Kuleva_summary in english (Труд творческих работников России структурные условия, профессиональные идентичности и карьеры), страница 3

Trudovie traiektorii samozaniatikh professionalov (frilanserov) // Mir Rossii.Sotsiologia. Etnologia. 2015. V. 24. №. 1; Strebkov D., Shevchuk A. Frilanseri v informatsionnoi ekonomike//Sotsialnaia realnost. 2008. №. 1. P. 23-39.43Strebkov D. O., Shevchuk A. V., Spirina M. O.

Samostoiatelnaia zaniatost na rinke udalionnoi raboti:rasprostranenie innovatsionnoi trudovoi praktiki // Monitoring obshchestvennogo mnenia: Ekonomicheskie isotsialnie peremeny. 2016. № 6. P.89-10644Shkaratan O.I., Inasevsky S.A., Liubimova T.S. Novi sredni klass i informatsionalnie rabotniki na rossiiskomrinke truda // Obshchestvennie nauki i sovremennost. 2008. (1): 5–27.45Zemnukhova L.V.

«Aitishniki chashche liubyat svoiu rabotu»: k obsuzhdeniu rezultatov issledovania //Peterburgskaia sotsiologia segodnia: Collection of research works of the Institute of Sociology of RAS. Issue 4.SPb: Nestor-Istoria, 2012: 88–115.46Kozina I. M. Rabotniki zaiemnogo truda // Sotsiologicheskie issledovania. 2013. № 5. P. 19-31.9Purpose and objectives of the studyThe main aim of this study is to determine the specifics of the work of creative workers, theiridentities and careers in the context of the national system of production of culture in modernRussia.The system of production of culture is understood as a set of institutions, which includescultural policy, organizations whose primary function is production of cultural products, theirdistribution and consumption, teaching art; the community of producers of culture.Empirically creative work is determined in international studies47 through its belonging tothe sector of creative industries 48.

Most often creative industries include the spheres of visual andperforming arts, media industry, heritage industry, publishing and book business, IT industry(software and computer games creation).To achieve this goal, the following objectives were accomplished:1. To give a general description of actual theoretical and methodological approaches to thestudy of creative work based on the analysis of existing Russian and foreign researchliterature;2. Identify the key features of the modern Russian system of cultural production throughcomparison with the systems of cultural production in Western countries (for example, theUK);3. Analyze the working conditions in the public and private sectors of the visual arts in Russia(macro level);4. To analyze the career trajectories of workers engaged in the Russian visual arts (mesolevel);5.

To study creative identity projects, typical of Russian artists (micro level).6. Develop a conceptual and methodological framework for adapting the concept of creativework to the Russian system of cultural production.Object definition and the operationalization of concepts47Baker S., Hesmondhalgh D.

Creative labour: Media work in three cultural industries. – Routledge, 2013; TaylorS., Littleton K. Contemporary identities of creativity and creative work. – Routledge, 2016.48Creative industries are "industries based on an individual creativity, skill or talent that has the potential toimprove well-being and create jobs through the creation and exploitation of intellectual property" (inDCMS, Creative Industries Mapping Document 2001 (2 ed.), London, UK: Department of Culture, Media andSport, p. 5.)10The research object is the creative workers in the field of visual art of large cities of Russia(based on the example of Moscow and St. Petersburg).

This section opens up in more detail howthe theoretical and empirical objects of this study were constructed.Nowadays, the Russian academic discussion has not yet formed a stable perception ofcreative workers, which allows them to immediately develop a definition or operationalize thisgroup. For example, L.I. Eidelman gave the definition of creative work: “Labour, in the processof which there is a significant proportion of the freedom to choose the ways and means of achievingthe goal, as well as non-trivial results are possible”49. Despite the fact that this definition describesthe nature of creative work quite accurately, it is quite difficult to use it to determine a potentialempirical object of research, because a number of professional fields can have features of creativework.

Therefore, in this case, the definition of creative workers, developed by foreign researchers,was taken as a basis.The concept of "creative workers" was introduced intoduced in the late 1990s and early2000s to refer to the group of workers employed in creative industries 50. The creative industriesthemselves are defined as follows: “Creative industries are the industries based on individualcreativity, skill or talent, which has the potential to improve wealth and create jobs through thecreation and use of intellectual property"5152. Most often, the creative industries include the visualand performing arts, the media industry, the heritage industry, publishing and book business, andthe IT (software and computer games) industries.It is also important to clarify exactly which categories of workers are understood as creativein this area of research: they include not only those who are called representatives of “freeprofessions” (musicians, poets, artists, artisans, etc.), but also a wider range of professionalsinvolved in the production and distribution of cultural goods.

