Adorno and Horkheimer critically develop the concept of the “culture industry” in the third chapter of Dialectic of Enlightenment. The treatment there has some right to be considered one of the core texts in Critical Theory's philosophy of art. This essay discusses the main claims and arguments of that work, as well as earlier essays in Adorno's music theory and later essays that turn to film aesthetics. Attention focuses on illuminating the basis for Adorno and Horkheimer's views on the (...) culture industry in light of their social ontology and epistemology, their account of aesthetic form, and their conception of commodity as style. (shrink)

This book is an unrivalled indictment of the banality of mass culture - Adorno's finest essays are collected here, offering the reader unparalleled insights ...

Digital communication now pervades all spheres of life, creating new possibilities for commodification: personal data and communication are the new resources of surplus value. This in turn brings about a totally new category of threats to privacy. With recourse to the culture industry critique of early critical theory, this article seeks to challenge basic theoretical assumptions held within a liberal account of privacy. It draws the attention to the entanglement of technical and socio-economic transformations and aims at elaborating an (...) alternative framing which takes into account that privacy is not in the first place a pre-political space for individual freedom but a constituted sphere in which social power relations are reproduced in a particularly deceitful way. With recourse to positions of critical theory, this article revisits the conceptual ambiguity of liberation and oppression and looks to draft prospects for a socio-theoretical justification and critique of privacy, updated for the digital age. Following the tradition of critical theory, the argument focuses on (new) forms of domination in and by privacy. It aims to prepare the ground for a critique of the social’s increasing commodification as well as an idea of privacy understood as reflexive participation in social practices. (shrink)

The truth potential of art is realized not only by great art (of educated elites) but also by the cultural industry that has become the art of the masses. Great art and cultural industry do not only contradict one another but often interpenetrate and overlap subversively. Especially in critical periods of crisis (and revolution) great art and cultural industry go together with political action. However, in more counterrevolutionary periods as nowadays post-truth democracy, Adorno's gloomiest (...) interpretation of the cultural industry becomes topical again. (shrink)

This essay seeks to further the critical reception of Stiegler's philosophy of technology by situating his work within the legacy of critical theory and deconstruction. Drawing on what Richard Beardsworth has described as Stiegler's 'Left-Derrideanism'-his radical re-thinking of the problem of technics and related call for a "politics of memory"-I argue that Stiegler's transformation of both Heidegger and Derrida retrieves and renews the interrupted Frankfurt school tradition of culture industry critique. What we might call Stiegler's 'deconstructive materialism' reinvigorates the (...) project of a cultural politics that would take place in the intersection between culture, technics, and politics in the more conventional sense. In this respect, Stiegler's culture industry redux points to a number of important practical cultural responses to the debilitating malaise that increasingly afflicts politics in liberal capitalist democracies. I conclude by suggesting what such a Stieglerian 'cultural politics of memory' might entail. (shrink)

The implementation of the rural revitalization strategy can effectively inherit the excellent traditional Chinese culture and facilitate the comprehensive development of the cultural industry. At present, China is promoting the transformation and upgrading of its industrial structure. The criterion for measuring the “cultural soft power” of a country or region is the competitiveness of its cultural industry. The cultural industry has grown rapidly in recent years, and the overall economic benefits of the (...) class='Hi'>industry have also improved, effectively alleviating the employment pressure across the country. However, there are still many problems. How to accurately measure the level of competitiveness of the regional cultural industry and enhance its competitiveness is the first problem in the development of the cultural industry. It finds out the main factors that affect the competitiveness of the cultural industry in the context of rural revitalization strategy using the relevant theories of cultural industry and industrial competitiveness. Besides, the evaluation index system of cultural industry competitiveness is constructed from the perspective of the system. The projection pursuit model and data envelopment analysis model are established based on the genetic algorithm. The model is used to carry out empirical research on the competitiveness level of cultural industry in a region, and conclusions are drawn. The average projected value of the base competitiveness in the region exceeds 0.8. The average projected value of dominant competitiveness exceeds 0.7. The average projected value of potential competitiveness exceeds 1.1. This research proposes corresponding suggestions for the problems in the current growth of the cultural industry in this region through the competitiveness of this region and the level of other areas. This study can also provide some help for the in-depth study of the Chinese cultural industry. (shrink)

