critique of Aesthetic Capitalism. Milano; Udine: Mimesis International.

Boltanski, L. (2014). From Object to OEuvre. The Process of Attribution and Valorization of Objects. In​​ Joy Forever. MayFly Books.

Boltanski, L., & Chiapello, E. (2005).​​ The New Spirit of Capitalism. London, New York: Verso.

Boltanski, L., & Esquerre, A. (2016). The Economic Life of Things.​​ New Left Review, (98), 31–54.

Boltanski, L., & Thévenot, L. (1991).​​ On Justification. Economies of Worth. Princeton and Oxford: Princeton University Press.

Bourdieu, P. (1977). The Production of Belief: Contribution to an Economy of Symbolic Goods. In​​ The field of cultural production. Essays on art and literature. Edited by Randall Johnson. Oxford: Polity Press, 1992.

Bourdieu, P. (1983). The Field of Cultural Production, or: The Economic World Reversed.​​ Poetics, 311–356.

Bourdieu, P. (1984).​​ Distinction. A Social Critique of the Judgement of Taste. London: Routledge and Kegan Paul.

Bourdieu, P. (1993a).​​ The Field of Cultural Production: Essays on Art and Literature. Cambridge: Polity Press.

Bourdieu, P. (1993b).​​ The field of cultural production: Essays on art and literature.​​ Cambridge: Polity.

Broek, A. van, Huysman, F., & Haan, J. de. (2005).​​ Cultuurminnaars en Cultuurmijders. Den Haag: Sociaal en Cultureel Planbureau.

Brouwer, N., & Zijderveld, C. (2004).​​ De Markt voor Beeldende Kunst. De Markt en de Financiele Positie van Beeldend Kunstenaars 2001​​ (No.​​ SEO 682). Amsterdam: Stichting Economisch Onderzoek [Economic Reseach Institute of the University of Amsterdam].

Bryson, B. (1996). ‘Anything but heavy metal’: Symbolic exclusion and musical dislikes.​​ American Sociological Review,​​ 61, 884–899.

Campbell, C. (1987).​​ The Romantic Ethic and the Spirit of Modern Consumerism. Oxford: Blackwell.

Collins, R. (2005).​​ Interaction Ritual Chains. Princeton and Oxford: Princeton University Press.

Couldry, N. (2010).​​ Why Voice Matters: Culture and Politics After Neoliberalism. Sage.

Cowen, T. (1998).​​ In Praise of Commercial Culture. Cambridge, Mass.: Harvard University Press.

Cowen, T. (2002).​​ Creative Destruction: How Globalization is Changing the World’s Cultures. Princeton (NY): Princeton University Press.

Crane, D. (1976). Reward Systems in Art, Science, and Religion.​​ American Behavioral Scientist,​​ 19, 719–734.

Cyert, R. M., & March, J. G. (2013).​​ A Behavioral Theory of the Firm (1963). Mansfield Centre, Conn: Martino Fine Books.

Danto, Arthur C. (1964). The Artworld.​​ The Journal of Philosophy,​​ 61, 571–584.

Danto, Arthur Coleman. (1986).​​ The Philosophical Disenfranchisement of Works of Art. New York: Colombia University Press.

De Marchi, N., & Van Miegroet, H. J. (1996).​​ Mapping markets for paintings in Europe 1450-1750 / ed.​​ By Neil De Marchi & Hans J. Van Miegroet. Turnhout: Brepols.

Dekker, E. (2015).​​ Two approaches to study the value of art and culture, and the emergence of a third.​​ Journal of Cultural Economics,​​ 39, 309–326.

Dimaggio, P. (1982). Cultural Entrepreneurship in Nineteenth Century Boston: The Creation of an Organizational Base for High Culture in America.​​ Media, Culture and Society,​​ 4, 33–50.

DiMaggio, P. (1991). Social structure, institutions, and cultural goods: The case of the U.S. In P. Bourdieu & J. Coleman (Eds.),​​ Social theory for a changing society​​ (pp. 133–166). Boulder: Westview Press.

Dimaggio, Paul, & Useem, M. (1978). Social Class and Arts Consumption: The Origins and Consequences of Class Differences in Exposure to the Arts in America.​​ Theory and Society,​​ 5, 141-161W.

Dockx, N., & Gielen, P. (2018).​​ Exploring Commonism: A New Aesthetics of the Real. Amsterdam: Valiz/Antennae Series.

