Alles nur Mode? Organisation und Sprache in den Creative Industries

  • 1 Universität St. Gallen, Seminar für Soziologie, Müller-Friedberg-Str. 8, CH-9000, St. Gallen, Schweiz
  • 2 Universität Luzern, Soziologisches Seminar, Frohburg-Str. 3, CH-6003, Luzern, Schweiz
Dr. Judith Nyfeler
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  • Universität St. Gallen, Seminar für Soziologie, Müller-Friedberg-Str. 8, CH-9000, St. Gallen, Schweiz
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  • Judith Nyfeler, geb. 1987 in Basel. Studium der Gesellschafts- und Kommunikationswissenschaften (BA) sowie der Modewissenschaften (MA) an der Universität Luzern und Universität Stockholm. 2018 Promotion in Soziologie an der Universität Luzern. Von 2014–2019 wissenschaftliche Mitarbeiterin in Luzern und Basel; ab 2020 Seminar für Soziologie an der Universität St. Gallen. Forschungsschwerpunkte: Neo-Institutionalismus, Kreativitäts- und Innovationstheorie, Mode.Wichtigste Publikationen: Die Fabrikation von Kreativität, Bielefeld: Transkript (2019); «Hauptsache neu? Die Organisation von Innovation und Kreativität» (mit Raimund Hasse und Sophie Mützel), in: Apelt, Maja et al. (Hrsg.), Handbuch Organisationssoziologie. Wiesbaden: Springer (2019).
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and Prof. Dr. Raimund Hasse
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  • Universität Luzern, Soziologisches Seminar, Frohburg-Str. 3, CH-6003, Luzern, Schweiz
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  • Raimund Hasse, geb. 1962 in Lippstadt. Studium der Soziologie an der Universität Bielefeld. Seit 2004 Professor für Soziologie: Organisation und Wissen an der Universität Luzern, Schweiz. Forschungsschwerpunkte: Organisationsforschung, Neo-Institutionalismus, Wirtschaftssoziologie. Aktuelle Publikationen: “What Difference Does it Make? An Institutional Perspective on Actors and Types thereof”. In: Research in the Sociology of Organizations 58: 23–41 (2019); „Where Does Competition Come from?“ (mit Stefan Arora-Jonsson und Nils Brunsson). In: Organization Theory 1/1 (2020); Neo-Institutionalismus. Kritik und Weiterentwicklung (hgg. mit Anne Krüger). Bielefeld: Transcript (2020).
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Zusammenfassung

Mit Bezug auf die Modeindustrie und unter Berücksichtigung von zwei empirischen Untersuchungsfällen zeigt dieser Beitrag, wie Kreativität über Routinen, Projekte und Kooperationen sowie durch Sprache – retrospektiv mittels Storytellings und Shows; prospektiv mittels Narrativen – hervorgebracht wird. Kreativität – verstanden als Entwurf, Herstellung und Darstellung eines Produkts, das Kreativitätszuschreibungen ermöglicht – ist somit ein kollektiver Prozess (d. h. sie wird durch eine Vielzahl von Akteuren initiiert und umgesetzt), sie ist organisiert (d. h. die Koordination arbeitsteiliger und zeitlich befristeter Projekte erfolgt über bestimmte Organisationen bzw. Abteilungen oder Stellen), und sie ist institutionell verankert (d. h. durch Werte und Grundüberzeugungen so abgesichert, dass sie erwartet wird). Die abschließende Diskussion erörtert Implikationen insbesondere im Hinblick auf Innovationseffekte und thematisiert Fragen der Übertragbarkeit, die über die Creative Industries hinausreichen.

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