El siguiente artículo toma como punto de partida al concepto de industria cultural desde sus principales exponentes, para exponer sus usos actuales. Este nació como concepto filosófico como parte de la obra de los autores representantes de la llamada Escuela de Frankfurt, Theodor Adorno y Max Horkheimer, con valiosos aportes de Walter Benjamin. En la actualidad ha mutado su definición, siendo utilizado de manera instrumentalpor parte del Estado y organismos internacionales, para definir al grupo de sectores de producción (...) class='Hi'>cultural y simbólica de acuerdo a sus parámetros económicos. En este sentido, desde aquél concepto de industria cultural de los años cuarenta podremos ver que hay un recorrido en el cual se van transformando las posturas acerca de lo que el arte y la cultura posibilitan. La función social del arte va escondiéndose detrás de su inmersión cada vez más visible dentro de la producción mercantil, si bien en los últimos años la cultura aparece como motor de desarrollo económico e identitario. Esta transición será ilustrada con el caso argentino, dando cuenta de los cambios en el sector. The following article takes as its starting point the concept of Culture Industry from its leading exponents, and exposes its current uses. The Culture Industry began like a philosophical concept, as part of the work of the Frankfurt School authors, Theodor Adorno and Max Horkheimer, with contributions of Walter Benjamin. Nowadays, this concept definition has mutated, being used instrumentally by the state and international organizations, to define the cultural and symbolic production according to economic parameters. In this sense, paying attention to that idea of Culture Industry, we can see that there is a path in which the possibilities of meanings of art and culture are changing. The social function of art is subordinating behind the commodity production, although in recent years the culture appears as an engine of economic development and identity. This transition will be illustrated accounting for changes in the sector in the case of Argentina. (shrink)

A critical retrospective of 'The Psychological Technique of Martin Luther Thomas' Radio Addresses' sheds new light on an often underplayed tension in Adorno's thought concerning the capacity of mass culture to express resistance against domination. In 'Thomas' Adorno moved beyond denouncing mass culture as 'culture industry' by approach ing early Christian right radio in a manner consistent (initially) with his defense of the autonomous dimension of culture in general. At the same time, 'Thomas' accomplished groundwork for the culture (...) class='Hi'>industry theory, and this theory ultimately guided the study's conclusions. This critique confirms Adorno's ambivalence regarding the negative capabilities of mass culture while suggesting a new way to analyze the contemporary Christian right. This approach, which I illustrate, draws upon both the culture industry theory and a modified version of Adorno's method of immanent, dialectical criticism to identify ideological elements as well as moments of resistance in Christian right radio today. (shrink)

Although film for Adorno is first and foremost the principal agent of culture industry, he takes on an equivocal stance towards the medium and its aesthetic potentials for reasons inherent to the medium itself. Indeed, its disinterested recording of the empirical world leads to both, a semblance of immediacy easy to instrumentalize for propaganda or advertising purposes, and a non-subjective access to the world of objects, which disclose their societal imprint. Despite (or because of) its technological basis, film is (...) inherently concerned with the society it both mediates and addresses, and has to be understood as a collective medium in either of its formats: commercial productions, because they address the masses (which they manipulate and distract from reality’s inherent antagonisms by reproducing pseudo-realistic, stereotypical representations in a totalitarian manner), independent films, because they unearth something non-identical nestled in the folds of the ideological totality, through a montage “which does not interfere with things but rather arranges them in a constellation akin to that of writing”. This article aims to deploy the complex constellation through which Adorno approaches film, its embedding in the capitalist world, its inherent aesthetic force and its complicated relation with the reality it mediates. (shrink)