Dolfsma, W. (1999).​​ Valuing Pop Music. Institutions, Values and Economics.​​ Delft: Eburon.

Dool, J. van den. (2018).​​ Move to the music: Understanding the relationship between bodily interaction and the acquisition of musical knowledge and skills in music education. Retrieved from https://repub.eur.nl/pub/106278

Doorman, M. (2003).​​ Art in progress: A philosophical response to the end of the avant-garde.​​ Amsterdam: Amsterdam University Press.

Doorman, M. (2004).​​ De Romantische Orde. Amsterdam: Bert Bakker.

Dowd, T. J. (2004). Musical Diversity and the U.S. Mainstream Recording Market, 1955—1990.​​ ResearchGate,​​ 82(4), 1411–1455.

Dowd, T. J., Liddle, K., Lupo, K., & Borden, A. (2002). Organizing the musical canon: The repertoires of major U.S. symphony orchestras, 1842 to 1969.​​ Poetics,​​ 30(1), 35–61. https://doi.org/10.1016/S0304-422X(02)00007-4

Dulken, H. van. (1988).​​ In ons Diaconale Land. Amsterdam: Boekmanstichting/Van Gennep.

Durkheim, E. (1965).​​ The Elementary Forms of Religious Life. New York: Free Press.

Dutton, D. (2003). Authenticity in Art. In J. Levinson (Ed.),​​ The Oxford Handbook of Aesthetics. New York: Oxford University Press.

Elias, N. (1994).​​ The Civilizing Process. Oxford: Blackwell, 1993.

Filer, R. K. (1987). The Price of Failure: Earnings of Former Artists. In D. V. Shaw, W. S. Hendon, & R. C. Waits (Eds.),​​ Markets for the Arts. Akron: Akron University Press.

Fine, G. A. (2018).​​ Talking Art: The Culture of Practice and the Practice of Culture in MFA Education​​ (First edition). Chicago and London: University of Chicago Press.

Finkelstein, D., & MacCleery, A. (2005).​​ An introduction to book history. New York [etc.]: Routledge.

Fiske, J. (2002). The Cultural Economy of Fandom. In​​ The Adoring Audience: Fan Culture and Popular Media. https://doi.org/10.4324/9780203181539

Florida, R. (2014).​​ The Rise of the Creative Class--Revisited: Revised and Expanded​​ (1 edition). New York: Basic Books.

Forster, E. M. (2017).​​ A Room with a View. Digireads.com Publishing.

Fraiberger, S. P., Sinatra, R., Resch, M., Riedl, C., & Barabási, A.-L. (2018). Quantifying reputation and success in art.​​ Science 10.1126. https://doi.org/10.1126/science.aau7224

Frank, R. H., & Cook, P. J. (1995).​​ The Winner-Take-All Society. New York etc.: The Free Press.

Frey, B. S., & Pommerehne, W. (1989).​​ Muses and Markets. Explorations in the Economics of the Arts.​​ Oxford: Basil Blackwell.

Ganzeboom, H. B. G. (1989).​​ Cultuurdeelname in Nederland: Een empirisch-theoretisch onderzoek naar determinanten van deelname aan culturele activiteiten.​​ Assen: Van Gorcum.

Gay, P. (1995).​​ The Naked Heart. New York: Norton.

Giddens, A. (1991).​​ Modernity and Self-Identity, Self and Society in the Late Modern Age. Cambridge UK: Polity Press.

Gielen, P. (2010). The Art Institution in a Globalizing World,`.​​ The Journal of Arts Management, Law, and Society,​​ 40, 279–296.

Gilmore, & Pine II, B. J. (2007).​​ Authenticity: What Consumers Really Want.​​ Harvard Business Review Press.

Gilks, J. (2019). Gilks’s answer to Are you a fan of chamber opera? - Quora. Retrieved October 3, 2019, from https://www.quora.com/Are-you-a-fan-of-chamber-opera/answer/John-GilksGogh, V. V. (2003).​​ The Letters of Vincent Van Gogh. Penguin UK.

Glaser, B. (2018). Bob Glaser’s answer to Do classical musicians believe that many recordings sound the same? - Quora. Retrieved October 9, 2019, from​​ https://www.quora.com/Do-classical-musicians-believe-that-many-recordings-sound-the-same/answer/Bob-Glaser

Goldman, D. B. A. (2017).​​ On Every Wall: Reproduction and the Future of Art​​ (1 edition). CreateSpace Independent Publishing Platform.

