Cultural sustainability as a strategy for the survival of museums and libraries

Cultural sustainability has become a growing priority within sustainable development agendas, and is now often depicted as a fourth pillar, equal to social, economic, and environmental concerns. Museums and libraries play a unique role within cultural sustainability by preserving their communities’ heritage. However, sustainability policy and research within these sectors still tends to focus on the social, economic, and environmental pillars. This article provides a critique of sustainability policy and research for museums and libraries. It argues that more explicit coverage of cultural sustainability is required to not only improve the contributions of museums and libraries to cultural sustainability, but also to provide an increased understanding and appreciation of the value of these institutions necessary for their continued survival.     

Valuing the Arts: Theorising and Realising Cultural Capital in an Australian City

For those who make and admire artistic works, there is no question of their value. However, for others interested in economic development, the value of the arts is often more tangential, contested and questionable. While the post‐modern world of consumption and spectacle suggests to some academics and governments that the arts and cultural industries are the way of the future, others remain sceptical about their social and economic value. This is a theoretical as well as a practical issue this paper explores by offering a reconceptualisation of Pierre Bourdieu's concept of cultural capital as a way of re‐assessing the value of the arts. The paper then applies this framework to quantify and qualify the value of the arts in one regional city in Australia – Geelong in Victoria – focusing on the work of two artists. The aim is to describe the interconnected processes by which the arts generate cultural capital in the form of confidence, image, individual well‐being, social cohesion and economic viability. The analysis also highlights the ongoing power relations which prescribe artistic production, circulation and valuation. The implications of such a rethinking and application go well beyond one city and region to other places grappling with the relationship between artistic production and urban well being. By focusing on the broad‐ranging process by which artistic value is created for individuals, groups, professionals, communities and governments, a model becomes available for other places to use in realising their cultural capital.     

公正价值理念下中国文化地理学的使命——文化地理学的价值“阶乘”观

本文系统地提出了后工业化阶段文化地理学应转向探讨文化区社会价值水平及其文明建构使命的观点。其理念可以称为文化地理学的价值“阶乘”观。首先，以社会科学的社会发展阶段与社会价值演进关系的立论出发，指出了空间社会价值耦合取向与构建社会空间文明的学科方向；第二，以哲学质性研究的推理出发，首次论述了哲学价值观下的文化地理学质性研究理念使命；第三，从哲学方法论与知识观角度，系统论证了文化地理学对文化空间文明的质性探讨。最后，以讨论的形式，提出文化地理学的哲学质性研究的学理与理论指向。     

Anthropologists,Education, and Autoethnography

Autoethnographies place personal experience within social and cultural contexts and raise provocative questions about social agency and socio-cultural constraints. Several authors are discussed who write about educational settings that are quite familiar to them, thereby positioning themselves as insiders to the milieus studied. At the same time, each book considered here poses dilemmas for the construction of an insider/outsider divide, leading to questions about how to evaluate an insider perspective. For the wider discipline of anthropology, these texts remind us that our scholarly production takes place in the context of particular social fields within which we negotiate as social actors.     

侗族百家宴非遗文化旅游空间生产中的角色实践:基于“角色—空间”理论分析框架

角色与空间互构视野下，研究聚焦文化空间这一空间类型，将角色理论与文化空间理论和空间生产理论对接，运用研究整合法构建了“角色-空间”理论分析框架。在此基础上，研究以文化空间类非遗--广西侗族百家宴为研究对象，以广西三江侗族自治县程阳八寨景区岩寨为案例地，关注旅游开发后侗族百家宴非遗文化旅游空间生产中的角色建构、角色扮演、角色情境定义等角色实践问题，以及角色实践视野下侗族百家宴非遗文化旅游空间生产的结果。这对于提高传统角色理论在空间问题研究上的解释力、促进角色理论的空间转向，拓展文化空间理论和空间生产理论的角色面向，以及在微观实践层面上明确侗族百家宴文化空间保护与旅游化生存策略具有较大裨益。     

