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1
Chio, U. Ieong. "Inspiration from the Czech Cultural Policy to Macau Cultural Policy". Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-263164.
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Tato diplomová práce se zabývá analýzou dokumentů Zvláštní správní oblasti Čínské lidové republiky - Macao v oblasti kulturní politiky za období od předání tohoto území zpět Číně do dneška. V první části se věnuje shrnutí současné společenské, ekonomické, politické a kulturní situace v Macao a na základě faktů a pozorování analyzuje současné otázky v oblasti rozvoje kulturního sektoru Macaa. V závěru se pokouší aplikovat do kulturního systému Macaa použitelné principy z kulturní politiky České republiky jakožto země s hlubokou kulturní tradicí. Práce se snaží nacházet rozdíly a podobnosti mezi situací a kulturní politikou České republiky a Macaa, a tato zjištění použít jako inspiraci pro rozvoj kultury v Macao.
2
McConnell, Bridget. "Cultural policy? - whose cultural policy? : players and practices in a Scottish context". Thesis, University of Stirling, 2009. http://hdl.handle.net/1893/1226.
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This research is concerned with how cultural policy is made in contemporary Scotland. Focussed on deciphering and understanding the actions, behaviours, meanings and performances of those involved in cultural policy making and how a cultural policy community is created and maintained, a qualitative research approach was adopted. As such, the research is based on semi-structured interviews with fifteen key players from the cultural policy community The influence and application of a range of theoretical perspectives shaped my data analysis and research outcomes in significant ways, leading me away from an initial positivist approach - where I had hoped for a ‘cultural policy making toolkit’ to emerge from the data - to a more nuanced understanding of the complex and unpredictable dynamics at play in cultural policy making. In particular, writings broadly defined as within the postmodern camp - namely those of Foucault, Derrida, Deleuze and Guattari - provided the possibility of new paradigms for the discussion and understanding of cultural policy making, leading me to unexpected insights into cultural policy making processes. Key findings relate to the characters and their performances within the cultural policy community as well as the spaces where cultural policy is created. Firstly, the significance and impact of key players emerged as having less to do with their perceived status, influence or professional positions, than their ability to construct a ‘cultural policy’ identity, attune themselves to, engage with and affect an ever changing and fluid policy environment. Paradoxically, the data revealed that those who appeared at first sight to be the most powerful and influential often emerged as the least so. Notably, the most effective players seemed to be those who invested in their sense of self and social identities and roles, clearly articulated values, principles and beliefs, bringing an authenticity to their performances in the cultural policy sphere. In addition these players demonstrated an almost intuitive understanding of the power of myth and storytelling in the construction of cultural policy. Similarly, the most significant cultural policy spaces were not where I had thought them to be - for example, public agency boards and political committees - but rather in the more amorphous spaces of gossip, ‘off-the-record’ comments, newspaper commentary and opinions, networks and the assumed meanings in both the said and unsaid. My data also reveal an active engagement in the ‘public domain’ by the cultural policy community, a space that is constructed and defined by meanings, signs and values - the substance and language of cultural policy. Finally, it is the performances of actors in the cultural policy spaces that bring cultural policy into being. The data disclose the power of speaking and writing in shifting and disrupting perceptions, views and interpretations, and in creating different spaces of encounter and creativity, leading to new understandings and unintended cultural policy directions. Indeed, my data suggest that it is more often than not the accidental happenings, productive outcomes of inadvertent actions, incubation of ideas and serendipity, that lead to the most effective and affective cultural policy outcomes - rather than the formulaic and process driven approaches required of local and national government and its agencies in the name of public accountability. The main implications of my research and recommendations for future action include: the desirability of wider dissemination of cultural policy research to practitioners, and an increase in practitioner-led research; recognition of the diversity and potential of atypical and informal cultural policy spaces; and the need for professional development opportunities and programmes to take cognisance of the latent resource inherent in practitioners who, with some encouragement, confidence-boosting and on occasion guidance in developing themselves as ‘readers’ of cultural policy discourse, could contribute to a more active and engaged cultural policy community.
3
Jones, Tod. "Indonesian cultural policy, 1950-2003: culture, institutions, government". Thesis, Curtin University, 2005. http://hdl.handle.net/20.500.11937/403.
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This thesis examines official cultural policy in Indonesia, focussing on the cultural policy of the national governments from 1950 until 2003. Drawing on Michel Foucault’s writings about government and debates about cultural policy in Cultural Studies, the study proposes that the features of cultural policy in Indonesia are primarily determined by the changing ways that the state has put culture to work in its versions of modern governance. Part I of the thesis provides a history of official cultural policy, including a background chapter on the late colonial era and the Japanese occupation. Although contemporary cultural policy was first articulated within Western liberal democracies to shape self-governing national citizens, the Dutch colonial cultural policy differed in that it assumed indigenous subjects had reduced capacities and focussed on managing ethnic populations. The cultural policies of subsequent governments maintained the twin imperatives of ‘improving’ individuals and managing populations, but with different understandings of both imperatives. While a more autonomous subject was assumed during Constitutional Democracy, Guided Democracy exercised greater state guidance as part of Sukarno’s mobilisation of the population behind his political program. Cultural policy during the New Order era rejected Sukarno’s ‘politicisation’ of culture, replaced ‘improvement’ with ‘development’ and further strengthened the role of the state in providing cultural guidance, a move justified by designating Indonesians backward by modern standards.The Japanese administration was the first government to address a national population. Relations among indigenous ethnic populations and between ethnicity and the nation were addressed in cultural policy from 1956 and were central to cultural policy throughout the New Order era. Part II of the thesis consists of two case studies of cultural programs in the New Order and Reform eras: (1) the arts councils and cultural parks and (2) a cultural research project. It explores New Order centralism, demonstrating the heterogeneity between different levels of the state and how governmental goals imbued particular practices and objects with special significance and meaning by constructing them as culture. Cultural policy in the post-Suharto period is addressed in both Parts I and II. While the practices of the New Order era are generally continuing, decentralisation created the possibility of a plurality of cultural policies across Indonesia, as lower levels of government are responsible for administering cultural policy. Decentralisation could result in a more participatory cultural policy as more cultural practices are addressed or a narrowing of cultural policy if conservative ethnic identity politics drives changes.
4
Jones, Tod. "Indonesian Cultural policy, 1950-2003 : culture, institutions, government /". Curtin University of Technology, Department of Media and Information, 2005. http://espace.library.curtin.edu.au:80/R/?func=dbin-jump-full&object_id=16663.
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This thesis examines official cultural policy in Indonesia, focussing on the cultural policy of the national governments from 1950 until 2003. Drawing on Michel Foucault’s writings about government and debates about cultural policy in Cultural Studies, the study proposes that the features of cultural policy in Indonesia are primarily determined by the changing ways that the state has put culture to work in its versions of modern governance. Part I of the thesis provides a history of official cultural policy, including a background chapter on the late colonial era and the Japanese occupation. Although contemporary cultural policy was first articulated within Western liberal democracies to shape self-governing national citizens, the Dutch colonial cultural policy differed in that it assumed indigenous subjects had reduced capacities and focussed on managing ethnic populations. The cultural policies of subsequent governments maintained the twin imperatives of ‘improving’ individuals and managing populations, but with different understandings of both imperatives. While a more autonomous subject was assumed during Constitutional Democracy, Guided Democracy exercised greater state guidance as part of Sukarno’s mobilisation of the population behind his political program. Cultural policy during the New Order era rejected Sukarno’s ‘politicisation’ of culture, replaced ‘improvement’ with ‘development’ and further strengthened the role of the state in providing cultural guidance, a move justified by designating Indonesians backward by modern standards.The Japanese administration was the first government to address a national population. Relations among indigenous ethnic populations and between ethnicity and the nation were addressed in cultural policy from 1956 and were central to cultural policy throughout the New Order era. Part II of the thesis consists of two case studies of cultural programs in the New Order and Reform eras: (1) the arts councils and cultural parks and (2) a cultural research project. It explores New Order centralism, demonstrating the heterogeneity between different levels of the state and how governmental goals imbued particular practices and objects with special significance and meaning by constructing them as culture. Cultural policy in the post-Suharto period is addressed in both Parts I and II. While the practices of the New Order era are generally continuing, decentralisation created the possibility of a plurality of cultural policies across Indonesia, as lower levels of government are responsible for administering cultural policy. Decentralisation could result in a more participatory cultural policy as more cultural practices are addressed or a narrowing of cultural policy if conservative ethnic identity politics drives changes.