Goodman, N. (1954).​​ Languages of Art, an Approach to a Theory of Symbols. London: Oxford University Press, 1968.

Grampp, W. D. (1989).​​ Pricing the Priceless. Art, Artists and Economics.​​ New York, Basic Books.

Hafferty, F. W., & Castellani, B. (2011). Two ships: The rise of a professionalism movement within modern medicine and medical sociology’s disappearance from the professionalism debate. In​​ Handbook of the sociology of health, illness, and healing​​ (pp. 201–219). New York: Springer.

Haines, R. E. (1982).​​ The Inner Eye of Alfred Stieglitz. University Press of America, Incorporated.

Halle, D. (1993).​​ Inside Culture, Art and Class in the American Home. Chicago: The University of Chicago Press.

Heath, C., & vom Lehn, D. (2004). Configuring Reception: (Dis-)Regarding the ‘Spectator’ in Museums and Galleries.​​ Theory, Culture & Society,​​ 21(6), 43–65. https://doi.org/10.1177/0263276404047415

Heilbrun, J. (2003). Baumol’s cost disease. In R. Towse (Ed.),​​ Handbook Cultural Economics. Cheltenham: Edgar Elgar.

Heilbrun, J., & Gray, C. M. (2001).​​ The Economics of Art and Culture. An American Perspective. Cambridge USA: Cambridge University Press.

Heinich, N. (2005).​​ L’Élite Artiste, Excellence et Singularité en Régime Démocratique. Paris: Gallimard.

Helguera, P. (2012).​​ Art Scenes. New York: Jorge Pinto Books Inc.

Hernstein Smith, B. (1988).​​ Contingencies of Value. Alternative Perspectives for Critical Theory. Cambridge Mas.: Cambridge University Press.

Hirst, D., & Burn, G. (2002).​​ On The Way to Work. Universe Publishing.

Hughes, C. (2011).​​ Liberal Democracy as the End of History: Fukuyama and Postmodern Challenges. Routledge.

Hütter, M., & Throsby, D. (2008).​​ Beyond Price. Value in Culture, Economics, and the Arts. New York: Cambridge University Press.

Iannacci, A. (2016).​​ Hollywood Interiors: Style and Design in Los Angeles. New York, New York: The Monacelli Press.

IJdens, T., Fuhr, S. von der, & Rooij, J. de.​​ (2009).​​ Pop, Wat Levert Het Op? Onderzoek naar de Inkomsten van Popmusici in Nederland. Tilburg: Ntb, bv Pop/FNV-Kiem, NORMA en SENA.

Jahoda, S., & others. (2014).​​ Artists Report Back, A National Study on the Lives of Arts Graduates and Working Artists. Retrieved from BFAMFAPhD website: http://bfamfaphd.com/

Karpik, L. (2010).​​ Valuing the unique: The economics of singularities / Lucien Karpik ; translated by Nora Scott. Princeton, NJ ; Princeton University Press,.

Keunen, G. (2015).​​ Alternative Mainstream: Making Choices in Pop Music. Amsterdam: Valiz/Antennae Series.

Kerrigan, F., Brownlie, D., Hewer, P., & Daza-LeTouze, C. (2011).​​ ‘Spinning’ Warhol: Celebrity brand theoretics and the logic of the celebrity brand.​​ Journal of Marketing Management,​​ 27(13–14), 1504–1524. https://doi.org/10.1080/0267257X.2011.624536

Klamer, A. (2016).​​ Doing the right thing. A value based economy.​​ London: Ubiquity Press.

Klamer, Arjo. (1996). The Value of Culture. In Arjo Klamer (Ed.),​​ The Value of Culture. Amsterdam: Amsterdam University Press.

Klamer, Arjo. (2011). Cultural Entrepreneurship.​​ Review of Austrian Economics,​​ 24, 121–156.

Klamer, Arjo, Langeveld, C., & Teule, P. (n.d.).​​ Pak aan. Retrieved from http://www.klamer.nl/book/pak-aan/

Kolb, B. M. (2001).​​ The Effect of Generational Change on Classical music Concert Attendance and Orchestras’ Responses in the UK and US. London: Policy Studies Institute.