景颇族传统宗教仪式空间生产的现代性困境研究

少数民族传统宗教与族群历史、文化认同一脉相通，其仪式的强化实践素来为众人认可，透过仪式表象触及深层次的意识结构已成学界共识。研究传统宗教仪式的空间生产不仅对解析其背后的意识形态运动具有指导价值，也能为有关宗教、文化部门提供管控参考。文章从列斐伏尔的空间生产理论入手，探究地处边疆山区的景颇族传统宗教仪式在面对外来宗教的空间解构、现代性引发的空间变迁、族群内部的话语争夺及旅游空间介入调控等背景下，其相应的主体实践及力量博弈，厘清空间生产的主次困境和作用机理，以传统宗教有益价值为导向，引导仪式空间生产朝凝聚族群、强化团结的目标靠拢。     

多元场和集群创新：河南省神垕钧瓷文化创意产业的案例分析

通过考察多元场对钧瓷文化创意产业知识创造、流动及学习创新的影响发现：①场为主体的地理、社会及文化认知等临近等提供了条件,有助于经验意会及符号知识的获得、共享与传播,有利于思想的交流碰撞及创意萌生;②生产现场、地方关系场、地方社会场与临时性场在钧瓷的学习创新中发挥着不同而又相互补充的作用。生产场推动着集群知识积累和增进,地方关系场促进了行业知识、生产经验及家族核心知识的传播传承,地方社会场形成了地方共享知识信息,而临时场建立起外部通道联系,发挥着更新地方知识库的作用;③地方性的历史文化资源与传统以及地理-社会-文化等临近造就了外围地区文化创意经济的动力,但若未来本地知识更新的机制不够强大,则易产生发展锁定,这是需要未来引起关注的问题。     

A study of social‐market interventions in the shaping of the field of cultural production

A social analysis based on extensive evaluation of the Dance and Drama Awards programme reveals the social‐market political paradigm underpinning the formation of cultural policy in the UK underthe New Labour government. This specific intervention in the field of cultural production is placed in the context of broader government interventions in the cultural domain that seek to give respect to undervalued social and cultural groups. There is a political analysis of the characteristics of the social‐market political formation that underpin New Labour’s “affirmative” actions, and the political strategies informing the government’s “access” and “inclusion” agendas and their impact on the cultural and creative industries. The authors argue that the construction of a “social‐market” position in New Labour’s cultural policy represents an attempt to bridge or “hyphenate” the contradictory claims of social democracy, on the one hand, and economic fatalism, on the other. Despite the rhetoric of social and cultural “transformation”, the authors argue that a “faith” in the market prevents New Labour from transforming the political‐economic and cultural structures that generate economic and cultural injustices.     

The social value of culture: learning from revolutionary Cuba

As the tide turns against econometric calculations of cultural value, scope exists for careful reconsideration of the social value of culture. In Cuba after 1959, culture was placed at the heart of a society undergoing radical transformation. This article examines the socially orientated initiatives to which this revalidation gave rise. It shows that substantial changes were wrought in professional circles as art was acknowledged as a form of social production and remunerated accordingly. It also outlines the sustained efforts that were made to diminish the gap between creative intellectuals and the rest of society, by encouraging widespread appreciation of, and participation in, creative activity. This comprehensive programme was underscored by ideas around democratisation and emancipation that remain vital to contemporary discussions.     

和谐文化建设呼唤公共道德理性

＂和谐＂既是反映社会良性运行的重要标志,也是一种理想社会生活方式的文化表达。构建和谐社会需要和谐文化的理性支持,要通过思想道德的整合来形成核心价值体系,把和谐文化建设的价值导向融入到社会生活实践之中,为促进社会和谐奠定具有公共道德理性的文化基础。     

大城市中产阶层化与商娱场所的空间结构

自上个世纪70年代随着发达国家"后工业社会"转型以来,中产阶层化现象成为西方发达国家城市问题与空间规划方向的重要研究方面之一,发展至今日,中产阶层化成为了一种全球化的社会与空间现象(Bell,1999)。娱乐作为一种文化现象,可以反映国家生产力水平的高低,是与每个人的生存质量息息相关的领域。因而有关文化休闲娱乐场所的微区位研究也逐渐引起了中外地理学界和社会学界有关学者的极大兴趣。从城市社会空间结构的角度探讨中产阶层生活方式及其消费(娱乐消费)与娱乐场所形成的中产阶层化现象等的社会空间结构。     