Some fashionable leftist movements and populist intellectuals habitually blame the sources of information for public ignorance about the miserable state of the world. It could be argued, however, that the masses are ignorant because they prefer ignorance. A mass individual is politically apathetic and intellectually lazy. As a result, even when huge amounts of information are available, which is the case in this epoch, the masses insist on choosing ignorance. It is true that there is not enough information about what (...) has happened in a place such as Darfur, but the masses choose not to access even the amount of information that is available. The great majority of people in China, Iran, and America, despite the fact that they have varying amounts of access to various types of “knowledge,” still tend to be misinformed. It seems that a mass individual is curious only about what directly affects his/her own personal life. I will explore the connection between mass mentality and the culture industry in order to capture the essential role of the former in the latter. I will also argue that a mass individual is the source of fascism although fascism as a phenomenon needs a mass culture in which to flourish. (shrink)

Human Specialization in Design and Technology explores emerging trends in learning and training-standardization, customization, personalization-with a unique focus on human needs and conditions. Analyzing evidence from current academic research as well as the popular press, this concise volume defines and examines the trajectory of instructional design and technologies toward more human-centered and specialized products, services, processes, environments, and systems. Examples from education, healthcare, business, and other sectors offer real-world demonstrations for scholars and graduate students of educational technology, instructional design, ICT, (...) and business development. (shrink)

The theory of the culture indistry is central to critical theory and has had a major often unacknowledged impact on C. Wright Mills, Dwight Macdonald, George Gerbner, Alvin Gouldner, and others. Although the Institute didn't really develop the theory of the culture industries until after the emigration to the U.S., it can be traced back to Adorno's early 1930s writings on music, which stress the commodity character of popular music and its reifying effects. From the mid-1930s to the 1950s, there (...) was a proliferation of mass communications and culture and the rise of the consumer society, the advent to cultural power of the commerical broadcasting systems, Roosevelt's remarkable use of radio for political persuasion, and the ever-growing popularity of cinema. During the 1940s, Adorno and Horkheimer saw in California how business interests dominated mass culture. (shrink)

This essay foregrounds “covers” of popular recorded songs as well as male and female desire, in addition to Nietzsche’s interest in composition, together with his rhythmic analysis of Ancient Greek as the basis of what he called the “spirit of music” with respect to tragedy. The language of “sonic branding” allows a discussion of what Günther Anders described as the self-creation of mass consumer but also the ghostly time-space of music in the broadcast world. A brief allusion to Rilke complements (...) a similarly brief reference to Jankelevitch’s “ineffable.”. (shrink)

We explored the need for an ecosystem approach based on relational systems when conducting research on South Korea’s cultural industry. We used Mollard’s (2009. L’ingeniere culturelle. Paris: PUF) idea of the participants in the French cultural system as a key reference and extended it to the notion of the platform, which is the core concept of South Korea’s cultural industry ecosystem (CIE). We also utilized the idea of the “semiotic square of consumption values” from Floch (...) to explicate each platform and participant, which play a significant role in South Korea’s CIE. By defining a role rooted in the relationship and values for each subject (i.e., the production, consumption, authority, and intermediary subjects), we aimed to better understand the ecosystem of the cultural industry and focused on K-pop as a specific aspect of South Korea’s cultural sector by identifying the current identity of each participant. (shrink)

Distinctive features of culture industries suggest that women culture workers face formidable barriers to career advancement. Using longitudinal data on the careers of screenwriters, we examine gender inequality in the labor market for writers of feature films. We hypothesize and test three different models of labor market dynamics and find support for a model of cumulative disadvantage whereby the gender gap in earnings grows as men and women move through their careers. We suggest that the transition of screenwriting from a (...) mixed to a male-dominated occupation parallels the “empty field” phenomenon described in a study by Tuchman of nineteenth-century novelists. The institutionalization of male dominance of the film industry in the 1930s and the typecasting of women writers has had a lasting impact on gender inequality, which shows little change through the early 1990s. (shrink)