5
Glover, Stuart. "Literature and cultural policy studies /". [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19342.pdf.
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Langen, Floris Antal Freek. "EU cultural policy 1974-2007". Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/2149/.
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The development of EU cultural policy has been characterised by a high degree of continuity. The objectives underlying present-day policy actions can be traced back to historical roots that date back to the mid-1970s. Since the first cultural actions were taken, EU cultural policy has had multiple objectives. Involvement in the cultural field has been justified on the basis of economic, social, political and, to a certain extent, cultural arguments. Although there have been shifts in accents and priorities, these various justifications can be found to co-exist throughout the process. In more recent times, the contribution of cultural actions to the emergence of European citizenship has emerged as a more dominant theme. Although peaks in expansion can be seen, Community involvement in the cultural field has overall developed through a slow process of developments and adjustments through relatively small-scale actions. As the Member States have retained much of their control over this area, policy development has been restricted to a limited range of actions for which only a narrow budget has been available. Given the dominance of the subsidiarity principle in all Community actions in the cultural field, the main policy mode has by necessity been one of consensus-seeking between actors with at times conflicting interests. However, over time the main priorities of all actors have become more or less aligned, so that the continuity of policy appears to be safeguarded. Recent developments suggest that culture has gradually come to take up a more prominent role within EU policies. However, consensus will continue to dominate the general approach as far as the development of Community actions is concerned.
7
Groves, Leroy. "The politics of cultural policy". Thesis, University of Sheffield, 2001. http://etheses.whiterose.ac.uk/3504/.
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Over the past twenty years the arts and culture have become a popular vehicle through which local economic development can be pursued. Whilst this relatively new local economic development tool has generated much interest amongst academics, many have been content to simply provide descriptive accounts of its development. Where theoretical frameworks for analysis have been applied, they have failed to adequately examine and assess those local factors which have contributed to the development of these strategies. Interestingly, the evolution of arts policy as a vehicle through which to pursue economic development, has been mirrored by proliferation In coalitions as preferred vehicles through which governing decisions, at the local level are effected. Current debates surrounding the New Urban Politics have focused on the degree to which current modes of governance reflect: widened representation; increased community empowerment; and increased local autonomy. By employing regime theory as a framework for analysis, this thesis will examine how those local political factors in two cities have influenced the development of cultural strategy. Such an exercise will enable a comment to be made on the degree to which cultural strategies reflect more co - operative forms of decision making, increased access to new forms of expertise and community empowerment.
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Reilly, Justine Nicola. "Sport, museums and cultural policy". Thesis, University of Central Lancashire, 2014. http://clok.uclan.ac.uk/11324/.
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Britain is widely considered to be the birth place of modern sport. Given this fact, it could be expected that the representation of sport within British museums would be extensive. However, the discussion of sport in museums within the existing literature is limited at best and, where it does occur, has a focus primarily on sport specific museums. Therefore, this thesis examines the development of sport in museums and the motivations and barriers which have influenced its development. Placing sport in museums within the wider context of cultural policy between the period of 1997 and 2012, the study explores the impact of sport in museums within wider social and economic agendas. Due to the lack of existing evidence concerning the subject area, the study draws on extensive fieldwork conducted by the author with individuals working in the fields of cultural policy, museum practice, and academia. In addition, focus groups and questionnaires were carried out with members of the public to ascertain perceptions towards sport as a subject matter for museums and the potential of sport to increase and change museum audiences. In addition, there is an in-depth evaluation of the Our Sporting Life exhibition programme in order to establish the impact of sport in museum against the widely used museu-m methodology frameworks, the Generic Learning *Outcomes and Generic Social Outcomes. The findings of this research demonstrate that sport in museums responds to a range of wider cultural policy objectives which support economic and social outcomes. These include: improving individual’s knowledge and understanding; providing enjoyment; supporting health and well-being agendas; and building stronger communities. In addition, the evidence establishes that sport attracts new and different audiences to museums and suggests that this may impact on the visiting habits of these individuals in the long-term. However, the findings also demonstrate that there are significant barriers to the delivery of sporting exhibitions in museums, most notably access to sufficient funding and inadequate knowledge and availability of relevant sporting collections. Therefore, this thesis presents the first conclusive evidence that sport in museums is both relevant and valuable as a subject matter for museum discourse, and argues that this alone suggests a need for increased funding to support further development of activity in this field.
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Pham, Hien-Thuc T. "Culture and Fiscal Policy". Thesis, Griffith University, 2019. http://hdl.handle.net/10072/386765.
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This thesis, structured around three empirical studies, examines how culture affects policy and economic outcomes in a sample of 62 developed and developing countries spanning the period 1980-2015. More specifically, the studies investigate different cultural traits and their impacts on various outcomes such as fiscal policy choice, fiscal response to cyclical fluctuations and economic volatility. In so doing, this thesis enriches the emerging literature on the economics of culture and the political economy literature to examine: (i) how cultural differences can explain variation in different aspects of fiscal policy across countries, (ii) how culture and fiscal policy jointly determine economic volatility and (iii) the stabilising role of fiscal policy. The first two research areas have remained largely unexplored in the literature whilst the third is still under intensive debate given a lack of consensus among researchers.
The first study focuses on the role of culture in determining the size of government. To that purpose, three theoretical hypotheses on the relationship between “thrift” (the proxy of culture) and government consumption are tested using panel data. Data for thrift and other culture variables used in this thesis are from the World Values Survey. Thrift represents the wise management of money and resources and it is also a summary concept for all psychological factors that affect saving. The main finding of this study is that government consumption is higher in thriftier countries, which is put down to thrifty individuals preferring to substitute their own consumption with government consumption, thus resulting in increased private savings and larger governments. The positive effect of thrift on government consumption, however, weakens in more corrupt societies.
The second study extends the aforementioned investigation in considering culture as a driver of fiscal policy. Of particular interest is the extent to which fiscal policy is used countercyclically in order to stabilise the business cycles, with the emphasis on the downside of the cycles. Therefore, this study concentrates on the discretionary fiscal expenditure rather than the total government size. The relevant culture proxy captures individuals’ attitude towards economic stability, denoted in this thesis as “stability preference”. Estimations using both panel and cross-sectional models report that a stronger cultural preference for stability effectively results in governments increasing expenditure to counter negative cyclical shocks. This in turn makes fiscal policy more countercyclical.
The third study more generally examines the relationship between cultural and economic volatility. In particular, the chapter tests the proposition that societies with a higher level of “trust” tend to trade and invest more, thus leading to more diversified economic structures that are less vulnerable to idiosyncratic shocks. This high trust – low volatility hypothesis is tested using a regression framework that has volatility as a dependent variable. Independent variables are trust and other determinants of volatility such as macroeconomic policy, term of trade and geographical variables. Thus, while assessing the impact of trust on output volatility, this study also revisits the stabilising role of fiscal policy. Empirical evidence shows that high trust levels have volatility-reducing effects. Moreover, although fiscal policy does respond to business cycles, there is neither a significant stabilising nor destabilising effect of fiscal policy.
The overall findings from these three inter-related studies contribute to the literature on the economics of culture and, more generally to the political economy literature. Empirical results suggest that culture is a fundamental driver of economic development. Different aspects of culture shape different aspects of policy outcomes as well as aggregate macroeconomic outcomes. This thesis also provides policy implications regarding the size and scope of government, types of fiscal response during economic downturns and the effectiveness of fiscal policy in stabilising the economy.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Dept Account,Finance & Econ
Griffith Business School
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Dandavate, Rohini. "Building cultural understanding through cultural exchange". Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1141830276.
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Bjørnsen, Egil. "Norwegian cultural policy : a civilising mission?" Thesis, University of Warwick, 2009. http://wrap.warwick.ac.uk/2740/.
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This dissertation aims to explore the extent to which what has been termed „the civilising mission‟ has been a central rationale behind Norwegian cultural policy. In order to contextualise the research the German term Bildung, which refers to human growth processes, is used as a conceptual framework. Bildung can be achieved in two different, albeit related, ways: firstly, through an object approach, which takes great works of arts as its point of departure and where personal growth can be achieved through exposure to these and which endorses clear cultural hierarchies, and secondly, through a subject approach, which emphasises each individual‟s own preferences and desires and where a much greater range of cultural activities can facilitate personal growth. In addition to an historical analysis of the ideas that have informed Norwegian cultural policies dating back to 1814, this project draws upon „green papers‟ published by the Norwegian government through its Ministry of Culture. This is supplemented by a more detailed analysis of a key cultural policy initiative of the 2000s: den kulturelle skolesekken (DKS)1, which is a major programme initiated to enable children in primary school to be exposed to art-works produced by professional artists. The project concludes that although a subject and an object approach to Bildung have co-existed throughout the period charted here there has since the 90s been an increased focus on the object oriented approach. This appears evident both in the general cultural policy discourse but articularly through the disciplining aspect of DKS and its strong focus on, what is being referred to as, the „professional arts‟ as a vehicle for Bildung.
