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1.
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.  相似文献   

2.
    
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.  相似文献   

3.
    
Alternative definitions of the cultural industries lead to the construction of different models of the cultural production sector of the economy and hence to a different array of specific industries which are contained within the sector. In turn this implies not just differing estimates of the contribution of the cultural industries to output and employment in the economy but also significant differences in the way economic analysis can be applied to the cultural sector as a whole. This paper begins by discussing the way in which an economic approach to interpreting the scope of the creative and cultural industries can lead to a reasonable basis for defining them. It then goes on to examine the content of six distinct models of these industries, asking the question: is it possible to find a common core group of industries on which all of the models agree? The paper then considers the implications of the models for economic analysis of the cultural sector, and finishes with some conclusions for cultural policy.  相似文献   

4.
    
The system of fixed book prices whereby publishers set the price customers pay at the bookstore is very common in Europe and, according to the European Parliament, it is a means of unique cultural importance. For this reason, it is considered to more than outweigh any negative effects on the economic efficiency of such regulations. The main conclusion of this article, however, is that it is quite hard to find convincing evidence, either theoretical or empirical, that fixed book pricing is better, even as a cultural means, than free book pricing.  相似文献   

5.
    
Abstract

This article aims to analyse the meaning and implications of cultural rights for cultural policies concerned with sustainable development. Although references to both cultural rights and sustainable development have become widespread within cultural policy documents in recent decades, the actual conceptual and operational implications often remain vague, as an ambitious discourse that may conceal a poverty of resources and capacities. As a result, the ideal horizon suggested by cultural rights and sustainable development may not always be achieved in practice, nor are the mechanisms to achieve it always well known. In this respect, the article aims to dissect the actual requirements posed by cultural rights and sustainable development, including their different notions and areas of synergy and intersections, in order to shed light on relevant cultural policy approaches. To this end, a range of examples taken from a variety of contexts will also be examined as areas of expressed needs or areas of possible solutions.  相似文献   

6.
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.  相似文献   

7.
    
Abstract

Sustainable development has long conceptual roots, and international organisations have played a significant role in articulating the meaning of the term and the content of the dominant discourses. Within these frames, the concept of cultural sustainability tends to be diversely defined and operationalized. This article and special issue examine culture and sustainable development in ways that articulate and contemplate different roles for cultural policy.  相似文献   

8.
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.  相似文献   

9.
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.  相似文献   

10.
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.  相似文献   

11.
  总被引:3,自引:0,他引:3  
A discrete choice experiment (DCE) was used as a part of a post‐flood survey among the residents of four small urban communities on the Red River ‐ Emerson, Morris, Ste. Agathe, and St. Adolphe ‐ to assess their preferences for emergency evacuation policies. The respondents were asked to choose repeatedly among three hypothetical evacuation policies described in terms of (a) the type of evacuation (mandatory, voluntary, no evacuation), (b) notification time for evacuation (1, 2, 4 days), (c) post‐evacuation flood relief (75%, 80% current, 90%), and (d) an overall evaluation of the risk of hazardous flooding, i.e. chances of over‐dike flooding or breaching through dikes (99%, 75%, and 50%). The survey results indicated that, despite significant differences between Ste. Agathe and other communities in the magnitude of impact of the 1997 flood, overall, a voluntary evacuation seemed to be preferred at the 50 percent risk of hazardous flooding; whereas the preference for a mandatory evacuation was related to a 99 percent risk. A notification time of 2 days for evacuation was preferred over that of 1 day but the preference for 2 days was not statistically different from that of 4 days. In both types of evacuation a 10 percent increase in the amount of flood relief was preferred over the current amount of 80 percent and the marginal utility of a 5 percent decrease was nearly equivalent to the suggested 10 percent increase. Because of such ability of the DCE to assess tradeoffs of alternative choices/policies, the paper suggests further applications of the model for eliciting floodplain residents' preferences for various flood management issues. Dans le cadre d'une enquête effectuée auprès des résidents de quatre petites communautés urbaines ‐ Emerson, Morris, Ste‐Agathe et St‐Adolphe ‐ à la suite des inondations de la rivière Rouge, les préférences du public quant à la politique à suivre en cas d'évacuation ont étéétudiées. L'évaluation a été menée à partir d'un modèle à choix discret. Les personnes interrogées devaient choisir entre trois hypothèses d'évacuation, hypothèses établies sur les bases suivantes: a) le type d'évacuation (obligatoire; volontaire; non‐évacuation); b) le délai accordé avant l'évacuation (1, 2 ou 4 jours); c) les secours procurés à la suite de l'évacuation (75%, les 80% actuels, 90%); et, d) une évaluation d'ensemble des dangers d'inondation, par exemple, les possibilités qu'une digue soit submergée, ou que les digues rompent par endroits (99%, 75% et 50%). Les résultats de l'enquête montrent que, dans l'ensemble, malgré une différence significative dans l'importance de l'impact de l'inondation de 1997 à Sainte‐Agathe et dans les autres communautés, le choix d'une évacuation volontaire était préféré quand ne se présentait qu'une possibilité d'inondation de 50 pour cent; la préférence pour une évacuation obligatoire n'étant indiquée que dans le cas de 99 pour cent de risques d'inondation. Un avertissement avant évacuation de 2 plutôt qu'l jour était préféré par les personnes interrogées, mais, statistiquement parlant, il n'y avait pas de différence notable entre un choix de 2 ou de 4 jours. Dans les deux types d'évacuation proposés, on préférait une augmentation de 10 pour cent des secours par rapport aux 80 pour cent actuels, l'utilité marginale d'une baisse de 5 pour cent étant presque équivalente aux 10 pour cent d'augmentation suggérés. En raison des possibilités qu'offre un modèle à choix discret pour évaluer les compromis possibles entre les différents choix et politiques d'évacuation proposés, cet article suggère que d'autres études à partir d'un tel modèle soient menées afin d'établir les préférences de ceux qui résident dans des plaines susceptibles d'inondation quant à la prévention et à la gestion de ces inondations.  相似文献   

12.
    