In particular, some researchers(Hesmondhalgh 200653; Negus 200254) point out the key roles of those whom P. Bourdieu calls“cultural intermediaries”55: taste legitimizers that bring together cultural goods and consumers of49Eldelman L.Ja., Sociologija truda. Teoretiko-prikladnoj slovar'/Otv. red. V.A. Jadov. SPb.: Nauka, 2006, p. 322Baker S., Hesmondhalgh D. Creative labour: Media work in three cultural industries.

– Routledge, 2013; TaylorS., Littleton K. Contemporary identities of creativity and creative work. – Routledge, 2016.51DCMS, Creative Industries Mapping Document 2001 (2 ed.), London, UK: Department of Culture, Media andSport, p. 5.)52Worth noting there are other related concepts as «cultural industries». However, the latter implies more narrowand conservative vision of creativity, that is why ‘creative industies’ are employed for this work. To clarify. ‘culturalindustry’ concept developed by Frankfurt school is distinctive as well: it strategically refers only to mass productionof cultural goods.53Hesmondhalgh D.

Bourdieu, the media and cultural production //Media, culture & society. – 2006. – Т. 28. – №.2. – С. 211-231;54Negus K. The work of cultural intermediaries and the enduring distance between production and consumption//Cultural studies. – 2002. – Т. 16. – №. 4. – С. 501-515.55Bourdieu P. Distinction: A social critique of the judgement of taste. – Routledge, 2013, p.384.5011cultural goods. Empirically, they include producers, curators, journalists, critics. Thisunderstanding of creative workers is close to the theoretical and methodological framework of thiswork, since it implies a vision of the sphere of creativity as a compound institutional complex,including not only those who are “on the edge” of creative work (for example, the artiststhemselves) but also other, the groups that are often “invisible” for the consumers of the culture.The chosen object for empirical research is the visual art industry based on several reasons:1) visual art is included in all the major classifications of cultural and creative industries; 2) it iswell studied by international researchers, in particular, in Europe and North America which createsa basis for comparison; 3) it is well represented in the Russian context, it can be claimed that thereis the institutional environment of visual art; 4) the industry is also involved in global processesand markets; 5) access to the field available to the author of the dissertation.Further, the two contrasting categories of creative workers were chosen: artists (workerswith high autonomy) and art managers of cultural institutions (with less autonomy, deeplyimmersed in the institutional context of cultural production)56.

This strategy of the selection ofinformants made it possible to evaluate the effects of the Russian system of cultural production oncreative work from different points of view.Theoretical and methodological grounds of the researchThe theoretical and methodological framework of the study was the combination of twoapproaches: the culture-production paradigm (R. Peterson, H. Becker, N.

Heinich, P. Bourdieu),helping to conceptualize markets, production organisation, career trajectories and recognitionmechanisms in the field of culture as well as critical creative labour studies (A. McRobbie, D.Hesmondhalgh, R. Gill, M. Banks, B. Conor and S. Taylor), that allowed the researcher to choosemethodological foci to study creative work at meso- and microlevels, as well as to operationalizethe types of creative careers and creative identities specific for this group of workers.For the conceptualization of creative labour as one of the new types of employment, theworks by foreign (W. Beck, Z.

Bauman, R. Sennet, D. Harvey) and Russian (D. Strebkov, A.Shevchuk, M. Kozina, L. Zemnukhova and others) social scientists were used.The Personal Contribution of the Author in Problem Development12The author would like to highlight the following characteristics of the study, whichcontribute to the research of creative work, which determines the novelty of the study:1.

This research proposed for the first time a new conceptual and methodological framework,that gives the opportunity to adapt the critical studies of creative work to institutionalcontexts alternative to Western European;2. For the first time, it provided a conceptualization of creative work based on the Russianmaterial that includes not only an individual but also a corporate level;3. For the first time, the effects of structural conditions on labour and employment in thesphere of culture were described based on Russian material;4. Two out of three cases studied full-time employees working in the creative industriessector. Previous research has been mostly focused on self-employed or short-termemployees. Thus, this study provides a more complete picture of creative work in relationto the employment type;5.