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Smith, Ashley Lorrain. "Embodying Scotland : identity, cultural policy, dance". Thesis, University of the West of Scotland, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.514191.
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This thesis investigates the interconnections between constructions of Scottish national cultural identity, cultural practices, cultural products and cultural policy. It analyzes dance in Scotland as its primary example of cultural practice and cultural product, using it as a window through which to explore meanings constructed around the category of Scotland by both artistic practitioners and policymakers. These groups help to set a symbolic as well as a material context in which cultural consumption and production takes place. The meanings inscribed in cultural products, practices and policy may contest each other or reinforce each other and are often organised around familiar tropes within history, tradition and geography. The research utilises qualitative methods in order to explore the layers of complexity which operate through culture as a signifying system. It draws from two primary sets of data. The first includes transcripts, coded and analysed, of twenty in-depth semi-structured interviews with members of the dance and performing arts community in Scotland. The second includes an analysis of all the cultural policy documents produced by the Scottish Executive since devolution, as well as a wide variety of historical and other secondary data. Existing secondary source material is contextualised and contested by both the voices of the interview participants as well as mediated accounts drawn from the Scottish press. It is found that post-devolution versions of Scottish identity have become, if anything, more complex in the face of greater political autonomy from London. The policymakers demonstrate this through a slow and careful implementation of cultural policy initiatives demonstrative of both assumed and aspirational versions of Scotland, which are tied to instrumental uses of culture and protecting the union. The dance community grapple with this through their own critical cultural products and practices which feed back into the ongoing national conversation. The thesis therefore locates dance within Scottish cultural practice and policy generally, and that wider theme within the overarching question of Scottish identity.
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Khamis, Lina. "Aspects of cultural policy in Jordan". Thesis, University of Exeter, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.245994.
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Soncini, Luana. "Política de patrimônio cultural imaterial na América Latina: análise dos processos de identificação e registro no Brasil e no México". Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/84/84131/tde-12072012-155540/.
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Há cerca de uma década a noção de Patrimônio Imaterial vem sendo incorporada às políticas de patrimônio dos Estados latinoamericanos, e também no contexto internacional mais amplo, a partir da Convenção para a Salvaguarda do Patrimônio Imaterial (UNESCO, 2003). Nesta dissertação são analisadas as experiências de identificação e registro de bens culturais desta natureza no Brasil e no México, por meio da apreciação de documentos oficiais produzidos no âmbito desta política, os Dossiês de registro realizados no Brasil e o Inventario del Patrimonio Inmaterial mexicano. Considera-se, a partir do histórico das políticas culturais e da relação entre Estado e cultura popular, que este tipo de reconhecimento tem características específicas na América Latina, configurando as potencialidades e desafios da implementação de tal política neste contexto. Partindo desta preocupação e da análise dos documentos mencionados, foram definidos dois eixos temáticos relacionados, que nortearam a comparação entre Brasil e México. O primeiro deles refere-se aos desdobramentos da ampliação da noção de cultura, que caracteriza este tipo de bem cultural, para as políticas de patrimônio destes países. Verifica-se que tal alargamento resulta na incorporação de tensões sociais igualmente amplas no universo de atenção desta área de intervenção estatal. No segundo eixo são privilegiadas questões relativas ao processo de atribuição de valor a estas manifestações, práticas e expressões culturais como patrimônio. Identifica-se a politização deste tipo de reconhecimento, na medida em que tem o sentido de corroborar oficialmente o valor já atribuído a tais bens em seus contextos de produção. Nesse sentido, a partir da documentação oficial são analisados os processos de negociação de critérios e conceitos de valoração, bem como da legitimidade dos sujeitos coletivos, Estado e grupos detentores dos bens culturais, no processo de reconhecimento.For about one decade the notion of Intangible Cultural Heritage is being incorporated within the cultural heritage policies by the Latin American states, and also in an international context, from the Convention for the Safeguarding of the Intangible Cultural Heritage (UNESCO, 2003). In this thesis the experiences of identification and registry of this category of heritage in Brazil and Mexico are analysed, by means of an appreciation of official documents produced within this policy, the Registry Dossiers (Dossiês de registro) made in Brazil and Mexican Inventory of Intangible Heritage (Inventario del Patrimonio Inmaterial). Based on the history of the cultural policies and the relationship between State and popular culture, it is considered that this kind of acknowledgment has specific characteristics in Latin America, setting the potentialities and challenges of the implementation of such politics in this context. Begining by this concern and the analysis of the mentioned documents, two related thematic axes were defined, which guided the comparison between Brazil and Mexico. The first of them refer to the deployment of the widening of the notion of culture, which characterizes this type of cultural heritage, to the heritage policies of these countries. It is verified that such widening results in the incorporation of social tensions, equally broad, within the universe of concern of this area of state intervention. The second axis privilege questions related to the process of attribution of value to cultural manifestations, practices and expressions as heritage. There has been identified the politization of this kind of acknowledgement, as far as it means to corroborate officially the values previously attributed to such heritage in its production context. In this sense, as of the official documentation an analysis is developed about the process of negociation of criteria and concepts of valuing, as well as the legitimacy of collective beings, State anda other groups of holders of cultural heritage in its recognition process.
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Harding, Tobias. "Nationalising Culture : The Reorganisation of National Culture in Swedish Cultural Policy 1970–2002". Doctoral thesis, Linköping : Department for Studies of Social Change and Culture, Linköping University, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-9896.
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Viscovini, Lenir de Fatima. "A politica do Partido dos Trabalhadores em Santo Andre : da inovação a tradição (1989/1991 - 1997/2000 - 2001/2004)". [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278913.
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Orientador: Marcelo Siqueira RidentiDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-05T14:14:45Z (GMT). No. of bitstreams: 1 Viscovini_LenirdeFatima_M.pdf: 11294435 bytes, checksum: e05058fa9a91e76113bda5fe8152f63e (MD5) Previous issue date: 2005
Resumo: No desenvolvimento das políticas públicas de cultura, há práticas dominantes que restringem o alcance da ação cultural. Em geral, as políticas culturais voltam-se para as belas artes ou para os produtos vinculados aos meios de comunicação de massa e as mais variadas formas de manifestações das classes populares não encontram meios de se expressar. As políticas culturais que seguem esta tradição tendem a transformar a todos apenas em aprendizes e consumidores, não concebendo os sujeitos como também produtores de cultura. Este trabalho, que analisa a política cultural desenvolvida em três gestões do Partido dos Trabalhadores na cidade de Santo André, promove uma reflexão sobre algumas das principais questões que envolvem a realização de políticas culturais. Parte das propostas iniciais do PT neste campo para entender que objetivos e intenções orientaram as ações culturais em diferentes momentos da ação do partido na cidade. Para isso, investiga e analisa o que foi desenvolvido na ação cultural descentralizada de cada gestão e mostra que entre a primeira e as demais gestões havia profundas diferenças. Tendo como base as diferenças encontradas, problematiza sobre como são desenvolvidas na sociedade as políticas culturais e encontra, com o auxílio de referenciais teóricos, elementos que caracterizam as tradições culturais neste campo, aos quais procura vincular as gestões do PT. O trabalho mostra, ainda, que as mudanças políticas do partido, em âmbito local e nacional, foram determinantes para as diferenças encontradas na política cultural em cada momento, sobretudo entre a primeira e as demais gestões
Abstract: At cultural public politics development, there are dominant practices, restricting the cultural action reaching. In general, the cultural politics focus the arts or the products connected to communication and media, the most sorted popular manifestations of self-expression. The cultural politics, which follow this tradition, has a tendency to transform everybody at apprentices and consumers, not having conception from a person as cultural producers, too. This paper, which analyses the cultural politics developed at the three public managements from Partido dos Trabalhadores, in Santo André city, promotes reflection about some of the principIe questions, which involve cultural politics realizations. Part of the initial purposes from PT at this field, to understand that goals and intentions guide the cultural actions at different moments from the politic party action at. the city. According to this, the paper investigates and analyses which was developed at the decentralized cultural action, in each public management period and show us that between the first and the other managements, there were deep differences. Based on the differences found, focus about how are developed at the society, the cultural politics and find, in the theory references help, elements which characterize the cultural traditions at this field, that are connected at the PT public management. The paper still shows the politic changes; from the party in local and national position were determinants to the differences found at the cultural politics in each moment, mainly between the first and the other public managements
Mestrado
Mestre em Sociologia
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Smith, Amanda Jane, i n/a. "Making cultural heritage policy in New Zealand". University of Otago. Department of Political Studies, 1996. http://adt.otago.ac.nz./public/adt-NZDU20070530.152110.
