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«Artists as Vulnerable Workers IDALINA CONDE CIES e-Working Papers (ISSN 1647-0893) Av. das Forças Armadas, Edifício ISCTE, 1649-026 LISBOA, ...»

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Conde, Idalina (2003b) (with João Pinheiro and Teresa Duarte Martinho), “Making distinctions: conditions of women working in serious music and (new) media arts in Portugal” in Culture-Gates. Exposing professional ‘gate-keeping’ processes in music and new media arts. Bonn: Arcult Media Conde, Idalina (coord), Pinheiro, João. & Martinho, Teresa Duarte (2003). Culture-Gates

em Portugal: Relatório de Pesquisa (Culture-Gates in Portugal: Research Report). Lisbon:

Observatory of Cultural Activities.

Conde, Idalina (2008a), “Contrasting narratives: art and culture in the public sphere”, CIES e-Working Papers, N.º 56. Available at http://www.cies.iscte.pt/wp.jsp Conde, Idalina (2008b). Discursos (de) Mediadores. Reflexividade sobre o reconhecimento na arte contemporânea (Mediators's Discourses. Reflexivity on recognition in contemporary art) Research Report/ Project Tryptic: artists, singularity and recognition supported by The Calouste Gulbenkian Foundation, Department of Visual Arts. Lisbon.

Conde, Idalina (2009a), “Arte e Poder” (“Art and Power”), CIES e-Working Papers.º 62.

Available at http://www.cies.iscte.pt/wp.jsp Conde, Idalina (2009b). “Reconversions in artists' works and lives”. Paper presented in the Conference Reconversion, org. AERA – Association Européenne pour une Rhétorique des Arts, Université de Pau et des Pays de l’Adour, Pau-France, 24-25 Avril, 2009.

(Forthcoming as CIES e-Working Paper).

Conde, Idalina (2009c), “Women in the arts: profession, inequality and identity”. Paper presented in the IV Congreso Internacional e Interdisciplinar “Experiências de Género”, Universidad de Huelva-Spain, 6-7-8 May 2009. (Forthcoming as CIES e-Working Paper).

Cohen, Anthony D. (1994). Self Consciousness. An alternative anthropology of identity.

London and New York: Routledge.

Coulangeon, Philippe (2004). Les musiciens interprètes en France. Portrait d’une profession. Paris: La Documentation Française.

ERICarts (2005). Artists Rights in a European Cultural Space. Workshop Session during the 3rd Session of the European Cultural Parliament, Genova, December 2004. Final report. Bonn: ERICarts) ERICarts and European Council (2008). Cultural policies in Europe: a compendium of basic facts and trends. ( http://www.culturalpolicies.net ) Florida, Richard (2005). The flight of the creative class: the new global competition for talent. New York: Harper Collins.

Giddens, Anthony (1991). Modernity and self-identity: self and society in the late modern age. Cambridge: Polity Press.

Gomes, Rui & Martinho, Teresa Duarte (2009). Trabalho e qualificação nas actividades culturais: um panorama em vários domínios (Work and Skills in Cultural Activities. An overview in various areas). Lisbon: Observatory of Cultural Activities (forthcoming) Greffe, Xavier (1999). Cultural employment in the digital era. Paris: Anthropos. (In French) Hartley, John (2005).Creative industries. Malden: Blackwell Publishing.

Heinich, Nathalie (1991). La gloire de Van Gogh. Essai d’anthropologie de l’admiration.

Paris: Minuit.

Heinich, Nathalie (1999). L’épreuve de la grandeur. Prix littéraires et reconnaissance.

Paris: La Découverte.

Heinich, Nathalie (2005). L’élite artiste. Excellence et singularité en régime démocratique.

Paris: Gallimard.

Hesmondhalgh, David (2002). The cultural industries, London: Sage, 2002 Honneth, Axel (1995). The struggle for recognition: the moral grammar of social conflicts.

Cambridge: Polity Press

Kaufmann, Jean-Claude (2005). L’invention de soi. Une théorie de l’identité. Paris:

Hachette Littératures, Pluriel.

Kea European Affairs (KEA) (2006), The Economy of Culture in Europe. Brussels:

European Commission. (http://ec.europa.eu/culture/key-documents/doc873_en.htm ) Lallement, Michel (2007). Le travail. Une sociologie contemporaine. Paris: Gallimard Martinho, Teresa Duarte (2008). “Agentes e profissões culturais. Balanço de um levantamento bibliográfico” (“Cultural agents and professions. A literature review”), CIES e-Working Paper Nº 53. Available at http://www.cies.iscte.pt/wp.jsp Menger, Pierre.-Michel (2001). Portrait de l’artiste en travailleur – métamorphoses du capitalisme. Paris: Seuil.

Menger, Pierre.-Michel (2005). Les intermittents du spectacle. Sociologie d’une exception.

Paris: Éditions de l’EHESS.

Mintzberg, Henri (1995). Estrutura e dinâmica das organizações (The structure and dynamics of organizations).. Lisbon: D. Quixote.

Mitchel, Ritva (2003). “Gate-keeping and constraints on gender equality in classical music and media arts” in VVAA, Culture-Gates. Exposing professional ‘gete-keeping’processes in music and new media arts. Bonn: ARcult Media.

Rannou, Janine & Roharik, Ionela (2009). “Vivre et survivre dans le marché de la danse” in Marie-Christine Bureau, Marc Perrenoud & Roberta Shapiro (eds) (2009). L’artiste pluriel.

Démultiplier l’activité pour vivre de son art. Villeneuve d’Ascq: Presses du Septentrion Ravet, Hyacinthe & Coulangeon, Philippe (2003). “La division sexuelle du travail chez les musiciens français”, Sociologie du Travail, Vol. 45, No. 3, p. 361-384.

Ravet, Hyacinthe. (2009). “Musicien ‘à part entière’. Genre et pluriactivité” in MarieChristine Bureau, Marc Perrenoud & Roberta Shapiro (eds) (2009). L’artiste pluriel.

Démultiplier l’activité pour vivre de son art. Villeneuve d’Ascq: Presses du Septentrion Sapiro, Gisèle (2007). “La vocation artistique entre don et don de soi”, Actes de la Recherche en Sciences Sociales, No. 168, p. 4-11.

Watson, D. (1996). “Individuals and institutions: the case of work and employment” in Margaret Wetherell (ed), Identities, groups and social issues. London: Sage Publications.



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