The social and built infrastructure of cultural policy: between selective popular memory and future plans

The rise of digital music distribution has caused decreasing returns from CD and cassette sales in Burkina Faso and Ghana. In response to this decline in revenues, artists and their management have been trying to find ways to find other sources of income. One major way of doing this has been through focusing on (live) music performance. Yet this requires built and social infrastructures that are not always present, functional, or put to full use. This paper explores how musicians and music workers make sense of the cultural policies that have shaped and will shape the built infrastructure (concert venues, clubs, etc.) they need. Because the complex links between the built and social infrastructures mean that history weighs significantly on future plans, this paper argues that calls for new venues cannot be the solution to the range of existing issues without engaging more thoroughly with the past.     

Media portrayal of the cultural relationship between Australia and Japan

This article traces Japanese and Australian media portrayals of the cultural aspects to the bilateral relationship. The article examines popular discourse about Japan and Australia in the media of each country, demonstrating how this has reflected the evolution of the cultural relationship. In Australia, the press has swung from portraying Japan as a problematic source of income from the resources trade, through to the home of ‘cool’ technology and fashion. In Japan, discourse about Australia has ranged from images of a country populated with cute animals, to a regional partner sharing the same democratic ideals. The article draws from the personal experiences of the author who was a correspondent and journalist for Australian and Japanese news corporations during the 1980s and 1990s. The author covered the ‘koala wars’ and the frill-necked lizard boom prompted by the Mitsubishi Mirage television commercial, as well as monitoring the growth in Japanese tourism to Australia. The author also draws on data from tracking surveys conducted by the Embassy of Japanese in Australia.     

文物走私与文物盗窃非法交易之间的关系

物盗窃、非法交易和走私是物犯罪活动的三个主要环节,为了防范和打击物犯罪活动,有效地遏制物犯罪活动,有必要深入分析物走私与物盗窃、非法交易三之间的关系。     

Colonial emulation: sinophobia,ethnic stereotypes and imperial anxieties in late eighteenth-century economic thought

In 1799 Dirk van Hogendorp published a Report on the Current Conditions of Dutch Possessions in the East Indies, a document that has garned comparisons to Adam Smith’s Wealth of Nations (1776) for its condemnation of the Dutch East India Company and for its insistence on the importance of property rights to economic growth. The text is also an anti-Chinese diatribe, castigating the supposedly inveterate avarice of Java’s Chinese minority. Hogendorp’s advocacy of colonial reform and sinophobia intertwine in his use of the term ijver, then the standard Dutch translation of ‘emulation’, a keyword of eighteenth-century political economy. Read against the status of emulation in European thinking, Hogendorp’s employment of the ijver offers an opportunity to re-examine emulation’s fraught, ambivalent quality, which has been noted by scholars like Istvan Hont and Sophus Reinert concerned primarily with a division between benevolent domestic emulation and dangerous international emulation. The colonial sphere, neither wholly domestic nor wholly foreign, was a discursive site wherein the tensions of emulation were worked out in new ways.     

The dark side of cultural policy: economic and political instrumentalisation,white elephants,and corruption in Valencian cultural institutions

Cultural policy is usually assessed as a positive element for socio-economic development and therefore, its criticism is generally confined to poor implementation and discussion of its social effects. However, it is occasionally analysed as an instrument that produces unsustainable development, as a generator of white elephants, or as a means of waste, corruption, and clientelistic domination of the political sphere. This is what we might call the ‘dark side’ of cultural policy. Our case study of the city of Valencia (Spain), focussing on two of its major cultural institutions, the Valencian Institute of Modern Art and the Palace of Arts, exemplifies this cultural policy dimension. This article aims to analyse the systemic and contextual causes of this phenomenon of cronyistic behaviour and to elucidate in what sense it can be understood as a contingent drift specific to a particular territory or as a structural condition of cultural policy.     

EU media policy and/as cultural policy: economic and cultural tensions in MEDIA 2007