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This thesis examines how cultural heritage policies are developed in New Zealand. Cultural heritage symbolises the development of a society, illustrating past events and changing customs and values. Because of its significance, the government has accepted responsibility for protecting cultural heritage, and has developed a number of institutions and a variety of policies to address this responsibility. It is important to understand how the goverment uses these mechanisms to protect cultural heritage, and the subsequent relationships that have developed between actors in the cultural heritage area. These will have an impact on the effectiveness of the policy which is developed.
Cultural heritage is treasured by society for a number of reasons, but as social attitudes change, so does the treatment of cultural heritage. It is re-defined, re-interpreted and used to promote a sense of pride in the commmunity. This manipulation extends to policy making. Since the 1980s, the government has influenced, and been influenced by, two major social changes. There has been an introduction of free market principles such as rationalisation, competition and fiscal responsibility into the New Zealand economy and political structure. These principles have been applied to cultural heritage and consequently cultural heritage is treated as a commodity. As the result of changing attitudes towards the treatment of the Maori and Maori resources, there has been a movement towards implementing biculturalism. This has meant a re-evaluation of how Maori taonga is treated, particularly of the ways Maori cultural heritage has been used to promote a sense of New Zealandness.
There are several major actors involved in cultural heritage policy making - government, policy units, cultural heritage organisations and local authorities. Central government is the dominant force in the political process, with control over the distribution of resources and the responsibilities assigned to other actors. Because the use of market principles and movement towards biculturalism have been embraced at the central government level, other actors in the policy making process are also expected to adopt them. Policy units develop options to fit with the government�s general economic and political agenda. The structures adopted for the public service are designed to encompass market principles, particularly the efficient use of resources and competitiveness. While cultural heritage organisations may influence the government�s agenda through lobbying and information-sharing, they are limited by issues such as funding and statutory requirements. Government has shifted many responsibilities to the regions, but while territorial authorities are influenced by the concerns of their communities, they are also subject to directions from the government.
The process and structures which have been outlined do not contribute to an effective policy making system. The use of market principles to direct cultural heritage protection tends to encourage uneven and inconsistent policies, both at national and local levels. The range of cultural heritage definitions used by government agencies also promotes inconsistency. Cultural heritage is encompassed in a large number of government departments and ministries, which makes the co-ordination funding by meeting required �outputs� and the government�s requirement of fiscal responsibility. This is not appropriate language for cultural heritage, which should not have to be rationalised as an economic good. Although the government has devolved a number of responsibilities and territorial authorities have a variety of mechanisms available to protect cultural heritage, there is no nation-wide criteria for territorial involvement. Because of regional differences there is an uneven treatment of cultural heritage. Those policies developed by territorial authorities will also be influenced by the government�s economic direction. Organisations supported by the Dunedin City Council, for example, must also provide budgets and strategic plans which fit with Council�s fiscal objectives.
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Early, G. P., i n/a. "Cultural policy in Australia : equity or elitism?" University of Canberra. Administrative Studies, 1986. http://erl.canberra.edu.au./public/adt-AUC20060706.163824.
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Gray, Clive. "The politics of arts and cultural policy". Thesis, De Montfort University, 2003. http://hdl.handle.net/2086/4234.
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The Thesisd rawso n the argumentst,h emesa nd issuest hat haveb eend evelopedth rough a number of publications concerning the politics of arts and cultural policy. The Thesis contains a development of the commodification thesis and the policy attachmenat rgument Thesen ew approachetso the analysiso f public policy haveb een specifically applied to arts and cultural policy. The major focus of this application has beeno n Britain over the last 50 years,a nd has incorporatedn ational,r egionala nd local levelso f analysis.I n additiond evelopmentisn Europeh aveb eenc onsidered. A major theme concerns the necessity for methodological pragmatism in undertaking research within these policy areas. Such an approach allows for the development of appropriate analytical tools for complex policy systems. The validity and utility of the commodificationth esisa ndp olicy attachmenat rgumenat s tools for policy analysis are discussed. December 2003
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Fazlioglu, Akin Zulal. "Cultural Policy in Turkey – European Union Relations". The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1502860978590657.
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Grant, Laurence (Laurence Edward) Carleton University Dissertation Anthropology. "Museum policy, museum practices and cultural change". Ottawa, 1991.
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Horne, Gerald S. "Discourse about cultural policy and the politics of culture in Saskatchewan 1944-1987". Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61830.
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Souza, Renata de Paula Trindade Rocha de. "TVE: matizes para uma nova cultura políticas culturais e televisão pública". Programa de Pós-Graduação em Cultura e Sociedade da UFBA, 2010. http://www.repositorio.ufba.br/ri/handle/ri/10808.
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175f.Rubim, Linda Silva Oliveira ver Rubim, Lindinalva Silva Oliveira
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Esta dissertação tem como principal objetivo compreender a forma como a Televisão Educativa da Bahia, emissora estatal com finalidade pública, pertencente à estrutura do Instituto de Radiodifusão Educativa da Bahia, assimila e põe em prática as políticas culturais implantadas pelas distintas administrações do governo estadual. As discussões sobre a televisão pública foram levantadas e problematizadas, bem como as trajetórias dos sistemas televisivos com finalidade pública no Brasil e na Bahia, em suas relações com as políticas para a cultura. Além disso, com o intuito de investigar e compreender como se estrutura e se organiza a TVE-Ba, a pesquisa se ancorou em três aspectos, considerados essenciais em um serviço público de radiodifusão: suas formas de gestão, financiamento e programação. Temporalmente, toma-se como ponto de partida a inauguração desta emissora de TV, em 09 de novembro de 1985, até dezembro de 2008. [en] The main objective of this dissertation is to understand how Televisao Educativa da Bahia (TVE-Ba), a public broadcasting television station affiliated with the Instituto de Radiodifusao Educativa da Bahia, implements cultural policies set by differing state government admnistrations. This work presents and problematizes discussions about public broadcasting television. The history of public broadcasting television in Brazil and in Bahia and its relations with cultural policies is debated in this thesis as well. The research also examines, in the context of baiano culture, the history of TVE-Ba since its inauguration in November of 1985 until December of 2008, focusing on its managements, finances, and programing.
Salvador
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Cochina, Claudia. "International cultural policy in Canada : exploring dialogues in an emerging practice". Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79754.
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This thesis argues that there is an emerging field of international cultural policy in Canada informed by ongoing changes in the pattern of policy making. Caught between old nationalist discourses of a unified Canadian nation, and the rapidly changing global environment, the Canadian cultural policy makers struggle to make Canadian culture survive both at home and abroad. In this research, international cultural policy will refer to cultural policy designed by the Department of Foreign Affairs and International Trade and the Department of Canadian Heritage. Moving beyond a simple empirical analysis of policy, this thesis adopts Tony Bennett's definition of the governmentalization of culture applying a Foucauldian governmental rationality line of thinking. Looking at how cultural creation is being governed through discursive formations, various conceptualisations, techniques, institutional arrangements, participating actors and government initiatives, this thesis maps out international cultural policy as an emerging governmental practice in Canada.
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Smith, Rachel May. "Evaluating the Cultural Plan of Austin, Texas". Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc407737/.
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This is a concurrent, mixed methods study of the impacts of Austin, Texas’s cultural plan, CreateAustin. In the study, trend analysis and a t-test were used to examine variables before and after the cultural plan was in place. At the same time, interviews with cultural planners were used to uncover other effects. My research addresses a gap in the literature between understanding the desired and actual outcomes of a cultural plan. Cultural plans are being developed by many communities in an effort to attract creative workers but they are rarely evaluated. Evaluation using a mixed methods approach is necessary to capture all the outcomes of a cultural plan, rather than the limited scope of impacts that are captured by qualitative or quantitative analyses alone. My analysis of the quantitative variables showed some significant differences between when the plan was in place and the years prior to its creation. Interviews with key stakeholders revealed the formation of new networks as a powerful outcome of the planning process. The results allowed me to gauge the overall impact of CreateAustin and make some observations about the cultural planning process in general, as well as uncover new directions for future research.