Laermans, R. (2009). Artistic Autonomy as Value and Practice. In P. Gielen & P. de Bruyne (Eds.),​​ Being an Artist in Post-Fordist Times​​ (pp. 125–137). Rotterdam: NAi Publishers.

Lamont, M., & Molnár, V. (2002). The Study of Boundaries in the Social Sciences.​​ Annual Review of Sociology,​​ 28, 167–195.

Lebrecht, N. (1996).​​ Who Killed Classical Music (title GB. edition: When the Music Stops). Secaucus, N.J. (London): Carol Publishing Group (Simon & Schuster Ltd.).

Lena, J. C. (2014).​​ Banding Together: How Communities Create Genres in Popular Music. Princeton, N.J.: Princeton University Press.

Lena, J. C., & Peterson, R. A. (2008). Classification as Culture: Types and Trajectories of Music Genres.​​ American Sociological Review,​​ 73, 697–718.

Levine, L. W. (1988).​​ Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America. Cambridge , Mass.: Harvard University Press.

Mahoney, J. (2000). Path Dependence in Historical Sociology.​​ Theory and Society,​​ 29(4), 507–548.

Martin, A. (1991).​​ Writings = Schriften / Agnes Martin ; ed. By Dieter Schwarz. Ostfildern: Cantz.

McCloskey, D. N. (2010).​​ Bourgeois Dignity: Why Economics Can’t Explain the Modern World. Chicago and London: The University of Chicago Press.

Mead, G. H. (1934).​​ Mind, Self and Society. Chicago: University of Chicago Press.

Mears, C. (2014, June 24). Shapes and Sounds: Designing concert halls with curves. Retrieved September 10, 2019, from Construction Specifier website: https://www.constructionspecifier.com/shapes-and-sounds-designing-concert-halls-with-curves/

Menger, P.-M. (2001). Artists as workers: Theoretical and methodological challenges.​​ Poetics,​​ 28(4), 241–254. https://doi.org/10.1016/S0304-422X(01)80002-4

Menger, P.-M. (2006). Artistic Labor Markets: Contingent Work, Excess Supply and Occupational Risk Management. In V. A. Ginsburgh & D. Throsby (Eds.),​​ Handbook of the Economics of Art and Culture. Amsterdam a.o.: North-Holland.

Miller, D. (2005).​​ Materiality / ed. By Daniel Miller. Durham, NC [etc.: Duke University Press.

Mozart, W. A. (1866).​​ The Letters of Wolfgang Amadeus Mozart​​ (G. 2004 Wallace, Trans.). Retrieved from http://www.gutenberg.org/ebooks/5307

Negus, K. (1999).​​ Music Genres and Corporate Cultures. London ; New York: Routledge.

Nietzsche, F. (1990).​​ Twilight of the Idols (Götzen-Dämmerung). London: Penguin Classics.

Oettermann, S. (1980).​​ Das Panorama; Die Geschichte eines Massenmediums.​​ Frankfurt am Main,.

O’Hagan, J. (1998).​​ The State and The Arts. An Analysis of Key Economic Policy Issues in Europe and the United States. Cheltenham: Edward Elgar.

O’Hagan, J., & Harvey, D. (2000). Why do Companies Sponsor Art Events? Some Evidence and a Proposed Classification.​​ Journal of Culural Economics,​​ 24, 205–224.

Original, Copy, Fake, On the significance of the object in History and Archaeology Museums. (2010).​​ 22nd ICOM General Conference. Presented at the Shanghai. Shanghai.

Oware, M. (2014). (Un)conscious (popular) underground: Restricted cultural production and underground rap music.​​ Poetics,​​ 42, 60–81. https://doi.org/10.1016/j.poetic.2013.12.001

Peacock, A. (1968). Performing Arts: The Economic Dilemma; Review.​​ Economica,​​ 35, 100–101.

Pearson, M. P., & Richards, C. (2003).​​ Architecture and Order: Approaches to Social Space. Routledge.

Peterson, R. A. (1997).​​ Creating Country Music. Fabricating Authenticity. Chicago etc.: The University of Chicago Press.

Peterson, R. A., & Simkus, A. (1992). How Musical Tastes Mark Occupational Status Groups. In Michele Lamont & M. Fournier (Eds.),​​ Cultivating Differencies​​ (p. 346). Chicago: The University of Chicago Press.

Peterson, R., & Berger, D. (1975). Cycles in Symbol Production: The Case of Popular Music.​​ American Sociological Review,​​ 40(6), 158.

