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Sanat ve Pazarlamanın "Sıra Dışı" Birlikteliği

Year 2015, Issue: 23, 169 - 189, 30.12.2015

Feyza Ağlargöz , Sevgi Ayşe Öztürk

https://doi.org/10.16878/gsuilet.285319
Cited By: 5

Abstract

Bu çalışma sanat ve pazarlama birlikteliğini tarihsel süreçte yaşanan tartışmalar ışığında incelemekte ve “sanat pazarlaması”nın geleneksel pazarlamadan farklarını belirleyerek doğru tanımlara ulaşmayı hedeflemektedir. Bu kapsamda geçmişte aykırı bir birliktelik olarak görülürken günümüzde daha çekici ve kabullenilir hale gelen sanat ve ticaret ilişkisi irdelenmektedir. Geçmişte bir dizi teknik ve karar verme süreci olarak görülen sanat pazarlaması günümüzde bir işletme felsefesi olarak kabul edilmeye başlanmıştır. Geleneksel pazarlamadan farklı olarak sanat pazarlaması faaliyetleri ürünün üretiminden öncesini içeremez. Sanatsal yaratım ile sanat pazarlaması birbirlerinden bağımsız faaliyetlerdir. Sanat pazarlaması sanatsal sonuçları etkilemeden izleyici/müşteri bulma ve geliştirme görevini yerine getirmektedir. Sanat pazarlaması sanatçının içinden geldiği gibi ürettiği sanat eserini alıcı, izleyici ve genel olarak toplumla buluşturmada önemli bir rol üstlenmektedir. Günümüzde hala mesafeli yaklaşan bir kesim olsa da sanat pazarlaması faaliyetleri sanat pazarında aktif bir şekilde kullanılmaktadır.

anahtar kelimeler: sanat pazarlaması, sanat pazarı, sanat yönetimi, sanatta pazarlama