The importance of cultural enterprises to the creation of jobs, generating incomes, alleviating poverty and distributing development has long been recognized. Based on empirical research, this article adopts the convergent parallel mixed design to assess extent of influence of cultural values on the type of cultural industry established in Ghana, taking a case of the kente textile industry in Adanwomase. Adanwomase is argued to be a prominent traditional community in the printing of kente cloths in (...) Ghana. Primary data were obtained from 210 weavers and relevant bodies, such as the Business Advisory Council and traditional leaders through direct interviews, observation and focus group discussions. Findings show that the craft industry in Adanwomase is informal and small-scale in nature. Six key cultural values were identified to statistically have significant influence on the establishment of the textile craft industry. Strongest among them were the festival celebrations and customary law/traditional customs. There was strong correlation between the identified cultural values and the establishment of the textile industry in Adanwomase. Urgent policy and creation of the enabling environment to promote entrepreneurship and create employment through support for research and development (R&D) of cultural industries are needed. (shrink)

Resumen: El negocio cultural proporciona a la gente productos culturales estandarizados y estilizados con fines políticos específicos, transformándose en un arma de gobierno ideológica falsa y engañosa que paraliza la conciencia pública y elimina la individualidad, así como en cómplice del gobierno centralizado. La industria cultural sofoca la creatividad cultural y la individualidad humana para apoyar la autoridad capitalista mediante la infiltración ideológica. El objetivo de este artículo es promover la cultura al tiempo que se critica la (...) industria cultural. El papel del pensamiento ilustrado era principalmente cumplir una función de crítica cultural, logrando una transformación creativa de la supervivencia humana en la crítica y fomentando así la producción de un nuevo tema. En consecuencia, a la hora de analizar la crítica del pensamiento ilustrado sobre el negocio cultural, es crucial establecer el significado esencial de la teoría crítica de Adorno sobre la industria cultural. Este artículo intenta reinterpretar la crítica de la industria cultural introduciendo ideas ilustradas. El pensamiento ilustrado es inicialmente discordante, aunque engloba métodos de comprensión totalmente distintos. Estas dos perspectivas y tensiones opuestas surgirán sin duda dialécticamente en el futuro proceso de desarrollo histórico, y la crítica de la industria cultural puede desempeñar un papel esencial en el fomento de la construcción cultural. (shrink)

Adorno’s extended conception of ‘culture industry’ renders the usual criticism of his views as ‘elitist’ meaningless. The same expansion creates, however, logical strains and contradictions in his analysis of the character and function of the culture industry: a strain in its ‘psychosocial’ and ‘status compulsion’ interpretation. In his late work Adorno attempts to solve this contradiction, but at a heavy price, by creating a conceptual barrier between pleasure and happiness.

The influence of cultural industry competitiveness on economic growth is analyzed by using grey relational degree method. Then, the influence of cultural industry on the three industries is analyzed and compared in the same way. On this basis, further from the cultural industry, the impacts of core layer, outer layer, and related layer on economic growth were compared and analyzed. Finally, the economic growth model is used to measure the impact of investment, labor, and (...) innovation in cultural industry on economic growth. The results show that cultural industry has a great influence on economic growth. The cultural industry has an obvious driving effect on the tertiary industry. The correlative layer of cultural industry has the greatest influence on economic growth. Cultural industry innovation has a huge pulling effect on economic growth. The SPSS software was used to process the data, and the data indicators were screened. Finally, the grey relational degree model was constructed. Then, the improved diamond model was used to select the influential factors of the development of cultural industry, and the main influencing factors were found out through the grey relational degree analysis. This paper analyzes the factors affecting economic benefits and puts forward countermeasures. The results show that it is of great significance to pay attention to the development of cultural manufacturing industry in cultural industry and promote cultural innovation to promote economic growth. (shrink)

