The Organizational Legitimacy of the Bauhaus
The Organizational Legitimacy of the Bauhaus
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包豪斯的组织合法性
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发表时间：
2005
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影响因子：
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通讯作者：
S. Minahan
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作者：
S. Minahan
获得和维持组织合法性可能是文化组织等社会和政治结构的一个主要问题。合法性，有时也被称为信誉，带来了获得生存和发展所需资源的机会。没有合法性的组织往往不能成功地吸引赠款、补贴和奖学金。研究表明，合法组织可能被视为有价值的社会结构（Hybels 1995; Suchman 1995），并被视为社会结构的一部分。在这篇文章中，我使用制度理论的框架来探讨组织合法性。我首先定义合法性，然后讨论组织合法性的关键概念。接下来，我提出了一个基于艺术/工艺/设计学校的案例研究。这所学校，被称为包豪斯，存在于1919年至1933年之间的三个德国城市-魏玛，德绍和柏林。对二战前环境的决定论观点认为，纳粹党应该对包豪斯的关闭负责。我认为其他因素是显而易见的。纳粹政权在20世纪20年代后期成为一股重要的力量，但如果从艺术管理和组织合法性的角度来看待，包豪斯的故事就变得更加复杂。在本文中，我将讨论包豪斯如何寻求和管理合法性，以及国家和其他行为者在赋予这种合法性方面所扮演的角色。最后，我总结了合法性与当代艺术组织的相关性。
Gaining and maintaining organizational legitimacy can be a major issue for social and political structures such as cultural organizations. Legitimacy, sometimes called credibility, brings with it access to resources needed for survival and development. Organizations without legitimacy tend not to be successful in attracting grants, subsidies, and sponsorships. Research suggests that legitimate organizations may be seen as valuable social structures (Hybels 1995; Suchman 1995) and come to be “taken for granted” as part of the social fabric. In this article, I explore organizational legitimacy using the framework of institutional theory. I first define legitimacy and then discuss the key concepts of organizational legitimacy. Next, I present a case study based on an art/craft/design school. The school, known as the Bauhaus, existed between 1919 and 1933 in three German cities—Weimar, Dessau, and Berlin. Deterministic views of the pre–World War II environment suggest that the Nazi party was responsible for the closure of the Bauhaus. I argue that other factors were apparent. The Nazi regime was becoming a significant force in the late 1920s, but the story of the Bauhaus becomes more complex when viewed under the rubric of arts management and organizational legitimacy. In this article, I discuss how the Bauhaus sought and managed legitimacy and the role that the state and other actors played in granting that legitimacy. In conclusion, I offer a summary of the relevance of legitimacy to contemporary arts organizations.