References

  • AÇIKGÖZ Aslı (2011), “Güzel Sanatların Meslek Rehberi”, Milliyet Sanat, 39 (627), ss. 72-73.
  • ADDIS Michela ve HOLBROOK Morris B. (2010), Dreaming of Artistic Excellence, Popularity, or Both? Marketing the Arts: A Fresh Approach (Der: D. O’Reilly ve F. Kerrigan) New York, Routledge, ss. 141-152.
  • ATİKOĞLU Ayça (2010), “İstanbul Yaratıcı Şehirler Merkezine Aday Oldu” Milliyet Sanat, 38 (621), ss. 30-31.
  • BAXTER Lisa (2010), From Luxury to Necessity: The Changing Role of Qualitative Research in the Arts, Marketing the Arts: A Fresh Approach (Der: D. O’Reilly ve F. Kerrigan), New York, Routledge, ss.121-140.
  • BECKER Howard S. (1978), “Arts and Crafts”, American Journal of Sociology, 83 (4), pp. 862-889.
  • BENDIXEN Peter (2010), Managing Art: An Introduction into Principles and Conceptions, Berlin, LIT.
  • BERNSTEIN Joanne Scheff (2007), Arts Marketing Insights: The Dynamics Of Building And Retaining Performing Arts Audiences. (1. baskı), San Francisco, J. Wiley.
  • BLACKALL Simon ve MEEK Jan (der.) (1992), Marketing the Arts, Paris, ICOM.
  • BOORSMA Miranda (2006), “A Strategic Logic for Arts Marketing Integrating Customer Value And Artistic Objectives” International Journal of Cultural Policy, 12 (1), pp. 73-92.
  • BOORSMA Miranda ve CHIARAVALLOTI Francesco (2009), “Arts marketing and performance management: closing the gap between mission and indicators”, Proceedings of the 5th Conference on Performance Measurement and Management Control, 23-25 September 2009, Nice.
  • BOTTI Simona (1999), “What Role for Marketing in the Arts? An Analysis of Art Consumption and Artistic Value”, 3th International Research Seminar on Marketing Communications and Consumer Behavior, Aix-en-Provence (France), pp. 28-47.
  • BYRNES William (2009), Management and the Arts, U.S.A., Elsevier.
  • CHONG Derrick (2010), Arts Management, New York, Routledge.
  • COLBERT François (2003), “Entrepreneurship and Leadership in Marketing the Arts” International Journal of Arts Management, 6 (1), pp. 30-39.
  • COLBERT François (2009). Beyond Branding: Contemporary Marketing Challenges For Arts Organizations, Deakin Print Services, Logistics Division, Deakin University.
  • DEMİRDÖVEN Jale Bozoğlu ve ÖDEKAN Ayla (2008), “Müzayedelerin Sanat Piyasalarındaki Rolü ve Türkiye’deki Yansımaları”, İTÜ Dergisi/b, 5 (1), ss. 55-66.
  • DENNIS Noel ve MACAULAY Michael (2010), Musinga from Miles: What Miles Davis Can Tell Us about Music and Marketing, Marketing The Arts: A Fresh Approach (Der: D. O’Reilly ve F. Kerrigan), New York, Routledge, ss. 205-213.
  • DICKMAN Sharron (1997), Arts Marketing: The Pocket Guide. Australia Center for the Arts & Centre for Professional Development Publication.
  • DIGGLE, Keith (1994), Arts Marketing, London, Rhinegold Pub. EHRMANN Thierry (2011), “Art Market Trends 2010”.
  • ERTÜRK, İsmail (2011), “1.3 Trilyon Dolardan Pay Almak için Yaratıcı Sanayici”
  • EVRARD Yves ve COLBERT François (2000), “Arts Management: A New Discipline Entering the Millennium?”, International Journal of Arts Management, 2 (2), pp. 4-13.
  • FILLIS Ian (2002), “Creative Marketing And The Art Organisation: What Can The Artist Offer?”, International Journal of Nonprofit and Voluntary Sector Marketing, 7 (2), pp. 131-145.
  • FILLIS Ian (2006), “Art For Art’s Sake Or Art For Business Sake: An Exploration Of Artistic Product Orientation”, The Marketing Review, 6 (1), pp. 29-40.
  • FILLIS Ian (2010), The Tension Between Artistic and Market Orientation in Visual Art. Marketing The Arts: A Fresh Approach (Der: D. O’Reilly ve F. Kerrigan). New York, Routledge, pp. 31-39.
  • GAINER Brenda (1989), “The Business of High Culture: Marketing the Performing Arts” The Service Industries Journal, 9 (4), pp. 143-161.
  • GOODMAN Calvin J. (1991), Art Marketing Handbook: Marketing Art in the Nineties, (Gözden geçirilmiş ve genişletilmiş 6. baskı), Los Angeles, Calif.,Gee Tee Bee.
  • GUILLET DE MONTHOUX Pierre (2004), The Art Firm: Aesthetic Management and Metaphysical Marketing, Stanford, Calif., Stanford Business Books.
  • HAYES Debi ve ROODHOUSE Simon (2010), From Missionary to Market Maker: Reconceptualizing Arts Marketing in Practice. Marketing the Arts: A Fresh Approach, Der: D. O’Reilly ve F. Kerrigan, New York, Routledge, pp. 40-53.
  • HILL Lizz, O’SULLIVAN Catherine ve O’SULLIVAN Terry (2003), Creative Arts Marketing (2. baskı), Amsterdam, Butterworth-Heinemann.
  • HIRSCHMAN Elizabeth C. (1983), “Aesthetics, Ideologies and the Limits of the Marketing Concept” Journal of Marketing, 47 (3), pp. 45-55.