When Adorno and Horkheimer constructed in the early forties the critical concept of culture industry they had in mind mainly movies and radio as its main media. Even television broad- casting was not developed enough at that time to be considered as an important player in the scene of mass culture. Nevertheless the critical aspects of their contribution were so strong and well structured that even today they cannot be discarded in a fair evaluation of such an import- ant (...) phenomenon of contemporary culture. However there have been since the time of Adorno and Horkheimer’s criticism many models of mass culture critique that took into account the evolution of the technological devices, from analogical video systems to the more recent developments of digital media. Since the consideration of the latter does not always rely on the maintenance of the aforementioned critical point of view, a criterion guiding the choice of a theoretical approach could be the way in which the relation between artworks and cultural commodities is conceived. According to this criterion the author chooses as an updated counterpoint to Adorno and Horkheimer’s mass culture critique Vilém Flusser’s theory of what he calls “post-history,” especially in its approach on communication, entertainment and art tout court. (shrink)

This essay deploys the joint lenses of branding and space to examine the hegemonic operation of the Apple brand in the global culture industry. It does so by analyzing China’s ‘fake Apple Store’ event in 2011, which began with an American expat blogger’s discovery and subsequently caught the attention of global news media. While copying the look of an official Apple Store, these retailers displayed and sold genuine products originally assembled in China. Probing the cultural logic that gave (...) rise to the event, I argue that China’s ‘fake’ Apple Store emblematizes the power relations and subject positions that emanate from Apple’s global hegemony. The Apple Store, as a branded environment, is best seen as a heterotopia whose interpellating mechanism relies on the extensive-intensive character of the intellectual property rights regime. While China’s copycat Apple Store can be seen as an attempt at a production of sameness, the ‘user-generated’ charge of its ‘fakery’ stems from the ‘distributed’ power of the Apple brand, which operates through a production of difference. Even though the varied responses to the event reveal the contradiction within Apple’s extensive global reach, it more importantly points to a condition wherein consumer turned ‘prod-user’ subjects act as self-enlisted agents who work to perpetuate the brand’s design-intensive value regime. While the spectacle of ‘Chinese fakery’ manifests the ideological work of IPR in naturalizing the distinction between the copy and the fake, the extensive-intensive operation of the brand, embodied by the Apple Store, also undermines the ability of consumer subjects to meaningfully engage the ‘Chinese reality’ that is manufacturing labor. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aesthetics, Education, the Critical Autonomous Self, and the Culture IndustryMarianna Papastephanou (bio)IntroductionE Lucevan le Stelle disconnected both from Tosca and Puccini becomes incidental music and brings strong recollections of the detergent advertisement it once coated. Last Year in Marienbad has caused some of the deepest yawn relief to many hopefuls for the title of the sophisticated who wished to cash out the film's cultural and social capital. A (...) painting by a well-known artist in the living room of a middle-upper-class residence often matches the colors of the carpet, and a piece of African art in the corner testifies to the hosts' cosmopolitan respect for otherness and the proper dose of hybridity in their selfhood. The young of the family are said to search for freedom from the puritan lifestyle in Ecstasis. Or, they rebel against the oppressive order of the system through idolizing music bands of an unconventional style and, as a matter of fact, of "unconventional" wealth accumulated precisely through the systemic exploitation of their idolization. The whole family, including the discontented young, will unite in the enjoyment of a new movie in which, just as in hundreds before it, police detectives can solve cases only after their suspension from duty and foreigners prefer to converse in perfect English when they are alone. What all members of the family are sure of by the end of the day, some of them through the prism of heavy drinking and others in the sober appreciation of the latest reality show, is that they exercised once again their free will in all instances. For they oriented their desires, treated as natural and self-posited, to objects they initially lacked but "autonomously" and "critically" found and selected from a rich and all-encompassing marketplace of culture. [End Page 75]How are art, its education, and its educational ideals of autonomy and critique related to this particular cultural reality that I have highlighted? Pseudo-individualism, escapism, Ersatzbefriedigung, fetishization, reification, and educationalization are some of the terms Adorno employed to approach the reality of artistic production and reception in capitalist times while preserving the distance that art offers for critiquing reality.1 In contrast with the above-sketched reality, in Adorno's ultimate aesthetic vision through art the self is not supposed to "forget in dreams the present world, but to change it by the strength of an image."2 Adorno attacks the drive toward a "totally administered" society—that of late capitalism—which "reduces every aspect of present-day life to the dead level of conformist popular 'taste' as dictated by a wholesale culture industry given over to the purposes of mass indoctrination."3 Fundamentally, the culture industry hinders the formation of autonomous, critical, and independent individuals.4I shall argue that such a theoretical framework gives us additional insight through which to combat what has already been perceived in pedagogical discourse as educational inability to cultivate reflective and critical subjectivities. Instead of autonomy, education nurtures narcissism. and instead of critique, it promotes appeasement5 —all the more so when education succumbs to the culture industry or fails to encourage students' critical stance to its imperatives.My position here is that by reclaiming their own valuable connection to reflective artistic experience and reception, aesthetic theory and art education can contribute to a reconceptualization of autonomy and critique and, perhaps more importantly, to a reorientation of educational practice.6 Adorno's aesthetics is exceptionally relevant to this aim because his work exemplifies in a unique way the necessary awareness of the antinomic qualities of autonomy and critique, their ineluctable dependence on society and culture, and their secret culpability in domination. Moreover, Adorno's cultural criticism comprises an unsurpassable diagnosis of those social pathologies that leads away from critical and reflective subjectivity and offers conceptual means for setting a critical eye on some current impoverished practices of teaching art. Above all, Adorno's aesthetic theory displays a remarkable topicality regarding contemporary positions on purely artistic concerns and contentions. Thus, the current neglect of his work in aesthetic educational theory7 must be dealt with since accommodation of such aesthetics within art educational discourse will serve significantly the latter's... (shrink)

