Fredrick White, "Marketing strategies: Vadim Andreev in dialogue with the Soviet Union"

"...cultural relationships, which exist within an economic environment are understood as transaction of tangible and intangible products within an economic framework of markets, exchange value, price, and other such concepts. 185" "Pierre Bordieu call [these] symbolic capital, which confers upon an individual artist the reputation for competence and an image of respectability. 186" "Many of the same market pressures were involved in securing a publisher, eliciting positive reviews, and promoting the author's works. Arguably, within the Soviet Union money actually played a secondary role in comparison to symbolic capital... 186." "...cultural production is as much an exchange commodity with relative values as diamonds or gold. 189" "The Thaw period allowed for and legitimized new players within Soviet social space as authorities attempted to restructure ideology, economics, politics, and culture. This cultural boom in the 19602 enhanced the role of literature in society, especially given the attempt by these same authorities to exchange cultural capital for economic and social capital. The works of repressed Russian, emigre, and international literary figures all benefited from this new investment in symbolic capital 190." " The economist David Throsby suggests that there is both tangible and intangible cultural capital. Both have their own quantifiable economic and cultural value 191." "The intent of branding is to tap into social trends and systems or to be noticed by society not simply as a brand, but as something much more. 192" "The most effective type of ad campaign is the one that co-opts social themes, and advertising and marketing accomplish this by appropriating the symbols of a society, adapting them, and recycling them as their own. 193" "...there was a level of collusion in this struggle for legitimacy, which is not uncommon in cultural markets. Though the polemical arguments of critics and scholars about a work of art might sometimes seem ruthless, the conflict safeguards the overall investment made in the artist by these same people. This invisible collusion results in permanent production and reproduction of the author's work, enhancing its symbolic capital and raising it relative value. The artist is not the only one to benefit, but also the entire collection of people who have consecrates the work of the artist. this relationship, as an example, extends from the scholar to even the editorial board which accepts a text for publication. collusion is particularly clear when it can be demonstrated that a majority of the scholarly articles about an author under consecration appear in one specific journal or from a particular publishing house. This suggests that the consecration process goes beyond just the author and the literary experts, including even the editors and editorial boards in the broader validation of symbolic capital. 193" "Works of art receive value only from a collective belief in a particular artist and the shared willingness to produce and reproduce his literary works. 197"