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Les premiers textes déclaratifs des droits de l'homme en Occident n'ont pas comporté immédiatement la reconnaissance de droits sociaux. Ainsi, à la suite de la Déclaration des Droits—“Bill of Rights”—imposée à la Monarchie anglaise le 13 février 1689, la Déclaration modèle adoptée en Virginie le 12 juin 1776, sous l'autorité de George Mason, comme la Déclaration d'Indépendance américaine du 4 juillet 1776, et enfin la Déclaration francaise des droits de l'homme et du citoyen, proclamée par l'Assemblée nationale le 26 août 1789, étaient consacrées à l'affirmation des droits civils et politi‐ques face aux pouvoirs dont l'emprise devait être restreinte et contenue, plutôt que confirmée et étendue par l'attribution de nouvelles fonctions, même justifiées par l'intention d'améliorer le sort des plus malheureux. Résolus à ouvrir une bràche décisive dans le système de gouvernement absolutiste, les pionniers des droits de l'homme étaient tenus d'accorder la priorité aux droits conquis de libre disposition sur les droits acquis de protection, de sorte que l'autonomie des citoyens à l'égard de l'Etat était revendiquée avec toutes ses conséquences économiques et sociales. Même l'expression neuve du droit à la vie et à la poursuite du bonheur, qui apparaît dans les déclarations américaines du XVIIIe siècle, s'entendait d'une aspiration irrépressible à la liberté et non point comme l'avers d'obligations sociales imposées à la collectivité, du moins jusqu'à ce que le Préambule de la Constitution des Etats‐Unis d'Amérique du 17 septembre 1787 inscrivît la promotion du bienêtre général—“to promote the general welfare”—au nombre de ses objectifs.

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This paper aims to explore how accounting is entwined in the cultural practice of popular music. Particular attention is paid to how the accountant is constricted by artists in art and the role(s) the accountant plays in the artistic narrative. In effect this explores the notion that there is a tension between the notion of the bourgeois world of “the accountant” and the world of “art for art's sake”.

This paper draws on the cultural theory of Pierre Bourdieu to understand how the character of the accountant is constructed and used by the artist. Particular attention is paid in this respect to the biography and lyrics of the Beatles.

Accounting and accountants play both the hero and the villain. By rejecting the “accountant villain”, the artist identifies with and reinforces artistic purity and credibility. However, in order to achieve the economic benefits and maintain the balance between the “art” and the “money”, the economic prudence of the bourgeois accountant is required (although it might be resented).

The analysis focuses on a relatively small range of musicians and is dominated by the biography of the Beatles. A further range of musicians and artists would extend this work. Further research could also be constructed to more fully consider the consumption, rather than just the production, of art and cultural products and performances.

This paper is a novel consideration of how accounting stereotypes are constructed and used in the field of artistic creation

Previous research suggests that women receive less critical attention and acclaim in popular music. The authors expect that gender differences in the amount and content of media discourse about popular musicians occur because music critics draw on the cultural frame of gender as a primary tool for critical evaluation. In order to explore the role of gender as a frame through which aesthetic content is evaluated, the authors conduct detailed content analyses of 53 critical reviews of two versions of the popular album 1989 – the original released by Taylor Swift in 2014 and a cover version released by Ryan Adams less than a year later. Despite Swift’s greater popularity and prominence, the authors find that reviews of her version of the album are more likely to focus on her gender and sexuality; less likely to describe her as emotionally authentic; and more likely to use popular aesthetic criteria in evaluating her music. By contrast, Ryan Adams was more likely to be seen by critics as emotionally authentic and to be described using high art aesthetic criteria and intellectualizing discourse. The authors address the implications of the findings for persistent gender gaps in many artistic fields.

This study focuses on how the creation of a new market identity, defined here by the social categories that specify what to expect of products and organizations, helps legitimize normatively illegitimate products and thereby facilitate the formation of markets for these products. A product is given a legitimate market identity by recombining existing product and status categories in a way that is both isomorphic with and differentiated from these preexisting categories. I argue that the creation of a new market identity helped create a market for feature films that combined legitimate comedy and illegitimate pornography following the legalization of pornography in Denmark in 1969. Topological analyses of the cultural content of all the film posters used to promote Danish films between 1970 and 1978, and regression analyses of the status of the actors appearing in these films document the importance of market identity in legitimizing illegitimacy.