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51.
Rimi Khan 《International Journal of Cultural Policy》2019,25(4):528-540
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
52.
Aleksandra Wiśniewska Mikołaj Czajkowski 《International Journal of Cultural Policy》2019,25(4):445-457
While public support for culture has become a less self-evident privilege than in the past, the economic evidence for benefits a society gains from these goods has become essential for both cultural economics and cultural policy. The aim of our study is to investigate socially preferred ways of allocating scarce public resources among municipal theaters in Warsaw. The problem investigated is a current issue for local policy-making, but in a broader sense, it illustrates how state-of-the-art stated preference methods can be employed to support cultural policy. We find that inhabitants of Warsaw assign a positive value to the broader accessibility of the theaters, and their willingness to pay for making them a truly public good (by introducing a program of highly discounted tickets) exceeds the costs of such a policy. However, we also find that the cost-benefit relationship varies across theaters with different types of plays in their repertories. Our results imply a different level of socially efficient support for experimental, drama, children’s and entertainment theaters. 相似文献
53.
Jian Zhang 《International Journal of Cultural Policy》2019,25(2):171-187
A new artwork trading model emerged in China at the beginning of 2010s: the value of a piece of artwork was divided into equal shares, and investors could buy and sell these shares in the cultural artwork exchanges, in exactly the same way as investors trading stocks in the stock market. In China, this trading model, once available, was hotly pursued by investors. This rapid market growth quickly descended into trading market confusion and speculation, forcing the government to deal with this model and eventually putting a stop to it. In this paper, we take a closer look at the reasons for the artwork shares’ price booming and slumping, the disorder and speculation in the artwork share trading market, and the reasons why the Chinese government halted this kind of trade. Taking the Tianjin Cultural Artwork Exchange of China as an example, we found that artwork can be an alternative investment vehicle, but the share trading model, similar in function to the stocks and bonds market, is not fit for artwork. The lack of legal basis and supervision by governmental bodies, together with the changeable trading rules has also contributed to the failure of this artwork trading model in China. 相似文献
54.
Yftinus T. van Popta Christer L. Westerdahl Brad G. Duncan 《International Journal of Nautical Archaeology》2019,48(1):172-188
This paper examines the theory and practice of the maritime cultural landscape in general, and projects the theoretical concepts and aspects involved on the highly dynamic late medieval north‐eastern Zuiderzee region in the Netherlands. The cultivation of land and marine erosion (floods and rising sea level) are considered as the main factors that caused the transformation of the physical landscape of this region from peatlands with freshwater basins into a tidal lagoon. As a consequence, multiple settlements drowned, large areas of land submerged, and culture and the landscape gradually became more maritime, giving the research area a cultural identity and dimension. 相似文献
55.
Eric Kaufmann 《Nations & Nationalism》2019,25(2):435-448
The rise of the populist right in the West is emerging as the most discussed manifestation of nationalism in the world today. In this paper, I argue that this ‘new nationalism’ is largely driven by immigration, which affects ethnic majorities within nation‐states. This in turn alters the ethnic character of the nation, challenging what I term the ethno‐traditions of nationhood. Our inherited concepts of ethnic and civic nationalism were developed in an earlier period when immigration was limited and territorial revisionism animated nationalist movements. Only on the furthest reaches of the extreme right is the worldview one of ethnic nationalism. In our demographically churning yet territorially static western world, we need a new term to describe the cultural nationalism of the anti‐immigration right. I characterise this as ethno‐traditional nationalism, a variety of nationalism which seeks to protect the traditional preponderance of ethnic majorities through slower immigration and assimilation but which does not seek to close the door entirely to migration or exclude minorities from national membership. 相似文献
56.
ABSTRACTThis essay examines the cultural significance of illuminated sporting addresses in Ireland at the turn of the twentieth century. Illuminated addresses were used in civic society as a means of commemoration, celebrating retirement and relocation for instance, and they were also physical expressions of public sporting events in Ireland. Illuminated addressees are documents which provide an insight into the cultural histories of late nineteenth- and early twentieth-century Irish sport. This essay pays particular attention to illuminated addresses sponsored by members of the Gaelic Athletic Association and also considers the significance of a late 1890s example which was funded by supporters of the Irish horse-racing which sheds light on the sub-culture of the Irish turf. Illuminated addresses are meaningful documents and this essay recovers, for the first time, some of their hidden history. 相似文献
57.