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Gomes, Diana Célia Almeida. "Federalismo Cultural Brasileiro: Análise do Sistema Nacional de Cultura e do Plano Nacional de Cultura". Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/666966.
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A pesquisa tem como objetivo apresentar o federalismo cultural brasileiro, através da análise da relação sistêmica estabelecida entre o Sistema Nacional de Cultura e o Plano Nacional de Cultura, entendendo os impactos dessa relação na implementação das políticas públicas de cultura. Para isso, foi realizado uma pesquisa documental sobre o processo de construção e definição do Sistema Nacional de Cultura e do Plano Nacional de Cultura para que a partir de seus elementos constitutivos e de suas arquiteturas ou desenhos pudesse se determinar a relação estabelecida entre os dois instrumentos de gestão na operacionalização e implementação das políticas culturais em nível nacional. A partir disso, realizou-se a análise dos casos através do método de conjunto de concordâncias e diferenças que oportunizou concluir que os instrumentos de gestão adotados pelo Brasil, nos últimos anos, contribuem significativamente para o fortalecimento das políticas públicas de cultura, dando-lhe legitimidade e perspectivas de continuidade ao estabelece-las como políticas de Estado, com previsão constitucional.
No capítulo I apresentamos as bases da investigação esclarecendo a problemática, a justificativa, os objetivos e as hipóteses de investigação. Bem como, a metodologia desenvolvida que tem como base a investigação qualitativa descritiva, realizada a partir de pesquisa documental e estudo de casos onde se utilizou as técnicas de pesquisa de observação e entrevistas que possibilitaram traçar o roteiro para as análises e conclusões.
No capítulo II explanamos sobre o marco teórico da investigação, que apresenta uma rápida reflexão sobre federalismo e globalização, e traça um breve panorama das políticas públicas e das políticas públicas de cultura no contexto do modelo federalista brasileiro e de como esse modelo propicia o regime de colaboração entres os entes federados. Esse capitulo também aborda a teoria geral dos sistemas e o modelo de planejamento estratégico a ser adotado nas políticas públicas, fundamentais para a compreensão dos objetos estudados e de referência para à analise realizada.
O capítulo III discorre sobre os antecedentes históricos, estrutura e desenho do Sistema Nacional de Cultura e do Plano Nacional de Cultura primeiramente de forma bastante descritiva e sem oferecer elementos comparativos entre os dois objetos de pesquisa, e logo como marcos regulatórios das políticas culturais.
Por fim, o capítulo IV trata da análise comparativa entre os dois casos, expondo os conjuntos de concordâncias e diferenças através da ligação teórica de maneira condensada com os elementos comparativos da pesquisa, para em seguida apresentar as conclusões quanto a relação sistêmica estabelecida, utilizando as hipóteses formuladas como “questões balizares” da análise.
É preciso afirmar, que essa investigação reflete o momento histórico em que foi concebida (2003-2017) e consequentemente a relação de forças que a gerou, tendo sido marcada fortemente pelo cenário de instabilidade nas políticas brasileiras dos últimos anos. Aqui apresentamos apenas indicações de uma nova tendência característica dos últimos governos, que por ser um movimento recente, merece novas investigações e analise em outras abordagens.
Com este estudo investigativo, pretendemos abrir novas perspectivas para pesquisas mais aprofundadas, tanto no nível das ideologias e dos discursos, como no nível das práticas e das políticas de governo, que possam contribuir com um debate mais amplo sobre a originalidade e inovações dessas experiências, mostrando quais os projetos políticos e de sociedade que podem ser possibilitados a partir desses casos. Isso, porque acreditamos que por meio das políticas culturais poderão ser construídas as mudanças sociais necessárias a uma vida mais justa e igualitária, pois estas devem oportunizar a emancipação humana e a garantia dos direitos culturais.The research aims to present the Brazilian Cultural Federalism, through the analysis of the systemic relationship established between the National System of Culture and the National Plan of Culture, understanding the impacts of this relationship in the implementation of public policies of culture. For this, a documental research was accomplished about the construction and definition process of the National System of Culture and the National Plan of Culture so that from their constructive elements and their architectures and drawings could determine the relationship established between the two management instruments on operationalization and implementation of cultural policies in national level. From this, it was accomplished the analysis of the cases through the method of set of agreements and differences that opportunized to conclude that the management instruments adopted by Brazil, at last years, contribute significantly to the strengthening of the public policies of culture, giving it legitimacy and perspective to continue to establish them as Policies of State, with constitutional prediction.
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Bernstein, Martha E. "U.S. cultural policy in France, 1945 to 1958". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0015/NQ39723.pdf.
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Cardinal, Donna. "Envisioning cities, making municipal cultural policy in Canada". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0021/MQ46966.pdf.
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Campbell, Mary. "Youth cultural production in practice and in policy". Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=92356.
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This dissertation examines the increase in youth cultural production and youth involvement in the creative industries. The project researches structures that youth encounter, including federal, provinicial, and municipal policies, as they attempt to create small-scale and self-generated careers for themselves in the creative industries, and also looks at initiaves that youth create themselves, including artist networks, in order to facilitate their entry in the realm of work in the creative industries. After examining Canadian federal cultural policy in comparison to British cultural policy and provincial educational policy in Québec, I turn to a series of case studies concerning local, national, and international artist networks. Drawing on existing research from the sometimes disparate fields of research in creative economies, cultural studies, media education, and subculture studies, this dissertation examines the possibilities and limitations in the ways that these fields address youth cultural production. Ultimately, connections need to be made between these fields to fully encapsulate and support youth realities, as no one field offers an adequate theoretical framework to register contemporary youth activities in the creative industries. To this end, the project suggests a creative ecology model in order to register small-scale youth cultural production and the relationships between youth, employment, and sustainable community development.Ce mémoire examine l'augmentation de la production culturelle des jeunes et leur participation au sein des industries de la création. Ce projet documente les différentes structures se trouvant sur le parcours des jeunes souhaitant développer leur carrière artistique, qu'elles soient fédérales, provinciales, ou municipales, ainsi que les initiatives des jeunes eux-mêmes, comme par exemple les réseaux d'artistes. Après avoir examiné la politique culturelle fédérale au Canada en comparaison avec la politique culturelle de la Grande-Bretagne et la politique d'éducation provinciale au Québec, j'étudierai les réseaux d'artistes au niveau local, national, et international. Au regard de la recherche existante dans les domaines de l'économie de la création, des études culturelles, de l'éducation médiatique, et des études sur la contre-culture, ce mémoire examine les possibilités ainsi que les limites de ces domaines à cibler la production culturelle des jeunes. Au bout du compte, ces domaines se doivent d'entretenir des liens ténus, car aucun n'offre une base théorique assez complète pour condenser de façon exhaustive les activités des jeunes d'aujourd'hui dans les industries créatives. Ce projet suggère enfin un modèle écologique pour la création, afin d'intégrer la production culturelle des jeunes à petite échelle et les relations entre les jeunes, l'emploi et un développement communautaire durable. fr
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Toirac-Garcia, Yanet. "Cultural policy in Cuba: present images, future metaphors". Thesis, City University London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.649377.
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Applied research in the field of cultural policy has shown gradual development over the last forty years, thus demonstrating the importance conferred to the study of cultural practices by academia, institutions, states and international organizations. However, in the opinion of the author, there is a lack of holistic perspective in the analysis of cultural policy within social sciences. This thesis aims to formulate a theoretical proposal for the study of cultural policy within the framework of the present Cuban context. The multiple triangulation of the theoretical sources and the results of the case study, together with a critical analysis of testimonials given by the Cuban experts interviewed, enabled me to meet this objective. In so doing, the hermeneutical paradigm, the use of a qtialitative perspective, and Grounded Theory became pi1hlrs of the methodological design that guided this study. Regarding research findings, the theoretical foundations of the proposal are systematized and, as part of this, cultural policy is defined as a social entity involved in the mobilization and confrontation of values and meanings through the action of different agents and institutions operating in a structured social context. In addition, my approach not only singles out the axiological, institutional and historical-contextual dimensions for the analysis of cultural policy, but, more fundamentally, it upholds the legitimacy of including the hermeneutical-discursive dimension for this purpose. This finding, which is the thesis' chief contribution to knowledge, is fundamentally based on perceiving the centrality achieved by the symbolic-discursive component as one of the foundations of the processes of ideological reproduction in contemporary societies; assessing the pertinence of a dialogic democracy through which the construction and permanent renovation of consensus can become viable; and corroborating the existence of different meanings in relation to certain constitutive aspects of the cultural policy of Cuba according to the case study here analyzed.