Justifying Multiculturalism: Social Justice,Diversity and National Identity in Australia and New Zealand

Multiculturalism has been criticised for emphasising cultural recognition over resource redistribution for minority cultural and ethnic groups. Moreover, critics argue that cultural diversity fails to provide enough common ground upon which to sustain civic nationalism. This paper examines the development of multiculturalist and biculturalist policies in Australia and New Zealand, and argues that these have in fact been justified in terms of a negotiated balance between two civic values: the value of diverse cultural expression, and social justice understood in egalitarian terms. The tension between these values has shaped the debate around multiculturalism in both cases. Both the social justice and value of cultural diversity arguments are deployed to reinforce conceptions of national identity in Australia and New Zealand.     

Beyond exploitation/empowerment: re-imagining Southern producers in commodity stories

One of the most dominant strands of research within cultural geography's ‘materialist turn’ is that of commodity stories. Through everything from phones to flowers, geographers have attempted to reveal the myriad connections between (Northern) consumers and (Southern) producers. Following commodities and tracing their networks, this research tends to privilege consumption as the primary site of social and cultural meaning within the global economy. Where producers are the focus, the theoretical framework for understanding their lives is typically a developmentalist one, foregrounding exploitation and/or empowerment. Thus, we learn little from commodity stories about the ordinary lives of Southern producers and the co-production of the sociocultural and the economic through their everyday practices. This paper argues that deeper sociocultural analysis of the processes of production is necessary to balance the current dominance of consumption-led commodity stories and, more importantly, to open up space for a re-imagining of Southern producers. Through the personal accounts of fourty beadwork producers in Cape Town, I explore how the everyday practices of craft production sustain existing social relations, generate new networks, and help to shape both a sense of belonging and a sense of self. This commodity story reveals Southern producers' lives to be both richer and more mundane than dominant constructions suggest.     

THE SYMBOLIC AND SOCIAL MEANINGS OF THE INTERMEDIATE BRONZE AGE COPPER DAGGERS

Abstract

The transformation of hard, durable natural substances, such as stone or metal, into cultural objects with symbolic value has played an important role in human social development. This paper attempts to understand the symbolic and social meanings of copper daggers during the Intermediate Bronze Age, and the reasons for their widespread use within a burial context. A multidisciplinary approach is taken, combining and processing different areas of research, and employing a range of archaeological and ethnographic parallels. This paper allows also for a more comprehensive understanding of the social organisation during the Intermediate Bronze Age.     

The spatialisation of the digital games industry: lessons from Ireland

This article draws on the concept of spatialisation to better understand the development of a digital games industry on the periphery of mainland Europe, on the island of Ireland. Positioning digital games within the cultural and creative industries, we explore how global networks of production in this industry get territorialised, negotiated and shaped by local factors. Drawing upon an industry-wide survey in Ireland we found that employment has grown by 400% in the last decade but that this rate of employment growth and its concentration in large urban areas masks significant ruptures and shifts which more detailed spatial, occupational and social analysis reveals: in particular, how the state, multinational game companies, and physical and human capital interact to shape an industry which is strong in middleware, localisation and support but weak in content development. An understanding of global digital games production networks and of occupational patterns in this industry is, we believe, crucial for national and European cultural policies for the digital games industry and for the cultural and creative industries more generally.     

Whose cultural value? Representation,power and creative industries

ABSTRACT

The debate around ‘cultural value’ has become increasingly central to policy debates on arts and creative industries policy over the past ten years and has mostly focused on the articulation and measurement of ‘economic value’, at the expense of other forms of value—cultural, social, aesthetic. This paper’s goal is to counter this prevalent over-simplification by focusing on the mechanisms through which ‘value’ is either allocated or denied to cultural forms and practices by certain groups in particular social contexts. We know that different social groups enjoy different access to the power to bestow value and legitimise aesthetic and cultural practices; yet, questions of power, of symbolic violence and misrecognition rarely have any prominence in cultural policy discourse. This article thus makes a distinctive contribution to creative industry scholarship by tackling this neglected question head on: it calls for a commitment to addressing cultural policy’s blind spot over power and misrecognition, and for what McGuigan (2006: 138) refers to as ‘critique in the public interest’. To achieve this, the article discusses findings of an AHRC-funded project that considered questions of cultural value, power, media representation and misrecognition in relation to a participatory arts project involving the Gypsy and Traveller community in Lincolnshire, England.     

