WHEN ARTS MET MARKETING

This article argues that arts marketing theory is embedded in the existing context of the nonprofit arts sector – that is, Romantic belief in the universal value of the arts and producer authority over the consumer. As “a set of techniques” and “a decision‐making process”, marketing was able to sit comfortably in the nonprofit arts context during the 1970s and 1980s. However, recent recognition of marketing as “a management philosophy” has brought out incompatibilities between the customer orientation of the marketing notion and the Romantic view of artistic production. This article demonstrates that arts marketing writings embrace Romanticism through the following: generic marketing concept; relationship marketing approach; extended definition of the customer; extended definition of the product; and reduction of marketing to function. Such findings suggest that persistence of the existing belief system and the embeddedness of the market be considered when marketisation in the arts sector is analysed.     

Creative shifts and directions

The availability and “readiness” of culture as a mode of governmental control makes cultural policy a matter of great importance in any contemporary society. This is true not only in liberal democracies with established arts councils or cultural policies, it is also proactively pursued by a technologically advanced yet illiberal regime like Singapore, eager to position itself as the global “Renaissance City” of the twenty‐first century. What this “renaissance” model entails remains highly cryptic, not least because cultural terms and political markers are often elusive, but also because the very concept of “cultural policy” shifts along with the political and economic tides in Singapore. Drawing on a rarely cited essay by Raymond Williams, this article offers an historical look at cultural policy in Singapore – from its first articulation in 1978 to its present standing under the rubric of “creative industries” (2002). It considers some of the problems encountered and the societal changes made to accommodate Singapore’s new creative direction, all for the sake of ensuring Singapore’s continued economic dynamism. This article contends that cultural policy in Singapore now involves extracting creative energies – and economies – out of each loosely termed “creative worker” by heralding the economic potential of the arts, media, culture and the creative sectors, but concomitantly marking boundaries of political exchange. In this regard, culture in Singapore has become more than ever a site for governmentality and control.     

On Will and Reason in L'astrée

This article sheds light on the technique of amplificatio by which Boccaccio expands the stories of famous women he finds in Valerius Maximus's De fide uxorium. Boccaccio's work on famous women situates itself between the genres of fiction and the historical treatise. It analyzes in philological detail Boccaccio's citation technique and his elaboration of the ancient model, showing how the greatest narrator of the Italian Middle Ages revitalizes and actualizes it and crafts an original literary product.