(1992). Growth and employment in the UK's culture industry. World Futures: Vol. 33, Culture and Development: European Experiences and Challenges A Special Research Report of the European Culture Impact Research Consortium (EUROCIRCON), pp. 165-180.

This article reflects on some themes in Harrison White’s work in the context of China, where the social and cultural construction of markets is quite literal. We explore how we get markets where previously there were no markets and draw on White’s central themes of ‘uncertainty’, ‘value’ and ‘order’. We maintain a distinction, with White and with Frank Knight, of risk, on the one hand, and uncertainty, on the other, where ‘risk’ has to do with entities that are in (...) principle insurable or calculable and ‘uncertainty’ has to do with what is not calculable/insurable. An entrepreneur’s decision to enter a market, to invest in and enter a production market, entails what White calls a ‘commitment to facilities’. This, for White and Knight, is inherently incalculable, and hence uncertain. (shrink)

In most social species, position in the male social hierarchy and reproductive success are positively correlated; in humans, however, this relationship is less clear, with studies of traditional societies yielding mixed results. In the most economically advanced human populations, the adaptiveness of status vanishes altogether; social status and fertility are uncorrelated. These findings have been interpreted to suggest that evolutionary principles may not be appropriate for the explanation of human behavior, especially in modern environments. The present study tests the adaptiveness (...) of social status with actual mating and reproductive data in a representative sample of males from an industrial society. Reproductive success, even when assessed by a more reliable measure ofactualmale fertility than the one commonly used, fails to correlate with social status. In striking contrast, however, status is found to be highly correlated withpotentialfertility, as estimated from copulation frequency. Status thus accounts for as much as 62% of the variance in thisproximatecomponent of fitness. This pattern is remarkably similar to what is found in many traditional societies and would result in a substantial positive relationship between cultural and reproductive success in industrial populations were it not for the novel conditions imposed by contraception and monogamy. Various underlying mechanisms are suggested for these findings, illustrating the value of current behavioral and reproductive data in the study of adaptation. It is concluded that evolutionary explanations of human behavior remain entirely relevant in modern societies. (shrink)