  • HOROWITZ Noah (2011), Art of the Deal: Contemporary Art in a Global Financial Market, London, Princeton University Press. http://imgpublic.artprice.com/pdf/trends2010_en.pdf, [20.01.2012]
  • http://www.milliyet.com.tr/1-3-trilyon-dolardan-pay-almak-icin-yaratici-sanayici/ekonomi/ekonomidetay/09.12.2011/1473147/default.htm, [18.11.2015]
  • İbrahim Demirel ile 18 Mart 2011 tarihinde yapılan görüşme, Ankara.
  • KERRIGAN Finola, FRASER Peter ve ÖZBİLGİN Mustafa (2004), Arts Marketing, Amsterdam, Elsevier Butterworth-Heinemann.
  • KERRIGAN Finola, O’REILLY Daragh ve VOM LEHN Dirk (2009), “Producing and Consuming Arts: A Marketing Perspective”, Consumption Markets & Culture, 12 (3), pp. 203- 207.
  • KOLB Bonita M. (2005), Marketing for Cultural Organisations: New Strategies For Attracting Audiences To Classical Music, Dance, Museums, Theatre & Opera (2. baskı), London, Thomson Learning.
  • KOTLER Philip ve LEVY Sidney J. (1969), “Broadening the Concept of Marketing”, The Journal of Marketing, 33 (1), pp. 10-15.
  • KOTLER Philip ve SCHEFF Joanne (1997), Standing Room Only: Strategies for Marketing the Performing Arts. Harvard Business School Press, Boston, MA.
  • KUBACKI Krzysztof ve CROFT Robin (2004), “Mass Marketing, Music and Morality”, Journal of Marketing Management 20 (5-6), pp. 577-590.
  • KUBACKI Krzysztof ve CROFT Robin (2006), “Artists’ Attitudes to Marketing: A Cross-Cultural Perspective”, International Journal of Nonprofit and Voluntary Sector Marketing, 11 (4), pp. 335-345.
  • KUBACKI Krzysztof ve O’REILLY Daragh (2009), Arts Marketing. Contemporary Issues in Marketing and Consumer Behaviour (Der: E. Parsons ve P. Maclaran).Oxford, Elsevier, pp. 55-72.
  • LEE Hye-Kyung (2005), “When Arts Met Marketing Arts Marketing Theory Embedded In Romanticism”, International Journal of Cultural Policy, 11 (3), pp. 289-305.
  • MEYER Jörn-Axel ve EVEN Ralf (1998), “Marketing and the Fine Arts – Inventory of a Controversial Relationship”, Journal of Cultural Economics, 22 (4), pp. 271–283.
  • MICOCCI Tony (2008), Booking Performance Tours: Marketing and Acquiring Live Arts And Entertainment, New York, Alworth Pres.
  • MOKWA Michael P., DAWSON William M. ve PRIEVE E. Arthur (eds.) (1980), Marketing the Arts, New York, Praeger.
  • O’REILLY Daragh (2005), “Cultural Brands/Branding Cultures”, Journal of Marketing Management, 21 (5-6), pp. 573-588.
  • O’REILLY Daragh ve KERRIGAN Finola (Editors)(2010), Marketing the Arts: A Fresh Approach, New York, Routledge.
  • ÖNSAL Başak (2006), Emergence of Art Galleries in Ankara. A Case Study of Three Pionerring Galleries in the 1950s, Yayınlanmamış Yüksek Lisans Tezi, Ortadoğu Teknik Üniversitesi, Ankara.
  • PLATTNER Stuart (1998), “A Most Ingenious Paradox: The Market for Contemporary Fine Art”, American Anthropologist, New Series, 100( 2), pp. 482-493.
  • RENTSCHLER Ruth (1998), “Museum and Performing Arts Marketing: A Climate of Change” Journal of Arts Management, Law, and Society, 28 (1), pp. 83-96.
  • RENTSCHLER Ruth (2002), “Museum and Performing Arts Marketing: The Age of Discovery”, The Journal of Arts Management, Law, and Society, 32 (1), pp.7-14.
  • RENTSCHLER Ruth (2007), “Guest editorial Arts marketing”, International Journal of Nonprofit and Voluntary Sector Marketing, 12 (2), pp. 91-93.
  • RENTSCHLER Ruth ve SHILBURY David (2008), “Academic Assessment of Arts Management Journals: A Multidimensional Rating Survey”, International Journal of Arts Management, 10 (3), pp. 60-71.
  • ROBERTSON Iain (2005), The International Art Market. Understanding International Art Markets and Management, Der: I. Robertson, New York, Routledge, pp. 13-36.
  • ROBERTSON Iain (Ed.) (2005), Understanding International Art Markets and Management, New York, Routledge.
  • RYAN Annmarie, FENTON Matt ve SANGIORGI Daniela (2010), A Night at the Theatre: Moving Arts Marketing from the Office to the Kitchen and beyond. Marketing the Arts: A Fresh Approach, Der: D. O’Reilly ve F. Kerrigan, New York, Routledge, pp. 214-230.
  • SCHEFF Joanne ve KOTLER Philip (1996), “Crisis in the Arts: The Marketing Response”, California Management Review, 39 (1), pp. 28-52.
  • STALLABRASS Julian (2010), Sanat A.Ş. Çağdaş Sanat ve Bienaller, (2.baskı), Çev. Esin Soğancılar, İstanbul, İletişim Yayınları.
  • THOMPSON Don (2011), Sanat Mezat, Çev. Renan Akman, İstanbul, İletişim Yayınları.
  • VELTHUIS Olav (2005), Talking Prices: Symbolic Meanings Of Prices On The Market For Contemporary Art, U.S.A, Princeton University Press.
  • WANG Xuan (2009), Gallery’s Role in Contemporary Chinese Art Market, Yayınlanmamış Yüksek Lisans Tezi, The Ohio State University, Ohio.

