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1.
  总被引:1,自引:0,他引:1  
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In 2005, Harry G. Frankfurt, a retired professor of moral philosophy at Princeton University, made it into the best‐sellers chart with his book On Bullshit. Taking his essay as its starting point, this article explores the analysis of bullshit and the prevalence of bullshitting in the contemporary public sphere. Frankfurt’s short essay indeed provides an intellectual framework to interpret and understand contemporary rhetoric and practice in the cultural policy field, as well as recent trends in cultural policy research. Through a discussion of selected New Labour’s cultural policy documents in Britain, the article aims to show that many of the key actors in the cultural policy debate indeed display the ‘indifference to how things really are’ and the cultivation of vested interests which Frankfurt attributes to the activity of bullshitting. The final part of the text discusses the implications of the present status quo for ‘critical’ cultural policy research.  相似文献   

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Museums are increasingly recognised as having a role to play within international relations, to facilitate cultural exchange, assert national identity and foster mutual understanding. Whilst international work is perceived to be politically motivated and diplomatically advantageous, it can be highly beneficial to cultural institutions. In this paper, ‘cultural diplomacy' is shown to be a strategy used by museums to enable organisational development and economic growth. This paper demonstrates how national museums adopted a political rhetoric and used strategic lobbying to formulate a new cultural policy, which expanded the scale and scope of their international work. By defining the parameters and principles of this policy, the institutions wield power, thus challenging the conventional perceptions of policy-making and contradicting commentators who accuse museums of political subservience. Throwing the notion of instrumentalism into disarray, this paper calls for a theoretical and conceptual rethinking, to revamp understanding and bring it in line with practice.  相似文献   

4.
This paper studies arts industries in all 366 US metropolitan statistical areas between 1980 and 2010. Our analysis provides evidence that the arts are an important component of many regional economies, but also highlights their volatility. After radical growth and diffusion between 1980 and 2000, in the last decade, the arts industries are defined more by shrinkage and reconcentration in fewer metropolitan areas. Further, we find that the vast majority of metros have strengths in particular sets of arts industries. As we discuss in the conclusion, these conditions present challenges and opportunities for urban cultural policy that goes beyond the current focus on the arts as consumption amenities.  相似文献   

5.
    
It is generally understood that the arts and culture are supported mainly by government and its agencies in Europe and by private individuals in the USA. In Japan, business support for the arts at corporate level not aiming for commercial, immediate return has taken off since the early 1990s. Unlike public sector support for the arts in Japan, which tends to be centred around building cultural facilities while failing to provide sufficient financing to artists and arts organisations, businesses have been strategic and creative in policy formulation and programme planning in supporting the arts. The article will discuss some of the distinctive feature of Japanese companies, support of the arts and argue that businesses have helped shape a new form of cultural policy.  相似文献   

6.
    
In many African societies, children are not directly targeted when designing developmental objectives. It is usually assumed that the benefit of interventions will naturally trickle down to the children from the household, family or parents. This erroneous impression leads to the exclusion of vital inputs that should form the bedrock of a child's education. However, with children's theatre and theatre for children, young people are able to familiarize themselves with ideas and notions dealing with diverse aspects of life that present sundry learning environments in a practical fashion, through which the child becomes familiar with different concepts of life and living. This is what Zimbabwean theatre for young people strives to achieve through CHIPAWO (Children's Performing Arts Workshop) and others in the same tradition. With these theatrical activities, Zimbabwe is certainly building a crop of people who would be the mainstay and ambassadors of its tradition and culture in the foreseeable future. Theatre for young people is also capable of making a positive difference in the lives of Zimbabwean children and youths in ensuring a better tomorrow for the society.  相似文献   

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Arts festivals have been on the ascendant since the 1980s. However, while these are proliferating, it remains unclear as to whether they are also flourishing. The present narrow construction of festivals for marketing and economic purposes tends to disregard the festivals’ social and cultural potential, i.e. in terms of functioning as urban laboratories where new and alternative urban and cultural strategies can be tested and developed. In order to address these imbalanced conceptualizations of arts festivals within urban policy frameworks, the article is based on a comparative case study of festivals that try to function as urban laboratories. By examining how these festivals are integrated in or marginalized by the urban regime, and how this influences their operational conditions, the research elucidates the need to create new and more holistic policy frameworks to chart an equitable path for the future development of arts festivals.  相似文献   