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Valtysson, Bjarki. "Access culture : the remixable culture of prosumers and the cultural policy of the European Union /". Roskilde : Department of Communication, Business and Information Technologies, Roskilde University, 2008. http://hdl.handle.net/1800/3999.
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Littoz-Monnet, Annabelle. "The construction process of EU cultural policy : explaining Europeanisaton and EU policy formation". Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404343.
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Coto, Gabriela Cordioli. "Limites e potencialidades da participação no Programa Descentralização da Cultura de Porto Alegre". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/55690.
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O Programa Descentralização, da Secretaria Municipal de Cultura de Porto Alegre, foi resultado de uma luta social, travada por grupos de teatro de rua, grupos locais e movimentos comunitários, pela ampliação e qualificação da participação no âmbito do governo municipal. Sua proposta política foi construída a partir de experiências como o Projeto Teatro como Instrumento de Discussão Social, do grupo Ói Nois Aqui Traveiz, em oposição às primeiras ações da Secretaria Municipal de Cultura em 1990 - de desconcentração cultural do centro da cidade. O discurso do Programa apontava para um processo de descentralização no qual as comunidades locais, organizadas coletivamente, passavam a se auto-organizar em termos de política cultural. Entretanto, é importante ressaltar que os espaços de participação na gestão pública têm sido aproveitados para controle social, por meio da colaboração e não do antagonismo da sociedade civil. Esse tipo de participação gerencial não tem como horizonte a emancipação social, mas sua cooptação. Deste modo, é necessário identificar em que medida o discurso do Programa desencadeou práticas de participação que facilitaram a obtenção de respostas para as demandas coletivas, e ampliaram a comunicação entre governados e governantes, fornecendo parâmetros para a tomada de decisão, fortalecendo a expansão da cidadania e “deselitização” da gestão pública. Neste trabalho, foi analisado em que medida a experiência de participação no Programa Descentralização de Cultura de Porto Alegre estimulou a formação de novos valores, pautados pela ética coletiva. A pesquisa de campo, entrevistas e observação participante, subsidiaram a constituição do discurso do Programa e análise das práticas de participação. Para a análise e tratamento dos dados foi utilizada uma abordagem qualitativa, identificando em que medida as práticas de participação que ocorreram ao longo do Programa resgataram os laços entre sociedade civil e Estado, transformando este último em um campo de disputa. Foram identificadas, no início do Programa, novas possibilidades de participação da sociedade civil no âmbito da gestão pública. Entretanto, os espaços de participação que se apresentavam com maior potencial de estímulo a novas possibilidades de participação, ao longo dos anos, perderam o potencial de transformação, distanciando-se deste modo, da proposta inicial de atuação do Programa.The Decentralization Program of the Municipal Department of Culture in Porto Alegre was the result of a social struggle waged by groups of street theater, local groups and community movements, for the expansion and qualification of participation in municipal government. Its proposed policy was constructed from experiments such as Project Theatre as an Instrument of Social Talk, of the group Ói Nóis Aqui Traveiz, in contrast the first actions of the Municipal Culture in 1990 - the cultural desconcentration of city center. The speech of the program pointed to a process of decentralization in which local communities, organized collectively, began to self-organize in terms of cultural politics. However, it is important to highlight that the opportunities for participation in public management have been exploited for social control, through collaboration and not antagonism in civil society. This kind of participation does not have the managerial horizon to social emancipation, but his co-optation. Thus, it is necessary to identify the extent to which the speech triggered Program participation practices that facilitated obtaining answers to the collective demands, and increased communication between rulers and ruled, providing parameters for decision making, strengthening the expansion of citizenship and "deselitização" public management. In this work, which was analyzed at what extent the experience of participation in the Decentralization Program of Culture in Porto Alegre stimulated the formation of new values, guided by ethics conference? The field research, interviews and participant observation, supported the establishment of discourse and analysis of program practices of participation. For the analysis and processing of data was used a qualitative approach, identifying the extent to which the practices of participation that occurred throughout the program rescued the links between civil society and state, turning the latter into a playing field. It was identified early in the program, new opportunities for civil society participation in public management. However, the spaces of participation that had the greatest potential to stimulate new ways of participation, over the years, lost the potential for change, distancing them, this way, from the initial performance of the proposed program.
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Finzetto, Yves Carneiro. "Difusão da cultura brasileira no exterior : a Divisão de Operações de Difusão Cultural do Itamaraty no governo Lula". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/100/100135/tde-15052017-134150/.
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Nesta dissertação, investiga-se a difusão da cultura brasileira no exterior durante o período 2003-2010. Para isso, foi escolhida como objeto de pesquisa a Divisão de Operações de Difusão Cultural (DODC) do Itamaraty, principal órgão governamental responsável pela diplomacia cultural. Foram analisados os Atos Bilaterais de Cooperação Cultural assinados entre o Brasil e terceiros países, assim como os Programas de Difusão Cultural de 22 postos brasileiros no exterior, relacionando-os às políticas externa e cultural implementadas durante a gestão do Presidente Luiz Inácio Lula da Silva. O trabalho inclui a compilação de 220 documentos referentes ao Programa de Difusão Cultural, disponibilizada em CD ou por meio do link: http://bit.ly/PDC_YVES_FINZETTOThis essay investigates the diffusion of Brazilian culture in an international context between 2003 and 2010. For this purpose, the source of research chosen was the Division of Cultural Diffusion Operations run by the Itamaraty, which is the main gov- ernmental body responsible for cultural diplomacy. The material analysed were the Cultural Cooperation Bilateral Acts signed between Brazil and other parties, as well as the Cultural Diffusion Programmes run by 22 Brazilian posts overseas; these will be related to foreign and cultural policies implemented by president Luiz Inácio Lula da Silva during his time in office. This work includes a compilation of 220 documents related to the Cultural Diffusion Programme, which is made available on CD or via the web link: http://bit.ly/PDC_YVES_FINZETTO
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Bilton, Chris. "Towards cultural democracy : contradiction and crisis in British and U.S. cultural policy 1870-1990". Thesis, University of Warwick, 1997. http://wrap.warwick.ac.uk/36329/.
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This study examines the theoretical contradictions of 'cultural democracy' in Britain and the United States. Cultural democracy here refers to the claim that community participation in cultural activities (artistic production and consumption) leads to participation in a democratic society. In Britain 'cultural democracy' has been associated especially with the 'community arts' movement of the 1970s and 1980s. Using Gramsci's theory of 'hegemony' as a framework for analysis, I will argue that the theoretical inconsistencies of 'cultural democracy' in the 1970s and 1980s can be traced back to a fundamental contradiction in British and U.S. cultural policy, between 'materialist' and 'idealist' conceptions of culture. This contradiction has resulted in moments of crisis in British and U.S. cultural policy, followed by periods of 'unstable equilibrium'. In support of this argument I will focus on four of these moments of contradiction and crisis. First I will develop my hypothetical model of contradiction, crisis and equilibrium in relation to the British community arts movement in the 1970s and 1980s. Then I will apply this model to three successive 'moments of crisis' in British and U.S. cultural policy: the 'civilising mission' of the late nineteenth century public cultural institutions in Britain and the U.S., particularly the settlement house; the U.S. federal arts projects of the 1930s; dilemmas of access and accountability in recent media policy. I will conclude by exploring some alternative theoretical formulations of the relationship between 'culture' and 'community' and their possible application to cultural policy and cultural democracy.
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Byrom, Christopher L. "Dismantling the Afghan Opiate economy : a Cultural and Historical Policy Assessment, with Policy Recommendations /". Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 2005. http://library.nps.navy.mil/uhtbin/hyperion/05Sep%5FByrom.pdf.
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Thesis (M.A. in National Security Affairs (Defense Decision-Making and Planning))--Naval Postgraduate School, September 2005.Thesis Advisor(s): Jeanne Giraldo, Thomas H. Johnson. Includes bibliographical references (p. 173-178). Also available online.
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Costa, Liliana Rodrigues da. "Fado - matriz para uma (nova) política cultural externa: uma estratégia cultural ao serviço de Portugal". Master's thesis, Instituto Superior de Ciências Sociais e Políticas, 2012. http://hdl.handle.net/10400.5/5118.
