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Sociologists studying the rise of postmodernism have generally concentrated on either macro-level structures of economy or micro-level subjectivities of individuals. Few have specified how meso-level actions within concrete institutions have produced both these macro- and micro-changes. Bourdieu's concept of field provides a meso-level concept that allows sociologists to explain the transition to a postmodern society by changes in the composition and competition of producers and consumers struggling for advantage in the economy and culture. The chapter focuses on architecture, revealing that the rise of a postmodern aesthetic was the result of internal changes of this field and their complex interrelation with the external changes of an economy in transition from Fordism to post-Fordism.

Drawing on research in the worlds of advertising, magazines and fashion, this paper discusses how celebrities mediate between different fields of cultural production. By focusing on celebrity endorsements in advertising, it also outlines how film actors and actresses, athletes, models, pop singers, sportsmen and women mediate between producers and consumers via the products and services that they endorse. As economic mediators, celebrities’ actions have important strategic and financial implications for the corporations whose products they endorse. As cultural mediators, they give commodities personalities and perform across different media, linking different cultural fields into an integrated name economy.

This chapter applies recent theoretical developments linked to the concept of culture to the field of public relations research and practice, notably through the prism of creativity as a vector of cultural change.

The chapter is theoretical in nature and draws on relevant scientific literature in the field of public relations research, but also the social sciences more generally, and illustrates the issues being discussed with reference to relevant public relations campaigns.

While the field of public relations has moved beyond simplistic models of cultural values and characteristics, it is argued that more complex visions of culture have been neglected. Specifically, drawing on structuration theory, culture can be seen as a ‘system-generating mechanism’ relying on creativity to uphold and renew cultural references and norms. In this perspective, public relations is both producing/reproducing culture and being produced by culture. It follows that the concept should be apprehended not as an ontological category but as a social construct, as the source of heuristic and discursive categorisations.

A call is issued for public relations to also question the ideological underpinnings of the production of symbols in which practitioners partake on a daily basis.

While the chapter fits into an emerging body of work discussing the cultural dimension of public relations, the link with creativity and the use of structuration theory to conceptualise this link contribute to its originality.

Previous research suggests that constructions of legitimacy play a central role in the development of markets, yet little attention has been given to how that legitimacy is constructed through the material practices of market actors. This paper aims to address this gap via an examination of cultural intermediaries in the fine wine market of Shanghai.

An interpretive thematic analysis was carried out on data from 13 semi-structured interviews with fine wine intermediaries based primarily in Shanghai (5 wine writers/educators; 5 sommeliers/retailers; 3 brand representatives).

The dimensions of the legitimation of wine were examined, identifying three key themes: the legitimacy of intermediaries as experts; the legitimacy of a particular mode of wine consumption; the legitimacy of the intermediaries as exemplars for not-yet-legitimate consumers. These findings suggest that cultural intermediaries’ personal, consuming preferences and practices are significant to the formation of a new market, and that they must negotiate potential tensions between interactions with legitimate, not-yet-legitimate and illegitimate consumers.

Limitations with regard to generalizability are discussed with regard to potential future research.

The focus on cultural intermediaries and dimensions of legitimation can be used to examine the case of other emerging markets to anticipate the pathways to institutionalizing new forms of taste and consumption practices.

The paper offers an empirical insight into the market dynamics of distinction in the Shanghai wine market and conceptual insight into the importance of cultural intermediaries as exemplar consumers.

Purpose: This paper adopts a practice-oriented approach to address gaps in existing knowledge of the significance of cultural producers’ and intermediaries’ practices of taste for the construction and organization of markets. Using the example of the cultural field of “natural” wine, I propose how taste operates as a logic of practice, generating market actions in relation to the aesthetic regime of provenance.

Methodology/approach: The paper sets out the conceptual relationship between aesthetic regimes and practices of taste. The discussion draws from interpretive research on natural wine producers and cultural intermediaries involving 40 interviews with natural wine makers, retailers, sommeliers, and writers based in New York, Western Australia, the Champagne region, and the Cape Winelands.

Findings: Three dimensions of how taste is translated into action are examined: as a device of division, which establishes a fuzzy logic of resemblance; as a device of operation, which provides an intuitive platform for shaping the means of production; and as a device of coordination, which enables an embedded experience of trust.

Originality/value: The paper’s discussion of dispositions, affect, intuition, and pattern identification provide new insights into the translation of taste into action, and the macro-organization of markets. I argue for attention to how cultural producers and cultural intermediaries are mobilized through their habitual sense of taste, shifting the focus away from consumers to those whose market actions are largely self- and peer-referential. This is important for understanding processes of market development and value construction.

