Documents found
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34.More information
L'exploration de la notion d'ethnodesign permet de découvrir de multiples facettes qui révèlent une polysémie du terme, voire une ambiguïté du concept. Celui-ci s'inscrit dans un mouvement entre le passé et le présent, l'artisanat et le design, le fait main, la préoccupation pour le développement durable et même l'apport de l'industrie. Ce va-et-vient s'exprime dans divers objets dont les caractéristiques se superposent, se croisent, et parfois se confondent. Le design s'inspire de différentes manières de l'artisanat et de ses savoir-faire; en revanche l'artisanat utilise le design afin d'actualiser les créations. Les sources consultées, magazines, observation de projets et expériences de voyages confirment et vérifient largement l'hypothèse selon laquelle l'ethnodesign est hétérogène et que ses composantes s'articulent de différentes manières selon les contextes et les acteurs.
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35.More information
The genesis of this research is based on two observations: the issue of the boundary between the concepts of artisan and artist has been debated for many years and remains very unclear; marketing is playing an increasingly important role among artisans, both at the academic level and in practice. Thus, the objective of this research is twofold: to contribute to enriching the debate on the boundary between the artisan and the artist from a marketing perspective, and to deepen the understanding of the artisan in terms of their practices, motivations, and strategic orientations. After analyzing the historical, institutional, and academic definitions of these two notions, the semiotic square method, developed by Greimas and Courtès (1993), is employed. The results highlight four types of activities (artisanal, artistic, commercial, and industrial) that oppose and differentiate themselves on several criteria: manual vs non-manual know-how, intrinsic vs extrinsic motivations, and product vs customer orientation. To sum up, the marketing orientation of the artisan appears as a crucial element in distinguishing them from the artist.
Keywords: Artisan, Artiste, Carré sémiotique, Orientation marketing, Motivations intrinsèques et extrinsèques, Artisan, Artist, Semiotic square, Marketing orientation, Intrinsic and extrinsic motivations, Artesano, Artista, Cuadrado semiótico, Orientación al marketing, Motivaciones intrínsecas y extrínsecas
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36.More information
The postcard is a brief means of correspondence. It is best known as an expression of a thought addressed to a loved one during a trip, hence its association with tourism. First as an advertising medium, the postcard often keeps this function by being produced by shops, workshops or sites to visit; products are thus promoted, especially as souvenirs to bring back home. Some cards showcase textile crafts; they turn out to be of documentary interest for researchers and collectors; some of them hold our attention here.
Keywords: Cartes postales, Artisanat textile, Tourisme régional, Postcards, Textile Craft, Regional Tourism
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37.More information
Enterprise cooperatives have grown significantly not just in agriculture but also in retailing, commercial fishing and, to a lesser extent, in the trades and transportation. This historic development is examined by the author sector by sector. Based on a matrix of communities of local businesses, cooperatives first appeared as a means of defense against economic changes, and then a part of the movement joined in the construction of powerful national—and with more difficulty—international groups. The opening up to outside investment, the reluctance of certain circles to embrace the cooperative image, and the inappropriateness of the cooperative statute to certain kinds of group formations has encouraged adopting diversified legal forms.However, recent developments also reflect the concern for maintaining the objectives of defending independent firms that have strong local links.
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38.More information
On the occasion of this special number and in front of the relative discretion of the literature in conceptualization of the phenomena in the work during the takeover, this article proposes an original reading to understand better what is at stake in such processes when they concern craft companies. In the first part, the argumentation uses a theoretical approach centred on the identity of the craft company to highlight the specificity of their transfer process. In the second part, based on empirical material collected in several qualitative studies and monitoring of firms in the transmission phase, we attempt to define the nature of the process in terms of identity rupture or identity continuity and to show how it can impact the success – or failure – of this operation. Finally, we propose a methodological grid embodying four “configurations” : two of them lead to the breakdown of identity and failure, the other two lead to continuity of identity and success.
Keywords: Artisanat, Identité, Succès/échec de la transmission, Reprise, Nature et objet de la transmission
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