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Tese de Mestrado em Relações InternacionaisNo contexto de permanente crise, financeiramente agravada nestes últimos anos, equacionar a cultura enquanto via possível para uma solução estrategicamente ganhadora ou, pelo menos, elemento-chave, é uma alternativa. Uma chave, uma opção criativa para a fuga ao panorama de constrangimento e restrição económica, assim como, de empreendedorismo fatalista. Fado - Matriz para uma (nova) Política Cultural Externa. Uma Estratégia Cultural ao serviço de Portugal analisa a questão da política cultural externa portuguesa, entre o Estado Novo e 2009, e aborda a necessidade expressa de edificar uma estratégia cultural forte e visível. Apontamos o fado como possível matriz desta (re)nova(da) estratégia. O fado que é presença nas artes, nas manifestações e produções culturais, sobretudo, ao longo do último século. O fado que, enquanto produto cultural genuíno e internacionalizado, transporta e difunde consigo a língua portuguesa, o particular jeito de ser português e parte da cultura que nos identifica. E que é símbolo e representa a presença de Portugal no Mundo. Porque investir na cultura não é desperdiçar fundos, mas repensar uma estrutura social, institucional, educacional e de investimento consideramos que hoje, Portugal precisa de deixar a neblina. É agora que Portugal precisa de arriscar e cumprir-se enquanto país!
In a context of permanent crisis, financially exacerbated in this last year to see culture as a possible way for a strategic and winner solution is a part of an alternative. A key, a creative option to escape from the constrained and restricted environment as well as this fatalistic entrepreneurship. Fado – The Matrix for a (new) Cultural Foreign Policy. A Cultural Strategy to Portugal analyze the portuguese cultural policy's issue, from New State till 2009, and the expressed need to build a cultural strategy strong and visible. We indicate Fado as a possible matrix for this (re)new(ed) strategy. Fado, that is present in arts, in cultural events and productions, especially, in this last century. Fado, as a genuine and an internationalized cultural product, brings and diffuses with him the portuguese language, the particular way of being portuguese and also part of the culture that identifies each one of us. And that it's a symbol and represents the presence of Portugal in the World. To invest in culture is not just wasting money but it's a way of rethinking a social, institutional and educational structure. Portugal needs to leave the mist! It's right now that Portugal needs to take risks and to be fulfilled as a country!
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Temelat, Neslihan. "Identity Building Through Cultural Policy In The European Union". Master's thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/3/12609402/index.pdf.
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This thesis aims to analyze the identity building dimension of the process of European integration and to examine how the Community cultural policy has been constructed by investigating the general discourse produced by the Community institutions since the 1970s in order to inculcate a sense of belonging among European citizens, to give an emotional aspect to the integration process, and to overcome the legitimacy problem. The themes of &ldquounity&rdquo
and &ldquo
diversity,&rdquo
enshrined in the official motto of &ldquo
unity in diversity&rdquo
of the European Commission, constitute the cornerstone of the Community cultural policy. This thesis analyzes the embodiment of European identity in the Community cultural policy with a special focus on three selected areas: audiovisual, educational and language policies. In conclusion, this thesis maintains that the mild, abstract and ambiguous notion of &ldquo
unity in diversity&rdquo
that accommodates heterogeneous European cultures and characteristics in conformity with the multi-layered EU polity is the most plausible and desirable mode of European cultural identity for the EU bureaucratic elites. However, this identity building strategy has limitations stemming from the intrinsic nature of the EU and the absence of a coherent definition of European identity.
39
Hewitt, Andy. "Art and counter-publics in Third Way cultural policy". Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/5679/.
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In the UK, over the past decade, the rhetoric of ‘Third Way’ governance informed cultural policy. The research sets out how the agenda for cultural policy converged with priorities for economic and social policy, in policies implemented by Arts Council England, in the commissioning of publicly funded visual art and within culture-led regeneration. Hence visual art production was further instrumentalized for the purposes of marketization and privatization. The practice-based research examines the problems issues and contingencies for visual art production in this context. Public sphere theory is used to examine ideas of publics and publicness in Third Way cultural policy context, in state cultural institutions and programming. Using Jürgen Habermas’ conception of the public sphere, the research proposes that cultural policy functioned as ‘steering media’, as publicity for the state to produce social cohesion and affirmative conceptions of the social order, i.e. the management of publics. In contrast, public sphere theory is concerned with societal processes of opinion formation, of selfforming, deliberating and rival publics. The research also applies theories of the public sphere to the theories of art and participation associated with socially-engaged art practice - theories that articulate art in relation to its publics. While socially-engaged artists have produced new modes of art practice that have shifted arts ontology, the research points to how Third Way cultural policy was quick to seize upon socially-engaged art for its own agenda. Public sphere theory informed the strategies and tactics of the Freee art collective (Dave Beech, Andy Hewitt, Mel Jordan) in the production of publicly-funded artworks. The artworks were a means to test the hypothesis and to find evidence by intervening in Third Way cultural policy with alternative ideas. Freee’s public spherian art proposes new modes of participative art to counter Third Way cultural policy - a ‘counter-public art’.
40
Cameron, Sheila G. "The emergence of cultural policy in Zimbabwe 1984-1997". Thesis, De Montfort University, 2009. http://hdl.handle.net/2086/2393.
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The thesis re-presents the lived experience of cultural animation and policy production in postcolonial Zimbabwe, seeking to place these observations and theories in the domain of Cultural Policy Studies. The nation was in transition from oracy to literacy and from colonial control to socialist independence. Cultural workers in Bulawayo were very productive after Independence without apparently being aware of any policies. How, then, did things get done? The initial premise was that people living in oral cultures were always able to discuss plans and implement decisions, and that endogenous and exogenous influences (theorised as memes) were incorporated experimentally in a cultural bricolage. Part One introduces the pre-policy context of cultural change in precolonial and postcolonial situations, theorises cultural change at a micro level in terms of memetics and explains the methodology of multiple case studies. Part Two looks for origins of cultural concepts in 19th century white-authored journals and 20th century revolutionary texts and presents a critical analysis of formal documents controlling cultural policy since Independence. The importance of plurilingualism, translation and literacy in interactions between social actors is examined. Part Three provides empirical evidence to refine the original proposition in a detailed synchronic study of local cultural praxis. Discourse analysis of conflict and consensus operating at grassroots level is followed by accounts of the increasing management capacity of some groups as they become professional performers in international arenas. Contrasting instances of individual and communal animation are found in the development of institutions. Part Four discusses the role of dynamic oral policies in cultural action both in a pre-policy situation and in the implementation of documented policy in a democratising polity. The thesis also has potential for its theoretical findings to be applied in different national contexts of development and beyond cultural policy to other spheres where an increasing volume of policy initiatives challenges the people charged with their implementation.
41
Ramsden-Atherton, V. L. "Lord Lloyd : Cultural diplomacy and foreign policy 1937-1941". Thesis, University of East Anglia, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383666.
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42
Greenhalgh, Elizabeth. "Cultural policy and the local state : Sheffield 1960-1987". Thesis, Open University, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.256555.
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43
Hetherington, Stephen. "The rationales of New Labour's cultural policy 1997-2001". Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5145/.
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The cultural policies of New Labour, devised by the first British government department of "culture", the DCMS, have been noted for their conceptual inconsistencies and unsupportable claims, yet the rationales behind them have never been adequately explained. This thesis argues that, when seen from an historical perspective, the intentions of the Secretary of State, Chris Smith, and the DCMS in fact followed a consistent logic by which cultural policy was re-conceptualised to take DCMS into the heart of government where social and economic concerns dominated. Building on the principle of cross-government policy and the "pillars" of excellence, access, education, and the creative economy, DCSM claimed a foundational role for culture in propagating the roots of economic growth formed around theories of social capital. In doing so, it shifted the traditional balance between the public and private realms, compromised traditions of laissez-faire, instituted new mechanisms of governance, and marginalised the arts. The thesis concludes that Chris Smith and the DCMS sought power by arguing a role for culture in social and economic policy initiatives; an ambition that could not be achieved with policies for culture in its traditional meaning. The conceptual incoherence that resulted was ignored as insignificant to its purposes.
44
Loureiro, Bruno Peron. "Néstor García Canclini and cultural policy in Latin America". Thesis, Birkbeck (University of London), 2015. http://bbktheses.da.ulcc.ac.uk/119/.