Purpose: This chapter explores how Russian fashion designers, as cultural intermediaries operating in the marketplace, interpret patriotism, which has become a noticeable phenomenon in Russia.

Methodology/Approach: Patriotism is approached as an appeal to patria and is considered as a socially constructed category. To explore the construction of patriotism, this research uses Michel Foucault’s concept of governmentality. In the market, the state, commercial companies, media, and consumers co-produce the dispositif of patriotism, which conducts the creative conduct of fashion designers and encourages them to follow patriotic fashion. At the same time, fashion designers have freedom to conduct themselves and act in different ways.

Findings: Interpretations of patriotism within a patriotic dispositif are explored vis-à-vis the interpretations of patriotism articulated by fashion designers. In addition to patriotic fashion, the forms of their creative conduct or counter-conduct are manifested in such subtypes of patriotism in fashion as cosmopolitan patriotism, economic patriotism, cultural patriotism, and fashion localism.

Research Limitations/Implications: The research is mainly limited to a perspective of fashion designers, and to some extent of the government, and does not consider the perspective of consumers.

Originality/Value: The research develops a theoretical argument of patriotism as a tool of governmentality, juxtaposing it to the approach of patriotism as an ideology. This chapter also contributes to the studies of resistance, adding the perspective of cultural intermediaries contrary to the commonly studied perspective of consumers.

This part contains four papers. Even though this volume of AIM primarily concerns exporter–intermediary relations, the first two contributions deal with channel choice and partner selection. The first chapter by Kent Eriksson, Jukka Hohenthal and Jessica Lindbergh, “SME export channel choice in international markets”, tests some of the fundamental factors proposed by the IP model explaining choice of entry mode (accumulation of knowledge of foreign markets determining foreign operation modes). Later developments of the model claim that experience and knowledge of local business relationships are also essential elements of the IP model. Whereas the IP model has been found to hold well for incremental resource commitments, it has – in contrast to transaction-cost theories – produced mixed results concerning its ability to explain operation modes. The authors present findings from research in 494 firms from Sweden, Denmark and New Zealand: factors included in the initial explanation of the IP model explain choice of channel, but later developments of the model do not. Implications are that the foreign market knowledge is, and that more incremental experiential knowledge accumulation is not relevant for export channel choice as regards integrated or non-integrated channel. The results show that for Small and Medium Sized Businesses (SMEs), expected market growth lead to use of integrated channels. Integrated channels make it possible to reap more of the profits from a growing market and to learn faster about what is going on in the market. They also found that use of integrated channels is correlated with cultural distance, contradicting the findings of Johanson and Vahlne (1977) and Kogut and Singh (1988). The IP model therefore offers a rather weak explanation of choice of integrated channel.

The term Canterbury Sound emerged in the late 1960s and early 1970s to refer to a signature style within psychedelic and progressive rock developed by bands such as Caravan and Soft Machine as well as key artists including Robert Wyatt and Kevin Ayers. This chapter explores Canterbury as a metaphor and reality, a symbolic space of music inspiration which has produced its distinctive ‘sound’.

Drawing on ethnographic fieldwork, particularly observations and interviews with music artists and cultural intermediates (Bourdieu, 1993), we suggest that the notion of the Canterbury Sound – with its affinity for experimentation, distinctive chord progressions and jazz allusions in a rock music format – is perceived as a continuing artistic and aesthetic influence. We interpret the genealogy of the Canterbury Sound alternativity through discussions focused on the position of the ‘Sound’ within contemporary heritage discourses, the metaphorical and geographical implications of place in relation to popular music, and cultural longevity of the phenomenon.

Legal intermediation is an emerging theoretical concept developed to grasp the importance of the process and actors who contribute to legal endogenization, in particular in the field of economic activities and work governed by various public regulations. This chapter proposes to extend the analytical category of legal intermediary to all actors who, even if they are not legal professionals, deal on a daily basis with legal categories and provisions. In order to deepen our understanding of these actors and their contribution to how organizations frame legality, this chapter investigates four examples of legal intermediaries who are not legal professionals. Based on field surveys conducted over the past 15 years in France on employment policy, industrial relations, occupational health and safety regulation, and forensic economics, I make three contributions. First, the cases show the diversity of legal intermediaries and their growing and increasingly reflexive roles in our complex economies. Second, while they are not legal professionals per se, to different degrees, these legal intermediaries assume roles similar to those of legal professionals such as legislators, judges, lawyers, inspectors, cops, and even clerks. Finally, depending on their level of legitimacy and power, I show how legal intermediaries take part in the process of legal endogenization and how they more broadly frame ordinary legality.