Georgia Spanou 《International Journal of Cultural Policy》2019,25(7):917-932
ABSTRACTThe article explores the cultural diplomacy initiatives undertaken by the Republic of Cyprus (RoC) during Makarios presidency (1960–1977) in order to strengthen the state acknowledgement and visibility in the international scenery and promote a nation brand focused mainly on the Hellenocentric aspect of the Greek-Cypriots’ cultural identity. Cyprus, a recently independent state (1960), shaped its cultural diplomacy practices according to the political developments; on the escalation of bi-communal conflicts internally and the international insecurity provoked by the Cold War rhetoric. This paper aims to map certain state cultural initiatives in an attempt to make connections between the internal identity-building process and the external projection of cultural identity and gain a better understanding about how a small-sized state can pursue and project a nation brand abroad by practicing the diplomacy of culture. 相似文献
58.
Lilian Richieri Hanania 《International Journal of Cultural Policy》2019,25(5):568-581
ABSTRACTThe article examines how the European Union has addressed the ‘trade and culture debate’ in its international trade agreements. From a cultural exception approach based on an attempt to detach culture from trade provisions, the European Union economic agreements seem to evolve to a broader and more holistic position aiming to promote cultural exchanges through cooperation, while still safeguarding policy space in cultural matters through its traditional cultural exception. The article provides an overview of the European positions to defend the specificity of the audio-visual services sector at the multilateral (World Trade Organization Agreements), regional and bilateral levels. It also examines how the implementation of the 2005 UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions has led the European Union to negotiate cultural cooperation provisions in parallel to some of its recent bilateral and regional trade agreements and the way this Convention may impact the understanding of the ‘trade and culture debate’. 相似文献
59.
Joowon Yuk 《International Journal of Cultural Policy》2019,25(1):33-47
ABSTRACTThis paper attempts to understand the cultural censorship practiced in contemporary South Korea, a liberal democracy, where cultural quangos were established after political democratization, following the arm’s length model. I will focus on the analysis of cases from the film industry which has been central to the censorship debate historically in Korea because of its popular appeal. The establishment of arm’s length cultural organizations laid the foundation for freedom of cultural expression which had been seriously curtailed under military rule. However, recent revelations of cultural blacklist cases under the two previous administrations are baffling to understand since rampant political censorship was practiced through ostensibly autonomous cultural organizations. The paper examines the ways in which the state constructed a ‘system of ideological censorship’ by using not only cultural quangos but non-cultural state apparatuses. In so doing, the paper emphasizes the role of non-cultural policy state institutions in the operation of cultural policy and the effect of state systems on cultural organizations. I draw upon the concept of defective democracy to understand the socio-political condition where these cultural organizations exist. 相似文献
60.
Hye-Kyung Lee 《International Journal of Cultural Policy》2019,25(1):48-62
ABSTRACTThis article explores conceptual frameworks for understanding Korea’s contemporary cultural policy by looking into the historical transformation of the culture-state-market relations in the country. It argues that Korea has become ‘a new kind of patron state’, which emulates the existing patron states in the West firmly within the statist framework and ambitiously renders government-led growth of cultural industries (and the Korean Wave) as a new responsibility of the state. The formation of Korea’s new patron state has been driven by a ‘parallel movement’ consisting of democracy and the market economy, which has defined the political and socio-economic trajectory of Korean society itself since the 1990s. Democracy has been articulated in cultural policy as cultural freedom, cultural enjoyment and the arm’s length principle; meanwhile, the market economy of culture has been facilitated by a ‘dynamic push’ of the state. After discussing the parallel movement, the article points out the tension, ambiguity and contradiction entailed in cultural policy of the new patron state. 相似文献