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Fetishism has been often linked to misrecognition and false belief, to one being “ideologically duped” so to speak. But could we think that fetishism may be precisely the very opposite? The purpose of this paper is to explore the potential of this at first sight counterintuitive notion. It locates the problem of fetishism at the crux of the problem of disavowal and argues that one needs to distinguish between a disavowal – marked by cynical knowledge – and fetishistic disavowal, which can be understood as a subcategory of the same belief structure of ideology.

This conceptual paper is based on literature review and utilizes examples from the author’s ethnographic fieldworks in India (2008-2013) and central Europe (2015-2019).

The paper provides a new insight into the structure of fetishism, relying on the psychoanalytic structure of disavowal, where all disavowal is ideological, but not all disavowal is fetishistic, thereby positing a crucial, often unacknowledged distinction. Where disavowal follows the structure “I know quite well how things are, but still […],” fetishistic disavowal follows the formula: “I don’t only know how things are, but also how they appear to me, and nonetheless […].”

The paper develops an original conceptualization of fetishism by distinguishing ideological disavowal from fetishistic disavowal.

The purpose of this study is to examine the potential of integrating material from the arts into postgraduate curricula to deepen students’ engagement with marketing phenomena. The authors assess the use of arts-based activities, within a broader critical pedagogy, for encouraging imaginative and analytical thinking.

The authors devised two learning activities and an interpretive method for studying their value. The activities were an individual essay connecting themes in song lyrics to marketing, and a group photography project. These were applied, within a broader, critical approach, in postgraduate modules on sustainability, ethics and critical marketing. Data collection comprised diaries kept by the teachers, open-ended feedback from students and students’ assignments.

Students showed high levels of engagement, reflexivity and depth of thought, in felt experiences of learning. Their ability to make connections not explicitly in the materials, and requiring imaginative jumps, was notable. Several reported lasting changes to their behaviour. Some found the tasks initially intimidating or, once they were more engaged, stressful or saddening.

This adds to scholarship on management education by showing the usefulness of an arts-based approach towards a transformative agenda.

It offers a template of how to draw from the arts to strengthen critical engagement upon which marketing teachers can build. It also contains practical advice on the challenges and benefits of doing so.

The authors provide evidence that this approach can enhance sensitivity and reflexivity in students, potentially producing more ethical and sustainable decisions in future.

The pedagogical interventions are novel and of value to lecturers seeking to enhance critical engagement with theory. An empirical study of an attempt to integrate arts into teaching marketing represents a promising direction, given the discipline’s creative nature.

Fans have been characterized as specialized consumers who often express disagreements with the entertainment industry's decisions, especially when it comes to the original content of the works that serve as the basis for the development of media products, evidencing a kind of consumer resistance. Under a Foucauldian perspective aligned with the consumer culture theory (CCT), power relations are established in a dynamic of power exercise and resistance to power. Based on this, the authors pose the following research question: how do fans of media products resist the changes made by the entertainment industry in relation to their canons?

The authors adopted the Foucault's genealogy of power as a method, analyzing the comments posted on the Westeros.Org website, the main discussion forum of fans of A Song of Ice and Fire (ASoIaF) book series and Game of Thrones (GoT) TV series.

The findings reveal ways of resistance in relation to the adaptation of the media text permeated by an entertainment dispositif, which considers the adaptation legitimate, and a fannish dispositif, which criticizes the way this adaptation was made. However, their empirical categories reveal that they are forged not only from singularities but also from overlaps. The authors conclude, therefore, that this process occurs in an agonist way, in which conflicts are fought as a reciprocal incitement revealing a productive and ethical relationship.

The agonism shows how consumers can simultaneously be led to incorporate and resist to discourses and market practices. This demonstrates how resistance is not necessarily a force opposed to another, but a dynamic of reciprocal negotiation.