Pine, B. J., & Gilmore, J. H. (2011).​​ The Experience Economy. Harvard Business Press.

Poecke, V., & N, N. (2017).​​ Authenticity Revisited: The production, distribution, and consumption of independent folk music in the Netherlands (1993-present). Retrieved from Dissertation. https://repub.eur.nl/pub/102670

Rapoport, A. (1982).​​ The Meaning of the Built Environment: A Nonverbal Communication Approach. University of Arizona Press.

Ren, J., & Fuller, M. (2019). The Art Opening: Proximity and Potentiality at Events.​​ Theory, Culture & Society, (0(0)), 1–18.

Rengers, M. (2002).​​ Economic Lives of Artists. Economic Lives of Artists: Studies into Careers and the Labour Market in the Cultural Sector. Doctoral Thesis. Utrecht University.

Republic, A. D., Dockx, N., Geys, J., Gielen, P., Hagoort, E., & Hirschhorn, T. (2016).​​ Mobile Autonomy: Exercises in Artists’ Self-Organization. Amsterdam: Valiz/Antennae Series.

Ritzer, G. (1999).​​ Enchanting a Disenchanted World: Revolutionizing the Means of Consumption. Thousand Oaks: Pine Forge Press.

Rosen, S. (1981). The Economics of Superstars.​​ American Economic Review,​​ 71, 845–858.

Røyseng, S., Mangset, P., & Borgen, J. S. (2007).​​ Young Artists and the Charismatic Myth.​​ International Journal of Cultural Policy,​​ 13(1), 1–16. https://doi.org/10.1080/10286630600613366

Schumpeter, J. A. (1934).​​ The Theory of Economic Development. Retrieved from http://www.hup.harvard.edu/catalog.php?isbn=9780674879904

Schwartz, H. (2014).​​ The Culture of the Copy: Striking Likenesses, Unreasonable Facsimiles. MIT Press.

Sholette, G. (2011).​​ Dark Matter: Art and Politics in the Age of Enterprise Culture. London ; New York: Pluto Press.

Simmel, G. (1992).​​ Soziologie: Untersuchungen über die Formen der Vergesellschaftung. Frankfurt am Main: Suhrkamp.

Small, C. (1998).​​ Musicking. The meanings of Performing and Listening.​​ Middletown, Connecticut: Wesleyan University Press.

Smithuijsen, C. (2001).​​ Een Verbazende Stilte. Klassieke Muziek Gedragsregels en Sociale Controle in de Concertzaal.​​ Amsterdam: Boekmanstudies.

Solhjell, D. (2000). Poor Artists in a Welfare State: A Study in the Politics and Economics of Symbolic Rewards.​​ Cultural Policy,​​ 7, 319–354.

Stahl, G. (2017).​​ Essays In Social Philosophy. Lulu.com.

Stallabras, J. (2004).​​ Art Incorporated: The Story of Contemporary Art. Oxford University Press.

Steiner, L., & Schneider, L. (2012).​​ The Happy Artist? An Empirical Application of the Work-Preference Model​​ (SSRN Scholarly Paper No. ID 2002724). Retrieved from Social Science Research Network website: https://papers.ssrn.com/abstract=2002724

Steptoe, A. (1988).​​ The Mozart-DaPonte Operas. Oxford: Clarendon Press.

Stigler, G. J. (1945). [Review of​​ Review of The Economics of Control: Principles of Welfare Economics, by A. P. Lerner].​​ Political Science Quarterly,​​ 60(1), 113–115. https://doi.org/10.2307/2144462

Swaan, A. de. (1986).​​ Kwaliteit is Klasse. De Sociale Wording en Werking van het Cultureel Smaakverschil.​​ Amsterdam: Bert Bakker.

Szreder, K. (2013). Cruel Economy of Authorshop. In M. Lewandoskwa & L. Ptak (Eds.),​​ Undoing Property?​​ Berlin: Sterberg Press.

Taylor, C. (1989).​​ Sources of the Self, The Making of the Modern Identity. Cambridge: Cambridge University Press.

Taylor, C. (1991).​​ The Malaise of Modernity. Cambridge: Harvard University Press. In 1192 the book was reprinted under the title The Ethics of Authenticity.

Taylor, D. M. (2013).​​ Musical Theatre, Realism and Entertainment. Ashgate Publishing, Ltd.

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