The success of the Bordeaux Mont-de-Piété, 1801–1913
This article analyses the success of the Bordeaux Mont-de-Piété between 1801 and 1913. This success was related to several factors. While the legislative environment was already advantageous (monopoly status for pawnbroking), the establishment prospered courtesy of the social and economic environment. There was indeed high social demand for financial aid linked to the individual needs of a population that found itself in a situation of virtual exclusion. The establishment also benefited from high repayment rates, which limited additional costs, regularly found ways to refinance its operations and took advantage of there being no people's banking system.
An experiment in banking the poor: the Irish Mont-de-Piété, c. 1830–18501
Continental pawnbroking institutions, Monts-de-Piété, were introduced in Ireland in the 1830s and 1840s but did not establish a permanent status. Irish social reformers believed that a Mont-de-Piété system would reduce the cost of borrowing for the poor and also fund a social welfare network, thus negating the need for an Irish Poor Law. This article explores the introduction of the Mont-de-Piété charitable pawnbroker in Ireland and outlines some reasons for its failure. It uses the market incumbents, private pawnbrokers, as a base group in a comparative study and asks why the Monts-de-Piété were the unsuccessful ones of the two. The article finds that the public nature and monopoly status of Monts-de-Piété on the Continent realised economies of scale and gave preferential interest rates on capital, as well as enabling the Mont-de-Piété loan book to be cross-subsidised. These conditions were not replicated in Ireland, hence the failure of the Monts-de-Piété there.
The identity and self-perception of artists-managers
Manager’s and artist’s professional identities seem to be opposite, but there are many indications that this understanding is not justified in reality. Despite the contradictions, these two identities can intersect. The paper aims to define the characteristics of the artists-managers’ identity. The object of the study was qualitative research (n = 22) conducted in the form of in-depth interviews with key informants from the international environment. The practical objective was to verify common and contradicted features of the artist’s and the manager’s identities among artists-managers to understand the possibilities of reducing the intra-psychic tensions and ways of fruitful paradoxical thinking among managers and negative consequences for personalities and organizations. The study reveals common characteristics between the artist’s and manager’s identities and describes artists-managers’ identity. Although artists-managers experience diversity between both identities, they do not see them as contrary; they use paradoxical thinking, being experts in using personal seemingly contradictory characteristics to achieve outstanding performance. Acting in paradoxical contexts and focusing on the positive aspects of seemingly contradictory personal qualities, they find nonstandard creative solutions. By trying to understand and implement their self-construction, there is the possibility to reduce the intra-psychic tensions and negative consequences of seemingly opposite identities or goals among individuals in organizations. There is a synergy between the manager’s and artist’s identities. Understanding the nature and attributes of artistic creativity, aesthetic theories and the phenomenon of artist-manager’s identity can be a valuable contribution to the practice of management and organizational life.