This study aims to contribute to the field of customer portfolio management by proposing a novel approach rooted in dialectic critical realism (DCR). DCR, as an ontological theory, enables a fundamental reimagining of customer portfolio management as a dialectic process. The conceptualized dialectic portfolio management is motivated by the concept of “absence”, akin to Hegelian “antithesis”, which highlights limitations, problems and tensions in portfolio management. In essence, “absence” serves as a diagnostic tool that directs portfolio actions towards resolving problems by pursuing a more comprehensive “totality”, similar to the Hegelian notion of “synthesis”.

This conceptual paper theorizes DCR in business marketing and customer portfolio management.

DCR conceptualizes customer portfolios as relational structures characterized by omissions and tensions. These issues are addressed through a dialectic synthesis aimed at achieving a more comprehensive “totality”. Consequently, DCR guides portfolio management to continually re-think the connections and distinctions that define a portfolio within its network context. This dialectic process is facilitated by a novel vocabulary that enhances the understanding of network and portfolio relations, incorporating concepts such as “intrapermeations”, “existential constitutions”, “intra-connections” and “intensive” and “extensive” portfolio practices.

This study aims to foster a fresh and process-oriented perspective on portfolio management, drawing inspiration from the growing demand for enriched dialectic theorizing within the realm of business marketing. The adoption of a dialectic process orientation based on DCR revolutionizes the comprehension of portfolio management by fundamentally reimagining the underlying ontological assumptions that underpin the existing body of literature on customer portfolios. Moreover, DCR asserts that ethical considerations are inextricably linked to human experiences and associated practices, emphasizing ethics as an integral component of customer portfolio management.

The purpose of this paper is to investigate an unexplored part of advertising history; namely, the education of a large, mundane, nonelite group of advertising professionals, so-called advertising technicians and the knowledge they acquired. Examining correspondence courses in the technology of advertising, we focus particularly on the production of technified knowledge and mass personas.

The study is based on a qualitative analysis of course material from Sweden’s two largest correspondence schools in the 1930s and 1940s. Two theoretical concepts guide the analysis: the concept of market devices and the notion of personas, both of which we use to show how the courses crafted a particular kind of advertising professional as well as knowledge.

The study shows that courses created a template-based persona of the advertising technician, who possessed what we call bounded originality characterized by diligence, modesty and rule-governed creative imagination. Similarly, the courses created a body of knowledge that was controllable and highly practice-oriented. The advertising technician was expected to embody and internalize the advertising knowledge, thus, becoming an extension of this knowledge on the market.

By directing the searchlight at the cadre of ordinary, middle-class advertising professionals instead of the high-profile “advertising creatives” and innovators, the paper brings to the foreground the nonelite level of the advertising industry. These practitioners went to work in the business world to produce the everyday advertising that was not necessarily groundbreaking but was needed in a growing mass-consumption society.

The purpose of this paper is to analyze the Swedish Advertisers’ Association's role in the institutional development of Swedish international advertising during 1955–1972.

A qualitative analysis of business association sources is used to explore the institutional development of international advertising.

A new postwar paradigm that focused on a consumer-oriented brand ideology enabled marketing executives in the Swedish Advertisers’ Association to develop a new discourse on international advertising in Sweden, which then was institutionalized within a national network on export promotion. The institutionalization process was supported by a corporatist system typical of smaller export dependent postwar European economies.

While based on a national case, this study points to the importance of understanding how advertising concepts are embedded within other economic, political and cultural systems than in those they originated in and how this contributes to a heterogenous implementation of similar ideas and practices. This study also illustrates how members can use their association to institutionalize a new discourse on marketing and network with other actors to enhance the use and reputation of its ideas and practices.

By highlighting the importance of analyzing both internal and external organizational relations, this study contributes to the research on history of marketing by making salient the importance of an institutional perspective to understand key processes in marketing. In practice neither the institutional perspective nor the explanatory power of discourse has received much attention, therefore the study results should be both interesting and valid for practitioners as well.

The study of the historical development of international advertising is limited and often descriptive. This study contributes to the literature by using a theoretical and methodological approach to make salient how the interaction between discourse, marketing associations and other collective actors propelled the institutionalization of international advertising within a specific national context.