ABSTRACT

Cultural policy archetypes have been fundamental to comparative cultural policy study and continue to be influential in both everyday and scholarly characterizations of national cultural policy systems. This paper explores the proposition that cultural policy archetypes reflect what people believe to be true about culture – their cultural ideologies. Cultural ideologies are integral to the formation of cultural policy and, thus, must be considered in any theory that hopes to measure the extent to which and explain why cultural policies differ. Cultural ideologies embody ideas about why culture is important and how it should be governed. Those ideologies spotlight certain administrative mechanisms, overemphasizing their role in systems that actually are deeply administratively hybrid. This makes archetypes poor tools for analyzing the mechanisms of cultural policy; however, because archetypes tell us about cultural ideologies in straightforward and powerful ways, it is essential that they continue to be a part of comparative cultural policy study.  相似文献   

13.
    
This study reviews the evolution of the cultural and creative industries (CCI) policy in Taiwan. Beginning with the early 1990s, when the ‘culturalization of industries, industrialization of culture’ represented the central theme of Taiwanese ‘cultural policy’, it traces the shift to the present day, in which Taiwan’s ‘CCI policy’ has been driven by the broader economic rationale of pursuing international competitiveness. By examining the recent discourse and development of Taiwan’s CCI policy, the paper reveals that Taiwan’s CCI policy has served to widen, rather than bridge the gaps between ‘localization and globalization’, ‘culture and creativity’, and ‘network system’ of the CCI development and more importantly, has overshadowed cultural issues. Consequently, tensions are emerging which are challenging to future CCI policy development, especially at a time when Taiwan is becoming increasingly incorporated into the fastest growing economy – mainland China, which brings threats and opportunities to the CCI development in Taiwan.  相似文献   

14.
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).  相似文献   

15.
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.  相似文献   

16.
    
Gramsci’s writings have rarely been discussed and used systematically by scholars in cultural policy studies, despite the fact that in cultural studies, from which the field emerged, Gramsci had been a major source of theoretical concepts. Cultural policy studies were, in fact, theorised as an anti-Gramscian project between the late 1980s and the early 1990s, when a group of scholars based in Australia advocated a major political and theoretical reorientation of cultural studies away from hegemony theory and radical politicisation, and towards reformist–technocratic engagement with the policy concerns of contemporary government and business. Their criticism of the ‘Gramscian tradition’ as inadequate for the study of cultural policy and institutions has remained largely unexamined in any detail for almost 20 years and seems to have had a significant role in the subsequent neglect of Gramsci’s contribution in this area of study. This essay, consisting of three parts, is an attempt to challenge such criticism and provide an analysis of Gramsci’s writings, with the aim of proposing a more systematic contribution of Gramsci’s work to the theoretical development of cultural policy studies. In Part I, I question the use of the notion of ‘Gramscian tradition’ made by its critics, and challenge the claim that it was inadequate for the study of cultural policy and institutions. In Parts II and III, I consider Gramsci’s specific writings on questions of cultural strategy, policy and institutions, which have so far been overlooked by scholars, arguing that they provide further analytical insights to those offered by his more general concepts. More specifically, in Part II, I consider Gramsci’s pre-prison writings and political practice in relation to questions of cultural strategy and institutions. I argue that the analysis of these early texts, which were written in the years in which Gramsci was active in party organisation and leadership, is fundamental not only for understanding the nature of Gramsci’s early and continued involvement with questions of cultural strategy and institutions, but also as a key for deciphering and interpreting cultural policy themes that he later developed in the prison notebooks, and which originated in earlier debates. Finally, in Part III, I carry out a detailed analysis of Gramsci’s prison notes on questions of cultural strategy, policy and institutions, which enrich the theoretical underpinnings for critical frameworks of analysis as well as for radical practices of cultural strategy, cultural policy-making and cultural organisation. I then answer the question of whether Gramsci’s insights amount to a theory of cultural policy.  相似文献   

17.
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.  相似文献   

18.
刘正伟 《攀登》2007,26(2):162-164
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。  相似文献   

19.
论我国文化产业的政策目标   总被引:2,自引:0,他引:2  
杨吉华 《攀登》2006,25(1):66-68
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。  相似文献   

20.
Cultural policies and cultural projects in the United States have been reframed to emphasize their economic benefits to cities. New alliances between arts advocates and place promoters are apparent at all levels, but are most prominent locally. These new alliances are facilitated by the changing interests of local officials and business people, who have come to believe there is economic value in the arts and of arts administrators, for whom attracting broader public support has become imperative. In some cities, entirely new organizational structures have sprung up to plan and implement projects that serve cultural and economic development advocates simultaneously. Such new institutions are most prominent in more economically disadvantaged cities.  相似文献   

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