RESUMEN: El propósito del presente escrito es preguntarnos por el campo complejo que se abre en la confluencia de las trayectorias de Alexander Kluge y Theodor W. Adorno. Desarrollaremos, en primer lugar, algunos hitos históricos que permitan situarnos en el contexto de ese acercamiento. Luego, tomando como punto de partida el problema clave de la referencialidad de la imagen que, tanto para Kluge como para Adorno es central en las reflexiones sobre una estética propia del cine, abordaremos cuatro temas que (...) consideramos nos permiten repensar las relaciones de los dos teóricos: palabra e imagen, la idea de montaje, imagen y experiencia subjetiva y la cuestión de la recepción. ABSTRACT: The aim of this paper is to explore the complex convergence between the trajectories of Alexander Kluge and Theodor W. Adorno. In the first place, we develop some historical milestones that allow us to describe the context of this closeness. Then, taking as a starting point the key problem of the image referential -which for Kluge and Adorno is the main concern in the reflections on a particular aesthetics of film-, we will address four issues that let us rethink the relationship of the two of them: the idea of ​​montage, narrative and image, subjective experience and the matter of reception. (shrink)

This article explores the concept of cultural competence and its relevance as an organizational resource in ethical disputes. Empirically, we aim to reveal the cultural competences that a global forest industry company, StoraEnso, and a global environmental nongovernmental organization (NGO), Greenpeace, utilized in forestry conflicts during 1985–2001. Our study is based on data which were collected from corporate and NGO communication outlets and which have gone through a detailed discourse-semiotic analysis. Our reinterpretation of the discourses identified three (...) cultural competences: (1) the ability to understand changing consumer preferences and values, (2) the ability to utilize culturally determined positions of expertise, and (3) the ability to maintain trust and credibility in the community through open communicative practices. We argue that these competences are relevant in industry–NGO disputes for both parties. However, maintaining them all simultaneously is a difficult task, since various discourses which aim at upholding them can sometimes have contradictory effects. (shrink)

We assess the organizational culture in the finance industry in relation to the global financial crisis and consider the potential of cultural change to improve the financial sector. To avoid biases, we build on the person–organization fit literature and develop a novel, indirect method for assessing organizational culture that revolves around relationships between employees’ personal traits and their career success in the industry or organization under study. We analyze personal values concerning the pursuit of private gain versus (...) personal values concerning caring for others and consider whether employees that value self-enhancement more and self-transcendence less enjoy more career success relative to their peers when working in finance than when working in other industries. Results do not reveal any sort of cross-industry differences that would implicate the finance industry’s culture in the financial crisis. Instead, we find the opposite, namely that strong self-enhancement values and weak self-transcendence values go together with less career success in the finance industry compared to other industries. Hence, if anything, the culture in the finance industry does not seem to resonate well with professionals that seek to pursue personal gain at the expense of clients’ welfare. Implication is that cultural change has little potential to improve the financial system. Meanwhile, the method for assessing organizational culture indirectly by analyzing relationships between employees’ traits and their career outcomes has wider applicability, particularly when relying on scores or measures obtained directly from the people concerned is likely to render biased evidence. (shrink)

As more and more historians acknowledge the central signifcance of science and technology with that of modern society, the need for a good, general history of the achievements of the Scientific Revolution has grown. Scientific Culture and The Making of the Industrial West seeks to explain this historical process by looking at how and why scientific knowledge became such an integral part of the culture of Europe in the seventeenth and eighteenth centuries, and how this in turn lead to the (...) Industrial Revolution. This comparative study not only looks at England, and its success, but follows through with the history of France, the Netherlands, and Germany. (shrink)

