Sociology
Z. Shafiei
Abstract
It is not simple at all to answer as why some people become entrepreneurs while others don't. Most researchers have accepted this puzzle and defined entrepreneurship in various ways, thus, making it a controversial term to develop theories around it. In the midst of contradictory ideas in the field of ...
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It is not simple at all to answer as why some people become entrepreneurs while others don't. Most researchers have accepted this puzzle and defined entrepreneurship in various ways, thus, making it a controversial term to develop theories around it. In the midst of contradictory ideas in the field of entrepreneurship, the contribution of social sciences such as sociology and economics is significant. However, their perspectives on the subject differ. Sociology sees individual agency as more significant than social factors, while economics assumes the opposite. This has led to the dual perception of under-socialized and over-socialized, with both being incomplete. This duality can be compared to the blind description of an elephant in the dark - each person touches the elephant from different angles and presents own point of view to refute the other. This article aims to explain this duality and approaches of sociology and economics towards the issue of entrepreneurship. It is theoretical in nature and explores the path that flows between the two opposite poles, using the new economic sociological paradigm. This approach aims to go beyond the duality of under-socialized and over-socialized perceptions, allowing for a better understanding of entrepreneurship in its social and historical contexts.
Social Sciences
Z. Shafiei
Abstract
The status of handicrafts has always been controversial throughout history. In this regard, three periods can be distinguished: the first, in which, handicrafts are classified as poor cousins of fine arts, under the dual high/low, the second with the emergence of arts and crafts movement, where we see ...
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The status of handicrafts has always been controversial throughout history. In this regard, three periods can be distinguished: the first, in which, handicrafts are classified as poor cousins of fine arts, under the dual high/low, the second with the emergence of arts and crafts movement, where we see the position of artists and craftsmen, and finally, in the third period, we see the emergence of creative industries, which on the one hand is associated with the concept of self-improvement (amateur) and on the other with the reproduction of the discourse hegemony of sublime arts. Many academic writings have focused on the emergence of these new models of creative economics in the shadow of Web 2 culture. Research has shown that Etsy, as an e-commerce market, blurs the line between professional and amateur works and complicates the debate. The question that arises here is whether in today's world, with the movement of handicrafts towards the ‘“post-professional” era’, have the concepts of "amateur" and "professional" lost their application? The starting point of this article is here and it intends to answer this through qualitative-exploratory studies, also in order to address the position of modern handicrafts in Iran. For this purpose, two types of builders are separated from each other: professionals and amateurs. Each brigade has its own unique characteristics. Professionals are art graduates who describe their work in terms of specific concepts. Amateurs, on the other hand, are self-taught artists.
