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Cover -- Title page -- Copyright page -- Contents -- Acknowledgements -- Introduction: Pedagogical Encounters and Creative Economy -- Middle-classification -- Précarité? -- 1: Clubs to Companies: Notes on the Decline of Political Culture in Speeded-Up Creative Worlds -- On the Guest List? Club Culture Sociality at Work -- The Demise of the Indies? -- The Loneliness of the Long-Distance Incubator -- 2: Unpacking the Politics of Creative Labour -- The Romance of Being Creative -- Re-Making the Middle Class Through Creative Labour -- The Florida Effect: 'Everything Is Rosy' -- The Politics of the Hipster Economy? -- The Digital Artisans -- Proletarian Nights -- 3: The Artist as Human Capital: New Labour, Creative Economy, Art Worlds -- Creativity as Labour Reform -- The Artist as Human Capital -- The 'Type' of Artist Subject -- Socially Engaged Artists -- The Conduct of the 'Global Artist' -- The Artist-Précariat -- 4: The Gender of Post-Fordism: 'Passionate Work', 'Risk Class' and 'A Life of One's Own' -- Risk Class and Mobility of Gender -- Birmingham v Bologna: Operaismo and the Successes (or Failures) of Class Struggle? -- Affective Labour -- Gender Performativity at Work -- 5: Fashion Matters Berlin: City-Spaces, Women's Working Lives, New Social Enterprise? -- Introduction -- Berlin: Not a Shopping City? -- Zwischennutzung (Temporary Use) Spaces -- Fashion Production after Post-Fordism -- 'The Work Is Done for Its Own Sake' -- Fashion Art -- Salons of Job Creation? Social Start-Ups in Berlin -- Conclusion -- 6: A Good Job Well Done? Richard Sennett and the New Work Regime -- In Praise of Ordinary Work -- Behind the Counter -- Urban Autobiography -- 'No Long Term' -- Artists, Craftsmen, Mothers, City-Dwellers -- The New Crafters -- Conclusion: European Perspectives -- STEP in Palermo, PIA/IDA in Spoleto.

Lyndsey Stonebridge, We Can Change the World: Hannah Arendt's Lessons in Love and Disobedience, Jonathan Cape 2024

This article argues that the emerging field of creative industry studies, for reasons of its inter-disciplinary origins, has tended to sidestep questions of method. Sociology can play a role in rectifying this deficit for three reasons; first, the long-standing attention to qualitative, interview and observation-based research is useful, especially for scholars investigating the experience of work and labour in the creative sector, second because recent sociological attention to the whole terrain of big data has repercussions even for small-scale studies such as the one outlined here, and third because well-known sociological studies of creative professionals offer value and insight into the conduct of re-differentiated cultural sectors, in this case fashion design. By providing details of a funded study of this sector in three cities (London, Berlin and Milan), the article also proposes a utilising of the recent role of the so-called entrepreneurial university as creative hub, so as to develop a more radical idea of 'knowledge transfer'. In addition, the article encourages a two-way exchange between sociology and creative industry studies to develop a better understanding of cultural goods, items and works of art. Such a focus on the material object or outcome of creative practice also opens up the possibility for a more collaborative exchange with the cultural producers.