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In June 2010, a Ministry of Culture was created in Peru, raising many questions regarding the ability of this new administrative structure to effectively implement a comprehensive cultural policy, which has been lacking so far, for the Peruvian State has based its previous policies almost exclusively on the preservation of cultural heritage. The Ministry inherits the flaws of the National Institute of Culture, and must address various challenges: the improvement of heritage management; the inclusion of indigenous populations in a never established national identity; a renewed scheme of promotion of the arts and incentives to cultural industries. The article discusses possible policy options for the new ministry, evidences the needs for a renovation of bureaucratic culture within the ministry, for clarification in the objectives set to the Ministry and for more comprehensive data about cultural practices in Peru.  相似文献   

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Creativity is popularly related to innovation and new ideas. This invention‐cognition view of creativity is too narrow a concept for artistic creativity. Artistic creation is also about reproducing traditions and emotional (“affective”) processes. Widespread use of the popular invention‐cognition view of creativity in arts advocacy obscures wider dimensions of artistic creativity. This article focuses attention on the affective dimension of artistic creation. It surveys “arts therapy” literature and investigates how lessons of this literature can be used to improve the persuasiveness of arts advocacy arguments that appeal to the concept of creativity.  相似文献   

10.
    
This article focuses on government policy aimed at the presentation of the nation abroad through cultural activities and its relation to national identity, external cultural policy. The methodological framework is offered by the discourse analysis of Wodak and the notion of identity of Laclau and Mouffe, treating policy as a discourse. A closer look is taken at the concept of cultural diplomacy and the closely related term nation branding. This article will show how the shift in paradigm also changes the role of ‘the other’ in the construction of national identity and how this influences the role of the arts in international cultural policy.  相似文献   

11.
This paper considers the argument that arts practitioners are rarely acknowledged by cultural policy researchers as being more than marginally involved in policy-making. Drawing on public policy analysis which pays attention to a breadth of policy actors, and on the concept of civil society, the paper examines whether these approaches can help to better investigate and understand the role of arts practitioners in the policy process. It discusses this subject in relation to cultural policy in general and in the specific arena of British arts policy, focusing on original case-study research of playwrights’ organisations and playwriting policy. The case-study evidence demonstrates that arts practitioners – through involvement in policy debate and implementation, and their own initiatives and activities – are frequently engaged in the policy process and thus more broadly in the democratic public domain. Understanding of cultural policy development is therefore considerably weakened if the role of practitioners is ignored.  相似文献   

12.
    
This paper reflects on the value of cultural policy research, particularly when such research forms part of projects that seek to produce insights or ‘outcomes’ that are useful to non-university research partners. The paper draws from the author’s involvement in a project examining cultural diversity in the arts that was funded as part of the Australian Research Council’s Linkage Project scheme. It addresses Eleonora Belfiore’s provocation that this kind of instrumental cultural policy research routinely amounts to ‘bullshit.’ However, in order to understand the critical function of such research, there needs to be greater attention to the lifeworlds of cultural policy and the multiplicity of the policy-making process. This multiplicity both complicates the possibilities for usefulness in policy research, at the same time that it enables such research to be generative in unpredictable ways.  相似文献   

13.
    
This paper analyses the implementation of the International Fund for Cultural Diversity (IFCD), emerged from the Convention on the Protection and Promotion of the Diversity of Cultural Expressions (UNESCO 2005). The uniqueness of this multilateral fund is that most of its resources are aimed at supporting actions of non-governmental organizations functioning within the fields of cultural policy and cultural industries in developing and underdeveloped countries. Through a thorough study of different decisions and documents, this text analyses the IFCD’s funding, the results of the first calls for initiatives and the support obtained by projects focused on the audiovisual industry. Conceived as an instrument to implement initiatives whose goal is to strengthen the cultural sphere of the poorest countries, the hitherto modest IFCD faces now questions about its future growth and effectiveness in terms of changing the existing imbalance at work within the flows of audiovisual content both regionally and internationally.  相似文献   

14.
    