Year 2015, Issue: 23, 169 - 189, 30.12.2015

Feyza Ağlargöz , Sevgi Ayşe Öztürk

https://doi.org/10.16878/gsuilet.285319
Cited By: 5

Abstract

References

  • AÇIKGÖZ Aslı (2011), “Güzel Sanatların Meslek Rehberi”, Milliyet Sanat, 39 (627), ss. 72-73.
  • ADDIS Michela ve HOLBROOK Morris B. (2010), Dreaming of Artistic Excellence, Popularity, or Both? Marketing the Arts: A Fresh Approach (Der: D. O’Reilly ve F. Kerrigan) New York, Routledge, ss. 141-152.
  • ATİKOĞLU Ayça (2010), “İstanbul Yaratıcı Şehirler Merkezine Aday Oldu” Milliyet Sanat, 38 (621), ss. 30-31.
  • BAXTER Lisa (2010), From Luxury to Necessity: The Changing Role of Qualitative Research in the Arts, Marketing the Arts: A Fresh Approach (Der: D. O’Reilly ve F. Kerrigan), New York, Routledge, ss.121-140.
  • BECKER Howard S. (1978), “Arts and Crafts”, American Journal of Sociology, 83 (4), pp. 862-889.
  • BENDIXEN Peter (2010), Managing Art: An Introduction into Principles and Conceptions, Berlin, LIT.
  • BERNSTEIN Joanne Scheff (2007), Arts Marketing Insights: The Dynamics Of Building And Retaining Performing Arts Audiences. (1. baskı), San Francisco, J. Wiley.
  • BLACKALL Simon ve MEEK Jan (der.) (1992), Marketing the Arts, Paris, ICOM.
  • BOORSMA Miranda (2006), “A Strategic Logic for Arts Marketing Integrating Customer Value And Artistic Objectives” International Journal of Cultural Policy, 12 (1), pp. 73-92.
  • BOORSMA Miranda ve CHIARAVALLOTI Francesco (2009), “Arts marketing and performance management: closing the gap between mission and indicators”, Proceedings of the 5th Conference on Performance Measurement and Management Control, 23-25 September 2009, Nice.
  • BOTTI Simona (1999), “What Role for Marketing in the Arts? An Analysis of Art Consumption and Artistic Value”, 3th International Research Seminar on Marketing Communications and Consumer Behavior, Aix-en-Provence (France), pp. 28-47.
  • BYRNES William (2009), Management and the Arts, U.S.A., Elsevier.
  • CHONG Derrick (2010), Arts Management, New York, Routledge.
  • COLBERT François (2003), “Entrepreneurship and Leadership in Marketing the Arts” International Journal of Arts Management, 6 (1), pp. 30-39.
  • COLBERT François (2009). Beyond Branding: Contemporary Marketing Challenges For Arts Organizations, Deakin Print Services, Logistics Division, Deakin University.
  • DEMİRDÖVEN Jale Bozoğlu ve ÖDEKAN Ayla (2008), “Müzayedelerin Sanat Piyasalarındaki Rolü ve Türkiye’deki Yansımaları”, İTÜ Dergisi/b, 5 (1), ss. 55-66.
  • DENNIS Noel ve MACAULAY Michael (2010), Musinga from Miles: What Miles Davis Can Tell Us about Music and Marketing, Marketing The Arts: A Fresh Approach (Der: D. O’Reilly ve F. Kerrigan), New York, Routledge, ss. 205-213.
  • DICKMAN Sharron (1997), Arts Marketing: The Pocket Guide. Australia Center for the Arts & Centre for Professional Development Publication.
  • DIGGLE, Keith (1994), Arts Marketing, London, Rhinegold Pub. EHRMANN Thierry (2011), “Art Market Trends 2010”.
  • ERTÜRK, İsmail (2011), “1.3 Trilyon Dolardan Pay Almak için Yaratıcı Sanayici”
  • EVRARD Yves ve COLBERT François (2000), “Arts Management: A New Discipline Entering the Millennium?”, International Journal of Arts Management, 2 (2), pp. 4-13.