We assess the organizational culture in the finance industry in relation to the global financial crisis and consider the potential of cultural change to improve the financial sector. To avoid biases, we build on the person–organization fit literature and develop a novel, indirect method for assessing organizational culture that revolves around relationships between employees’ personal traits and their career success in the industry or organization under study. We analyze personal values concerning the pursuit of private gain versus (...) personal values concerning caring for others and consider whether employees that value self-enhancement more and self-transcendence less enjoy more career success relative to their peers when working in finance than when working in other industries. Results do not reveal any sort of cross-industry differences that would implicate the finance industry’s culture in the financial crisis. Instead, we find the opposite, namely that strong self-enhancement values and weak self-transcendence values go together with less career success in the finance industry compared to other industries. Hence, if anything, the culture in the finance industry does not seem to resonate well with professionals that seek to pursue personal gain at the expense of clients’ welfare. Implication is that cultural change has little potential to improve the financial system. Meanwhile, the method for assessing organizational culture indirectly by analyzing relationships between employees’ traits and their career outcomes has wider applicability, particularly when relying on scores or measures obtained directly from the people concerned is likely to render biased evidence. (shrink)

Gordon H Bell; Industrial Culture and the School: some conceptual and practical issues in the schools-industry debate [1], Journal of Philosophy of Education, V.

The article is focused on the investigation of the impact the corporate culture makes on industrial enterprise development. It demonstrates that the formation of the corporate culture principles contributes to raising the level of staff involvement, its labor activity performance, maintaining and reproduction of human capital assets of an enterprise. Investments in the development of corporate culture are considered as an alternative to traditional methods of increasing the efficiency of an enterprise in an uncertain economic environment. Corporate culture development, which (...) involves a commitment to raising the level of knowledge, innovativeness and organization, has a positive effect on the performance and efficiency of the entire company, and aids in the regulation of internal labor relations, preventing potential critical situations. The introduction and development of corporate culture, which includes a certain system of values and behaviors, in modern domestic industrial enterprises is becoming a necessity. The application of the principles and values of corporate culture leads to the long-term success of an industrial enterprise. (shrink)

The ArgumentThe purpose of this essay is revisionist on two counts: first, that the American colonies and early United States republic kept pace with Great Britain in reaching a relatively advanced stage of industrialization by the early nineteenth century and second, that the Middle Atlantic States shared equally with New England the innovative role in creating America's industrial revolution. In both cases the industrial leaders achieved their preeminence by different routes. By concentrating on the importance of the sources of machine (...) power as the defining characteristic of industrialism, scholars have overlooked alternative paths to industrial change. In Britain steam power and the textile industry were the foundations of an industrial revolution. But in American colonies the use of water power and the growth of industries such as woodworking and building led to an equally revolutionary change in the production of machine-made products. Benign geography in colonial America provided abundant wood and water power and an excellent transportation system based on navigable rivers and a hospitable coastline. But the crucial factors were cultural: the compelling urge to do things with less human work, the open reception to new immigration, a younger and more venturesome population, a favorable legal and fiscal environment for enterpreneurs. In the American context the tendency of scholars to emphasize the leadership of New England was largely a result of the greater local availability of manufacturing records. But recent research has demonstrated that Philadelphia, the largest port of entry in the eighteenth century, was quite naturally a center of innovation in construction materials, woodworking machinery and shipbuilding to meet the needs of the expanding agricultural hinterland and the coastal trade. In sum, the values of an expanding, youthful, skilled population replenished by fresh and venturesome sources from abroad helped shape cultural values that were particularly favorable in the geographic environment of North America for alternative paths of rapid industrial growth. (shrink)

The authors investigate the differences in ethical perceptions of Australian and Hong Kong international managers. Ethical perceptions are measured with respect to different industry types, cultures and modes of entry into international markets. Mode of entry refers to how firms select to enter foreign markets. Modes of entry include: exporting (indirect or direct), contractual methods (licensing and franchising) and via direct foreign investment (joint ventures and wholly-owned subsidiaries). It was determined that culture and mode of entry have a significant (...) effect on the perception of ethical problems. (shrink)

Ethics and business -- Culture, business and ethics in a globalising world -- Moral development, moral positioning and decision-making -- Ethical dilemmas and decision-making (models) -- Professional ethics -- Organisational ethics -- Corporate social responsibility -- Sustainability and business -- Business and human rights -- Responsible entrepreneurship and innovation -- Information technology and business.