Comparative studies of cultural policy commonly emphasize the way in which states treat the autonomy of the arts. Such studies often claim that liberal states promote autonomy, while social democratic states promote more external, instrumental values, such as solidarity, universalism and equality. This article challenges this conception by claiming that in actual cultural policy-making it is in fact the other way around. Based on a comparative study of theater policy in England, Norway and the Netherlands, I find that the focus on artistic autonomy is surprisingly absent in the liberal state of England, compared to what it is in the social democratic state of Norway. Conversely, English theaters are more obliged to work for, and with, the citizens and the community than theaters in Norway are. In the Netherlands, where recent development in general policy has headed in a liberal direction, artistic autonomy actually appears to be increasingly challenged.  相似文献   

15.
This paper presents a theory of the role of culture in collaborative policy networks. It builds on the literature that analyzes the factors related to the formation, maintenance, and dissolution of collaborative arrangements by demonstrating the importance of hitherto undertheorized cultural factors. Cultural theory indicates that actors with different cultural viewpoints have distinct and predictable biases in terms of their expectations of collaboration and their preferences concerning how collaborative policy networks are structured. These biases, in turn, shape how collaborative partners are chosen and how collaborative relationships are maintained over time. The theory is illustrated with a case study of the rise and dissolution of a coalition within a housing policy network in Los Angeles. The case illustrates that cultural differences can impede collaboration even when organizations share similar policy goals.  相似文献   

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The arts scene in Turkey has been witnessing many discussions with the revealing of the governmental reform agenda on the state support model for the arts that includes establishment of an arts council type institution, the closure of the State Theatres and, the State Opera and Ballet. Nevertheless, despite strong public criticism on this reform agenda, there has never been any comprehensive research to reflect the public opinion. Therefore, this study aims to contribute to recent discussions by providing data on public opinion regarding such a fundamental change, with a particular focus on theatre. Towards this end, a survey was conducted in Istanbul. The findings demonstrate that the majority, including both users and non-users of theatre, value the State Theatres and are in favour of sustaining it. There is also a common belief that in case of the State Theatres’ closure, the private theatres cannot undertake its public mission.  相似文献   

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The availability and “readiness” of culture as a mode of governmental control makes cultural policy a matter of great importance in any contemporary society. This is true not only in liberal democracies with established arts councils or cultural policies, it is also proactively pursued by a technologically advanced yet illiberal regime like Singapore, eager to position itself as the global “Renaissance City” of the twenty‐first century. What this “renaissance” model entails remains highly cryptic, not least because cultural terms and political markers are often elusive, but also because the very concept of “cultural policy” shifts along with the political and economic tides in Singapore. Drawing on a rarely cited essay by Raymond Williams, this article offers an historical look at cultural policy in Singapore – from its first articulation in 1978 to its present standing under the rubric of “creative industries” (2002). It considers some of the problems encountered and the societal changes made to accommodate Singapore’s new creative direction, all for the sake of ensuring Singapore’s continued economic dynamism. This article contends that cultural policy in Singapore now involves extracting creative energies – and economies – out of each loosely termed “creative worker” by heralding the economic potential of the arts, media, culture and the creative sectors, but concomitantly marking boundaries of political exchange. In this regard, culture in Singapore has become more than ever a site for governmentality and control.  相似文献   

18.
    
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   

19.
南岛语族是一个造船技术高超、航海知识丰富的海洋民族,船既是他们驰骋太平洋的重要交通工具,也是他们岩画中经常出现的一个重要文化元素。在南岛语族分布区中,多种风格的"船"形岩画,不仅反映了这个民族丰富的海洋文化内涵;同时,也显示了岩画创造者在几个世纪之前的民族迁徙与文化扩散。  相似文献   

20.
ABSTRACT

The Office of Living Victoria (OLV), was established in 2011 by the then Liberal-National Party Coalition Government. It was created in response to a water crisis and intended to revolutionise water management and delivery, challenging established authorities and practices consolidated under the previous Labor government in Victoria. There was a decidedly partisan motivation for its conception. The drive for new ideas and innovation created opportunities for policy entrepreneurs who won the competition against more conventional research advocacy, and determined the agenda of the new agency, in the process curbing an existing policy network. Yet within a short period, this initiative was mired in scandal, and ended in 2014 having failed to achieve its purposes. This article explores this instance of policy failure, assessing the policy trajectory of the OLV in relation to the concepts of partisanship, policy entrepreneurship, and policy networks.  相似文献   

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