  • FILLIS Ian (2002), “Creative Marketing And The Art Organisation: What Can The Artist Offer?”, International Journal of Nonprofit and Voluntary Sector Marketing, 7 (2), pp. 131-145.
  • FILLIS Ian (2006), “Art For Art’s Sake Or Art For Business Sake: An Exploration Of Artistic Product Orientation”, The Marketing Review, 6 (1), pp. 29-40.
  • FILLIS Ian (2010), The Tension Between Artistic and Market Orientation in Visual Art. Marketing The Arts: A Fresh Approach (Der: D. O’Reilly ve F. Kerrigan). New York, Routledge, pp. 31-39.
  • GAINER Brenda (1989), “The Business of High Culture: Marketing the Performing Arts” The Service Industries Journal, 9 (4), pp. 143-161.
  • GOODMAN Calvin J. (1991), Art Marketing Handbook: Marketing Art in the Nineties, (Gözden geçirilmiş ve genişletilmiş 6. baskı), Los Angeles, Calif.,Gee Tee Bee.
  • GUILLET DE MONTHOUX Pierre (2004), The Art Firm: Aesthetic Management and Metaphysical Marketing, Stanford, Calif., Stanford Business Books.
  • HAYES Debi ve ROODHOUSE Simon (2010), From Missionary to Market Maker: Reconceptualizing Arts Marketing in Practice. Marketing the Arts: A Fresh Approach, Der: D. O’Reilly ve F. Kerrigan, New York, Routledge, pp. 40-53.
  • HILL Lizz, O’SULLIVAN Catherine ve O’SULLIVAN Terry (2003), Creative Arts Marketing (2. baskı), Amsterdam, Butterworth-Heinemann.
  • HIRSCHMAN Elizabeth C. (1983), “Aesthetics, Ideologies and the Limits of the Marketing Concept” Journal of Marketing, 47 (3), pp. 45-55.
  • HOROWITZ Noah (2011), Art of the Deal: Contemporary Art in a Global Financial Market, London, Princeton University Press. http://imgpublic.artprice.com/pdf/trends2010_en.pdf, [20.01.2012]
  • http://www.milliyet.com.tr/1-3-trilyon-dolardan-pay-almak-icin-yaratici-sanayici/ekonomi/ekonomidetay/09.12.2011/1473147/default.htm, [18.11.2015]
  • İbrahim Demirel ile 18 Mart 2011 tarihinde yapılan görüşme, Ankara.
  • KERRIGAN Finola, FRASER Peter ve ÖZBİLGİN Mustafa (2004), Arts Marketing, Amsterdam, Elsevier Butterworth-Heinemann.
  • KERRIGAN Finola, O’REILLY Daragh ve VOM LEHN Dirk (2009), “Producing and Consuming Arts: A Marketing Perspective”, Consumption Markets & Culture, 12 (3), pp. 203- 207.
  • KOLB Bonita M. (2005), Marketing for Cultural Organisations: New Strategies For Attracting Audiences To Classical Music, Dance, Museums, Theatre & Opera (2. baskı), London, Thomson Learning.
  • KOTLER Philip ve LEVY Sidney J. (1969), “Broadening the Concept of Marketing”, The Journal of Marketing, 33 (1), pp. 10-15.
  • KOTLER Philip ve SCHEFF Joanne (1997), Standing Room Only: Strategies for Marketing the Performing Arts. Harvard Business School Press, Boston, MA.
  • KUBACKI Krzysztof ve CROFT Robin (2004), “Mass Marketing, Music and Morality”, Journal of Marketing Management 20 (5-6), pp. 577-590.
  • KUBACKI Krzysztof ve CROFT Robin (2006), “Artists’ Attitudes to Marketing: A Cross-Cultural Perspective”, International Journal of Nonprofit and Voluntary Sector Marketing, 11 (4), pp. 335-345.
  • KUBACKI Krzysztof ve O’REILLY Daragh (2009), Arts Marketing. Contemporary Issues in Marketing and Consumer Behaviour (Der: E. Parsons ve P. Maclaran).Oxford, Elsevier, pp. 55-72.
  • LEE Hye-Kyung (2005), “When Arts Met Marketing Arts Marketing Theory Embedded In Romanticism”, International Journal of Cultural Policy, 11 (3), pp. 289-305.