The social production of ‘attractive authenticity’ at the World Heritage Site of Røros,Norway

This paper examines how authenticity and its use as a way of conceptualising the past participates in processes of heritage production, which are here defined as both the social construction of heritage sites and the uses of heritage sites as resources to achieve social goals. We argue that the social production of place and the social values generated by place are linked by a common approach based on the use of ‘place attraction’ as a unifying social concept. The World Heritage Site of Røros has as an attractive place become a resource for the production of cultural capital among various stakeholders, taking the form of a large body of ‘heritage knowledges’. However, a symbolic capital production of ‘attractive authenticity’ has today generated an idealised past and a purified iconic image of Røros as World Heritage. The discourse of ‘attractive authenticity’ reveals a conflict of interests where symbolic capital unfolds and makes power relations evident. This exposes a discussion about cultural heritage management practices at World Heritage Sites.     

Does Culture Evolve?

The drive to describe cultural history as an evolutionary process has two sources. One from within social theory is part of the impetus to convert social studies into "social sciences" providing them with the status accorded to the natural sciences. The other comes from within biology and biological anthropology in the belief that the theory of evolution must be universal in its application to all functions of all living organisms. The social--scientific theory of cultura evolution is pre-Darwinian, employing a developmental model of unfolding characterized by intrinsic directionality, by definable stages that succeed each other, and by some criterion of progress. It is arbitrary in its definitions of progress, and has had the political problem that a diachronic claim of cultural progress implies a synchronic differential valuation of present-day cultures. The biological scheme creates an isomorphism between the Darwinian mechanism of evolution and cultural history, postulating rules of cultural "mutation," cultural inheritance and some mechanism of natural selection among cultural alternatives. It uses simplistic ad hoc notions of individual acculturation and of the differential survival and reproduction of cultural elements. It is unclear what useful work is done by substituting the metaphor of evolution for history.     

Learning from experience: Cultural policies and cultural democracy in the 20th century 1

Abstract

The discussion of the multicultural society has long been current in Danish social and educational policy, but it is only at the turn of the millennium that the issue has been placed on the agenda in a serious way in relation to the Danish national cultural policy. The transformation from a homogenous identity concept to the acceptance of a diversity of voices and interpretations is occurring only slowly in both the production and dissemination of art and culture. In the cultural policy discourse up through the 1980s there is an acute lack of discussion about the ethnic or multicultural. Far up into the 1990s, the cultural political contributions within the multicultural field are left to the social or humanitarian organs, with integration as the general goal. At the advent of the millennium we can identify greater openness and interest for the multicultural field. In the evaluation of The Ministry of Culture's Development Fund I have analysed the subsidized activities according to the strategies of ethnic revival , interculturalism and hybridisation , and in the article I discuss the problems of formulating criteria for artistic quality in an area new to members of the board. On this background I discuss the relation between multiculturalism and cultural diversity , where I find the concept of cultural diversity to be a better reflection of the new hybrid cultures, which not only transcend boundaries and traditional cultures but dissolve them and create new expressions across genres and cultural forms.     

民族文化旅游空间生产刍论

本文从空间生产视角研究民族文化旅游开发,提出"民族文化旅游空间生产"学术概念。此概念借鉴融汇了空间生产、文化空间与文化再生产等核心理念,凸显旅游空间的文化建构本质。民族文化旅游空间是民族文化旅游地地理空间、文化空间、社会空间的叠合概念,是具有明确地理空间的旅游主客体互动的场域,具有物理性、社会性、符号性、可生产和可消费性四大属性。民族文化旅游空间的生产原则,以旅游环境承载力、游客体验满意度和旅游系统利益相关者的和谐度为前提。生产内容包括旅游物理空间、旅游景观符号空间、旅游参与体验空间三层面的生产。主要生产方式有原态保护式、历史复原式、模拟示范式、创新复合式、虚拟流动式。