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This thesis examines Néstor García Canclini´s relationships with various non-academic institutions in Latin America (focusing on Mexico) during the 1990s and the 2000s. It emphasises the shortage of communication between scholars and non-academic policymaking institutions through its study of García Canclini´s cultural policy activism. By investigating García Canclini’s activities with various Latin American non-academic institutions (and particularly those from Mexico), this thesis argues that he not only conceptualises and proposes cultural policy; he also conducts cultural policy. Through his discussion of cultural issues with bureaucrats, legislators, policy-makers, politicians, private managers and newspaper editors, this thesis evaluates his most important engagements to present how cultural policy can move from being an institutionallyoriented instrument to an intellectually-oriented operation. This thesis raises key theoretical debates such as the role of intellectuals in Latin America, cultural policy institutional development, cultural spaces, national development, urban studies, the cultural industries, globalisation and identities, and the multiplicity of cultural policy-makers. In addition, analyses of García Canclini´s academic and conceptual developments as well as a study of the extensive networks he formed beyond academia show how he utilised his extra-academic activities in Latin America to encourage cultural issues through his cultural policy activism. This thesis concludes that García Canclini broke university boundaries through his cultural policy operation without ever speaking from a position other than that of an academic.
45
Leon, Katrina Johnson. "Yuli's story| Using educational policy to achieve cultural genocide". Thesis, University of the Pacific, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10181177.
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All children residing in the United States have the right to a quality education. At least that is our collective expectation. Through the lived experience of Yuli, a Native American woman from the Southwest, you will discover, due to her birth on a remote reservation, she was not given the same access to education you or I would expect. On Yuli’s reservation, the school system is managed by the Bureau of Indian Education (BIE). Rather than provide K-12 schooling, the BIE operates K-8 on her reservation and then Native youth who want to go to high school must move off-reservation.
This qualitative study focuses on Yuli’s experience as she traversed the educational system offered to her in order to complete eighth grade, earn her high school diploma and be accepted to college. Her narrative gives insight into what she lost, personally and culturally, as a result of the operational delinquency of a United States of America government agency tasked with one duty, providing an adequate, quality education to Indigenous youth across America. This study explores Yuli’s story, educational inopportunity, and the cultural impact of leaving the reservation to attain an education.
46
ZUSER, Tobias. "Hidden agenda? Cultural policy in Hong Kong’s urban redevelopment". Digital Commons @ Lingnan University, 2014. https://commons.ln.edu.hk/cs_etd/21.
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For many years industrial buildings in Hong Kong have formed some of the city’s most vibrant cultural clusters by providing local artists with low-cost space to pursue their creative work. However, recent efforts by the government also targeted these areas for commercial revitalization. By 2020 the industrial part of Kwun Tong, a densely populated district in Kowloon East, will not only have been transformed into the city’s second Central Business District, but also seen the majority of the current cultural workers leaving due to the rapid valorisation of land. Nevertheless, these ongoing struggles over spatial power have also opened up a new space for a critical debate on Hong Kong’s urban planning and cultural policy strategies. This research uses the non-compliant Kwun Tong livehouse Hidden Agenda as a case study to shed light on the prospects for Hong Kong’s cultural diversity in its material, social and symbolic form of cultural clusters. By critically investigating research across different disciplines, I argue that—although the mere exposure of the contradictions between cultural planning and urban creativity discourses is significant—the governmental conditions that have been enabling the emergence of such spaces in the first place are often neglected by scholars and planners alike. Therefore, in order to understand both the destructive and productive impact of spatial power on Hong Kong’s cultural production, this thesis aims to examine the room for maneuvers within planning and policy discourses by expanding the Foucauldian approach of cultural policy studies to the domain of space.
47
Meirelles, Juliana Gesuelli 1977. "Política e cultura no governo de D. João VI (1792-1821)". [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281086.
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Orientador: Leila Mezan AlgrantiTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-22T04:16:22Z (GMT). No. of bitstreams: 1 Meirelles_JulianaGesuelli_D.pdf: 3797424 bytes, checksum: 1fbaa0a6e0395af649cfd590e5f16c0f (MD5) Previous issue date: 2013
Resumo: Esta tese investiga os possíveis sentidos da política cultural durante a governança de D. João no mundo luso-brasileiro entre os anos de 1792-1821. O ponto de partida da pesquisa dá-se no início de sua Regência (1792) e encerra-se com seu retorno a Lisboa (1821). Sob as diretrizes do iluminismo luso-brasileiro, a investigação das especificidades da política cultural joanina recaiu sobre quatro locus de cultura de ampla interlocução social: a imprensa interatlântica, os Reais teatros, as Reais Academias Militares e as Reais Bibliotecas Públicas da Corte. Através de uma abordagem interatlântica, buscamos compreender as peculiaridades da administração joanina no universo da cultura em um período de grave crise política no Império Português
Abstract: This thesis investigates the cultural policy fostered by D. João's government in the Luso-Brazilian world during the years 1792-1891. The project has as its starting point the beginning of his reign (1792) and concludes with his return to Lisbon (1821). In the light of the Luso-Brazilian Enlightenment, the research has focused on 4 cultural locus of wide-ranging social reach: the inter-Atlantic press, the Royal theatres, the Royal military academies and the Court's Royal public libraries. Through an inter-Atlantic approach, the present study hopes to understand the intricacies of D. João's administration of the cultural sector in a period of deep political crisis in the Portuguese Empire
Doutorado
Politica, Memoria e Cidade
Doutora em História
48
Chun-Ying, Wei. "Taiwan's cultural diplomacy and cultural policy : a case study focusing on performing arts (1990-2014)". Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/22358/.
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This thesis examines the implementation of cultural diplomacy through the perspective of cultural policy in Taiwan (Republic of China). It elaborates how the policy-making and practice have progressed in response to the changes of Taiwan’s domestic cultural politics and foreign affairs, including its relations with China (People’s Republic of China). As an empirical study, the research focuses on Taiwan’s cultural policy in the timeframe of 1990-2014 and more specifically on the promotion of the performing arts. The research identifies three crucial elements of Taiwan’s cultural diplomacy. It complements traditional diplomacy, acts as an outlet in the process of cultural identity formation, and showcases cultural and creative industries. Each element is prioritised at different phases of policy practice. However, a long-term and continuous strategy is absent. The research reveals that Taiwan’s cultural diplomacy emphasises more on its self-presentation than creating mutuality. The unsettled issues of cultural identity have its profound influence on cultural diplomacy. Meanwhile, the projection of soft power is not necessarily reinforced by the market-driven policy orientation and the quantifiable policy objectives. The research also illustrates the interaction among the government, artists, and other actors from the private sector. The key finding indicates that the government is constrained by bureaucracy and its own contested political status. Civil society at the individual level participates in cultural diplomacy with a sense of enthusiasm, while corporations in general are less motivated. The research provides empirical evidence on communicating soft power through cultural diplomacy without much hard power. In this case, the promotion of soft power is limited and does not necessarily compensate for the deficiency of hard power.
49
Kenney, Ian C. (Ian Christopher) Carleton University Dissertation Canadian Studies. "Exploring new alternatives for cultural policy in Canada; the case of youth and cultural production". Ottawa, 1996.
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50
Selwood, Sara. "Intentions & effects : the rhetoric of current cultural policy in England". Thesis, University of Westminster, 2004. https://westminsterresearch.westminster.ac.uk/item/93437/intentions-effects-the-rhetoric-of-current-cultural-policy-in-england.
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As its title suggests, this thesis - the critical commentary together with a body of published works - questions the effectiveness of cultural policy with respect to museums and galleries in England. Its focus is on cultural policy under New Labour, and its implementation through the Department for Culture, Media and Sport (DCMS) in particular. The department was established within months of the 1997 election and was intended to ensure the effective delivery of government objectives from the outset. This entailed the department's 'comprehensive reform' of the `cultural framework', its pursuit of an instrumentalist agenda and its desire to determine and direct the effectiveness of its sponsored bodies. This effort was predicated on the assumption that there is an implicit and highly determined relationship between policy, funding, implementation and outcomes. Nevertheless, however strategic DCMS's actions might have been, there is little hard evidence of its effectiveness. The process of converting intention into effect appears to have proved more problematic than the rhetoric suggests. In setting out and supporting that proposition, this thesis describes those policies which have determined support for the cultural sector since 1997, particularly in respect of museums and galleries. It considers their background and implementation, summarises the financial value of the support provided and interrogates the evidence as to their outcomes. It argues that, as yet, many of the objectives shared by DCMS and its so-called 'family' of sponsored bodies have not yet been delivered, and that many of the claims made for the subsidised cultural sector more generally remain unsubstantiated. It also points to recent signs that suggest that the department is now wavering on its original ambitions.