  • MEYER Jörn-Axel ve EVEN Ralf (1998), “Marketing and the Fine Arts – Inventory of a Controversial Relationship”, Journal of Cultural Economics, 22 (4), pp. 271–283.
  • MICOCCI Tony (2008), Booking Performance Tours: Marketing and Acquiring Live Arts And Entertainment, New York, Alworth Pres.
  • MOKWA Michael P., DAWSON William M. ve PRIEVE E. Arthur (eds.) (1980), Marketing the Arts, New York, Praeger.
  • O’REILLY Daragh (2005), “Cultural Brands/Branding Cultures”, Journal of Marketing Management, 21 (5-6), pp. 573-588.
  • O’REILLY Daragh ve KERRIGAN Finola (Editors)(2010), Marketing the Arts: A Fresh Approach, New York, Routledge.
  • ÖNSAL Başak (2006), Emergence of Art Galleries in Ankara. A Case Study of Three Pionerring Galleries in the 1950s, Yayınlanmamış Yüksek Lisans Tezi, Ortadoğu Teknik Üniversitesi, Ankara.
  • PLATTNER Stuart (1998), “A Most Ingenious Paradox: The Market for Contemporary Fine Art”, American Anthropologist, New Series, 100( 2), pp. 482-493.
  • RENTSCHLER Ruth (1998), “Museum and Performing Arts Marketing: A Climate of Change” Journal of Arts Management, Law, and Society, 28 (1), pp. 83-96.
  • RENTSCHLER Ruth (2002), “Museum and Performing Arts Marketing: The Age of Discovery”, The Journal of Arts Management, Law, and Society, 32 (1), pp.7-14.
  • RENTSCHLER Ruth (2007), “Guest editorial Arts marketing”, International Journal of Nonprofit and Voluntary Sector Marketing, 12 (2), pp. 91-93.
  • RENTSCHLER Ruth ve SHILBURY David (2008), “Academic Assessment of Arts Management Journals: A Multidimensional Rating Survey”, International Journal of Arts Management, 10 (3), pp. 60-71.
  • ROBERTSON Iain (2005), The International Art Market. Understanding International Art Markets and Management, Der: I. Robertson, New York, Routledge, pp. 13-36.
  • ROBERTSON Iain (Ed.) (2005), Understanding International Art Markets and Management, New York, Routledge.
  • RYAN Annmarie, FENTON Matt ve SANGIORGI Daniela (2010), A Night at the Theatre: Moving Arts Marketing from the Office to the Kitchen and beyond. Marketing the Arts: A Fresh Approach, Der: D. O’Reilly ve F. Kerrigan, New York, Routledge, pp. 214-230.
  • SCHEFF Joanne ve KOTLER Philip (1996), “Crisis in the Arts: The Marketing Response”, California Management Review, 39 (1), pp. 28-52.
  • STALLABRASS Julian (2010), Sanat A.Ş. Çağdaş Sanat ve Bienaller, (2.baskı), Çev. Esin Soğancılar, İstanbul, İletişim Yayınları.
  • THOMPSON Don (2011), Sanat Mezat, Çev. Renan Akman, İstanbul, İletişim Yayınları.
  • VELTHUIS Olav (2005), Talking Prices: Symbolic Meanings Of Prices On The Market For Contemporary Art, U.S.A, Princeton University Press.
  • WANG Xuan (2009), Gallery’s Role in Contemporary Chinese Art Market, Yayınlanmamış Yüksek Lisans Tezi, The Ohio State University, Ohio.
There are 61 citations in total.

Details

Journal Section Articles
Authors

Feyza Ağlargöz

Sevgi Ayşe Öztürk

Publication Date December 30, 2015
Published in Issue Year 2015Issue: 23

Cite

APA Ağlargöz, F., & Öztürk, S. A. (2015). Sanat ve Pazarlamanın "Sıra Dışı" Birlikteliği. Galatasaray Üniversitesi İletişim Dergisi(23), 169-189. https://doi.org/10.16878/gsuilet.285319

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