This article is an examination of the cultural and economic tensions that arise in the formulation and implementation of media policy in the European Union. Through an analysis of the MEDIA 2007 MEDIA Desk Germany. 2007. Interview with Aviva Silver, head of the MEDIA Programme, European Commission carried out by MEDIA Desk Germany in preparation of the Programme launch at Berlinale 2007 [online] Available from: http://www.mediadesk.co.uk/usr/images/news_images/interview_with_aviva_on_media_2007.doc [Accessed 17 May 2010] [Google Scholar] program, the authors investigate how the priorities of cultural policy and media policy interact and conflict. EU policy goals from the mid‐2000s onwards have emphasized attention to the economic potential of the creative and cultural industries, which complicates the cultural potential of audiovisual media. MEDIA 2007 MEDIA Desk Germany. 2007. Interview with Aviva Silver, head of the MEDIA Programme, European Commission carried out by MEDIA Desk Germany in preparation of the Programme launch at Berlinale 2007 [online] Available from: http://www.mediadesk.co.uk/usr/images/news_images/interview_with_aviva_on_media_2007.doc [Accessed 17 May 2010] [Google Scholar] in particular demonstrates these tensions, as the design of this policy mechanism emphasized audiovisual media’s potential for European economic growth as a precondition for achieving cultural objectives.     

Drivers and difficulties in the economic relationship between Australia and the European Union: from conflict to cooperation

ABSTRACT

Economic relations between Australia and the European Union (EU) have always been strong, but they have not always been easy. They have been difficult for Australia because it associated the EU with the loss of the UK preferential export market on its entry into the then European Economic Community. And because Australia associated the EU with the original Common Agricultural Policy, which combined subsidies for agricultural production and high agricultural tariffs to make Australian agricultural exports not competitive. They have been difficult for the EU also. Australia developed a biosecurity system to protect its agricultural sector: quarantine requirements and food safety standards made the importation of EU plant and animal products too costly. Yet Australia and the EU need each other. The EU, which is Australia’s largest services trade and investment partner, supplies the business services that drive a knowledge economy and provides the credit to finance economic development. Correspondingly, the EU needs Australia both as a commercial base in Asia and as a reliable energy supplier. This article analyses the drivers and difficulties in the economic relationship between Australia and the EU as they start negotiations for a free trade agreement.     

满语文献保护开发与历史文化综合研究

本文主要对满语文献保护调研与整理开发、满语文献与历史文化深层次综合研究、满语文献与相关学科结合研究、学科建设发展与后继人才培养等深入发展问题进行探讨。通过对满语、文献等文化遗产的保护与开发相关学科的深入研究提供科学依据,促进满——通古斯诸族语言文化起源发展研究,以及阿尔泰诸族语言文化比较研究、汉语言文化与北方诸民族语言文化关系研究、清史、满族史研究、中国民族史研究、文化人类学研究。通过对满语、文献与历史文化的深层次综合研究,发掘满族文化精神中的精髓,研究其治国方略的经验与教训,为我国现代社会经济文化发展提供借鉴,为政府决策机构制定民族政策、外交政策提供参考。     

The Italian resistance between history and memory

Abstract

Since the 1960s the Resistance has held pride of place in public ceremonial, political debate and to a point also in historcial writing in Italy. The emphasis on its popular and national character transformed the Resistance into the struggle of the whole country to rid Italy of the German invaders and the small number of Italian fascists who remained their allies, but in ways that took no account of the complexity of people's reactions and the different ways in which Italians experienced the years immediately after the fall of fascism. In the last decade, however, numerous accounts have been published that contradict the images of the Resistance that for 30 years have constituted the ‘official’ memory of the Italian Republic. As a result, the Resistance offers a classic example of the ‘public use of history’, in which historical interpretation has served primarily to justify party political, instutitional and idelogical ends. It is now clear, however, that the supposed unity against fascism was more the result of agreement that there were limits beyond which political differences could not be pressed rather than of a deeper political unity that might have provided the basis for the political and institutional reform of the Italian Republic. The contrasting memories and interpretations of that period that have recently re-emerged for the same reason make it more difficult to project a new Italian democracy for the future.     

Domestic destinies: colonial spatialities,Australian film and feminist cultural memory work

Elsa and Charles Chauvel's 1955 film Jedda was the first Australian feature film to cast Aboriginal actors in lead roles. The film was also unusual in the context of Australian film of the time for its rural domestic setting. Because the film explored the experiences of its lead character – Jedda – as an Aboriginal child adopted by a white woman, it is also one of the few films of the period to deal with colonial legacies in its attention to policies and practices of assimilation. The twin processes of racialisation and gendering of space in Jedda have been responded to by Tracey Moffatt in her surrealist short film Night Cries. This article uses the notion of intimate geographies to examine the production of relationships of power within domestic space that both films explore. The temporal and spatial practices deployed by the female figures within each film make visible a set of possible transformations of, as well as continuities within, enduring colonial power relations. Moffatt's retelling and respatialising of the Jedda narrative, however, is ultimately understood as a specifically feminist practice of cultural memory work, suggesting that struggles over memory are also struggles over place.