Exploring preferences and non-use values for hidden archaeological artefacts: a case from Denmark

This paper presents a choice experiment study of a proposed wetland restoration project which aims to preserve archaeological artefacts from Stone Age villages which are presently buried within the topsoil. Wetland restoration can avoid destruction of the artefacts due to agricultural cultivation and drainage, and in addition improve biological diversity and recreational opportunities. The results indicate that even though the artefacts are not visible or usable for the population of today, but may contain information and potential value for future generations, the strongest preferences displayed is for ensuring permanent protection of archaeological artefacts, rather than biological diversity and recreational opportunities. The results are discussed in relation to the Prospect Theory: people value a loss of cultural heritage higher than a gain of new cultural goods or services. This insight is of general interest to cultural economics and cultural policy, especially with respect to heritage protection.     

Who governs culture? Actors,federalism and expertise in Swiss regional cultural policy

ABSTRACT

This article proposes a novel approach to cultural policies and cultural policy change, drawing on public policy and institutional analysis to study how decision-making power is distributed between actors in the public and private sectors and at different state levels, as well as the precise roles of public administrations, elected officials and cultural actors. Indeed, rather than directly defining cultural policy, laws on culture mostly designate actors in charge of policy implementation. Based on an empirical application of this analytical framework to the case of Swiss cantons and focusing specifically on the positions of cultural actors, findings show that cultural policies are transformed in different ways, affording more or less power to actors from the cultural sector in implementation arrangements generally dominated by administrative actors.     

Three arguments against ‘soft innovation’: towards a richer understanding of cultural innovation

This paper critiques recent research on innovation in the cultural and creative industries. In particular, this paper examines Paul Stoneman’s idea of ‘soft innovation’ as a jumping off point for discussing theories of cultural innovation more broadly. Three critiques are advanced. Firstly, soft innovation is a theoretical perspective that has developed from neoclassical economics, and is therefore vulnerable to criticisms levelled at neoclassical explanations of economic behaviour. Secondly, the theory of soft innovation can be criticised for being contingently inaccurate: the observed reality of cultural industries and marketplaces may not reflect the theory’s premises. Thirdly, because soft innovation defines the significance of an innovation in terms of marketplace success, it implies that only high-selling cultural products are significant, a difficult claim to substantiate. This paper concludes by arguing that our understanding of innovation in the cultural sphere can benefit from a multi-disciplinary approach grounded in the full gamut of human creativity.     

An economic analysis of a National Theatre: The case of the ‘Abbey’

Abstract: This article asks how a regional community is culturally constructed as a policy subject in the centre/periphery relation of Finnish cultural policy. The focus is on the options the cultural recognitions analysed from the cultural policy documents of central government and the provincial administration of North Karelia provide for different political interests. It is stated here that the democratisation of cultural policy can be open for and a vehicle of the interests the prevailing spatial dominance attempts to get within the population of peripheries. North Karelia has for centuries been a geographic and economic periphery without inner cultural distinctions. Yet it is regarded as a culturally rich and specific area. The analysis shows that the regional community has continuously been used as a partisan identity for maintaining and reinforcing the spatial integration of national projects. Public cultural image would provide a symbolic compensation for the economically underprivileged. Furthermore, the strong cultural identity of North Karelia has constantly been taken by the regional establishment as an instrument to fight the “opponents of common regional interests” in political conflicts. Thus the principles of democracy have not always meant the capability or attitude to notice cultural polyphony within the region abreast of cultural political decision-making.     

Cultural policy and revolutionary music during China’s Cultural Revolution: the case of the Shanghai Symphony Orchestra

This paper examines the relation between the cultural policy of the Chinese Communist Party (CCP) and the music of model plays (yangbanxi 样板戏), especially music produced by Western symphony orchestras, during the ten-year Cultural Revolution in China. It takes the Shanghai Symphony Orchestra (SSO) as the focal point of this historical episode. Model plays of the Cultural Revolution promoted communist and revolutionary themes. All aspects of their performance were examined for conformity to Maoist thought. This paper explores how the CCP’s ideology and its cultural policy were embodied in revolutionary music, using one of the model plays, Taking Tiger Mountain by Strategy, as an analytical case study. Most of the historical materials cited in this research are held by the SSO Archive. The SSO played a crucial role in creating and performing the music for Taking Tiger Mountain by Strategy. The academic value of its archive has long been overlooked. This paper provides a new perspective on the Cultural Revolution, one viewed through policies of a Western symphony orchestra, and it suggests that scholars apply the term ‘cultural policy’ more deliberately in future studies of the Chinese Cultural Revolution.     

Reversing the view of ‘political pilgrims’: re-examining Italian travelogues about China in the 1950s

Scholars often consider the mostly positive representations of China by Italian visitors in the 1950s as the false and embellished depictions of political pilgrims. This article challenges this oversimplified interpretation. Based on evidence from commonly cited travel accounts, this article argues that Italian writers’ leftist political sympathies did not necessarily lead to self-censorship or intentional embellishment of China, nor did the host country’s control and surveillance over foreigners simply make Italian visitors willing to cooperate or produce positive feedback. Putting these travel accounts in their social and historical contexts, the article shows that Italian intellectuals’ positive representations of China in the 1950s, as well as the severe criticisms that were raised in the 1960s and 1970s, were rooted in reality and reflected the radical changes in Chinese society and Sino-Italian relations over the course of the Maoist era (1949–1976).     

The origins of the entertainment industry: the operetta in late nineteenth-century Italy

Abstract

How does a new successful musical genre impose itself, define its audiences and repertoires and eventually replace older genres? The essay examines the case of operetta from its French origins to the specific diffusion in the Italian entertainment system. Here the popularity of the ‘little opera’ coming from France and later from Vienna grew along with a new system of theaters, politeama and café chantants. They were run by a new generation of entrepreneurs and publishers such as Sonzogno, interested in diffuse new forms of musical leisure. The rising of the Italian operetta found strong resistance from the traditional opera world at the turn of the nineteenth century, when the distinction between artistic music and music as entertainment was being consolidated and we can find a sort of passing of the baton between opera and operetta as the major popular musical genre.     

Cultural participation in Europe: shared problem or shared problematisation?

Europe has a ‘problem’; it is becoming a ‘less cultural continent’ as fewer Europeans are ‘engaging in cultural activities’. This conclusion has been reached due to the findings of the latest cross national cultural participation survey. This paper questions the existence of this ‘problem’ and instead suggests that there is a shared problematisation across Europe sustained by common discursive archaeology that employs various discursive strands in relation to a dominant institutional discourse. The argument is that the ‘problem’ of ‘non-participation’ legitimates a ‘solution’ that predates its emergence: the state subsidy of arts organisations. The paper recaps the comparable problematisations that the researchers have previously identified in the policy texts of their respective countries. It progresses to consider three distinct but interwoven discursive strands upon which the problem representation in both countries, and potentially across Europe, appears to rely.     

文化范畴的多义性及其意义

文化范畴的多义性具有理论可能性,其基本意义包括文化生产力、文化事业和文化产业。文化生产力就是精神生产力,具有精神生产力的一般特征;市场的和产业的属性与文化事业的公益性不相容,但与文化产业的经营性则相容。     

论我国文化产业的政策目标

政策目标是否科学、合理,是产业政策取得成功的前提条件。目前,学术界对文化产业政策还缺乏足够的重视,如何设定文化产业政策目标?如何使文化产业政策目标科学、合理、具有更强的指导性?这些无疑是目前亟待研究的课题。