The thesis argues that the relations between culture and government are best viewed through an analysis of the programmatic and institutional contexts for the use of culture as an interface in the relations between citizenship and government. Discussion takes place through an analysis of the history of art programmes which, in seeking to target a 'general' population, have attempted to equip this population with various particular capacities. We aim to provide a history of rationalities of art administration. This will provide us with an approach through which we might understand some of the seemingly irreconcilable policy discourses which characterise contemporary discussion of government arts funding. Research for this thesis aims to make a contribution to historical research on arts institutions in Australia and provide a base from which to think about the role of government in culture in contemporary Australia. In order to reflect on the relations between government and culture the thesis discusses the key rationales for the conjunction of art, citizenship and government in post-World War Two (WWII) Australia to the present day. Thus, the thesis aims to contribute an overview of the discursive origins of the main contemporary rationales framing arts subvention in post-WWII Australia. The relations involved in the government of culture in late eighteenth-century France, nineteenth-century Britain, America in the 1930s and Britain during WWII are examined by way of arguing that the discursive influences on government cultural policy in Australia have been diverse. It is suggested in relation to present day Australian cultural policy that more effective terms of engagement with policy imperatives might be found in a history of the funding of culture which emphasises the plurality of relations between governmental programmes and the self-shaping activities of citizens. During this century there has been a shift in the political rationality which organises government in modern Western liberal democracies. The historical case studies which form section two of the thesis enable us to argue that, since WWII, cultural programmes have been increasingly deployed on the basis of a governmental rationality that can be described as advanced or neo-liberal. This is both in relation to the forms these programmes have taken and in relation to the character of the forms of conduct such programmes have sought to shape in the populations they act upon. Mechanisms characteristic of such neo-liberal forms of government are those associated with the welfare state and include cultural programmes. Analysis of governmental programmes using such conceptual tools allows us to interpret problems of modern social democratic government less in terms of oppositions between structure and agency and more in terms of the strategies and techniques of government which shape the activities of citizens. Thus, the thesis will approach the field of cultural management not as a field of monolithic decision making but as a domain in which there are a multiplicity of power effects, knowledges, and tactics, which react to, or are based upon, the management of the population through culture. The thesis consists of two sections. Section one serves primarily to establish a set of historical and theoretical co-ordinates on which the more detailed historical work of the thesis in section two will be based. We conclude by emphasising the necessity for the continuation of a mix of policy frameworks in the construction of the relations between art, government and citizenship which will encompass a focus on diverse and sometimes competing policy goals.

This work analyzes the political instrumentalization of culture. Specifically, it studies how this is done through cultural policy within Western democracies. The analysis takes, as an example, official Nordic cultural cooperation in the post-war period. During this time, cultural exchange among Nordic countries became the subject of political attention establishing itself as part of the Nordic inter-governmental cooperation framework. This work focuses on three key moments in the history of official Nordic cultural cooperation: (i) the failure of the NORDEK plan (a plan which envisaged extensive economic cooperation between the Nordic countries) and the establishment of the Nordic Council of Ministers in 1971; (ii) the collapse of the Soviet system at the end of the 1980s - beginning of the 1990s; and (iii) the movement towards promoting the Nordic region on the global market in the first decade of the 2000s. The analysis traces the lack of convergence between the official arm’s length principle in cultural policy and how cultural cooperation actually worked. The results of the research both demonstrate the various ways culture was instrumentalized and also prove that the politically defined concept of culture can receive different interpretations in the official discourse depending on current political goals.

Depuis les années 1990, le concept de participation a fait un retour marqué dans la société civile mais également au sein de la sphère politique, sous la forme d’une généralisation du débat public. Intrinsèquement lié au processus d’individuation de la société contemporaine, l’« impératif participatif » s’impose peu à peu aux responsables politiques et questionne la manière traditionnelle, fondée sur la légitimité élective, de concevoir l’action publique. A l’instar des autres politiques publiques, la politique culturelle se trouve elle aussi confrontée à la question de la participation des citoyens à l’élaboration de la décision publique. Les notions de démocratie culturelle et plus récemment celles de diversité et de droits culturels sont venues ainsi affirmer la légitimité des personnes à contribuer de façon effective à l’élaboration d’un projet politique partagé. Néanmoins, l’idéal de démocratisation culturelle qui légitime, depuis la création du ministère, l’intervention publique en matière culturelle, a induit un processus de hiérarchisation au détriment des citoyens, rendant difficile l’émergence d’un nouveau référentiel.Au plan local, la culture s’est peu à peu imposée au cœur des territoires comme un facteur essentiel de développement visant tout autant à accroitre l’attractivité qu’à garantir la cohésion sociale. En outre, les villes ont induit un rapprochement des centres de décision vers le citoyen afin de mieux prendre en compte les besoins et réalités spécifiques au territoire. Elles se sont ainsi emparées des notions de proximité et de gouvernance, qu’elles s’efforcent de mettre en œuvre au travers de dispositifs participatifs variés. Les municipalités pourraient alors initier le changement en matière de gouvernance culturelle et ainsi favoriser un processus d’égalisation des légitimités. Dans un mouvement inverse dit bottom-up, les citadins sont susceptibles de proposer des formes originales de co-construction de l’action publique. Nous proposons, dans une approche comparative, d’observer les dynamiques participatives dans le champ culturel et d’en apprécier la portée politique et sociale. / Since the 1990s, the concept of participation has made a comeback in civil society but also in the political sphere as a generalization of public debate. Intrinsically linked to the process of individuation in contemporary society, the "participatory imperative" has gradually gained policymakers’ attention, therefore questioning the traditional way, based on elective legitimacy, that public action is implemented.Like other public policy, cultural policy is also facing the issue of citizen participation in the public decision process. Concepts of cultural democracy and more recently the ones of diversity and cultural rights have come to affirm people legitimacy to contribute effectively to the development of a shared political project.In spite of this, cultural policy seems to be inadequately prepared to face the participatory issue. The ideal of cultural democratization, which has legitimized government intervention in the cultural field since the creation of the Ministry of Culture, has also induced a strong hierachical system at the expense of citizens, further compromising the emergence of a new framework.However, the process of decentralization of public action has made municipalities a major producer of cultural policy. Culture has gradually become a key factor in local development aimed at both increasing attractiveness and ensuring social cohesion. In addition, cities have had to narrow the gap between decision centers and citizens in order to take into account the territory special needs and realities. They have embraced the notions of proximity and governance, and strive to implement them through various participatory devices. In support of these factors, municipalities could then initiate a change in governance and promote equalization in cultural legitimacies. In a bottom-up perspective, citizens are likely to provide new forms of co-construction regarding public policy. In a comparative approach, we propose to observe local participatory dynamics in the cultural field and assess their political and social impact.

姚穎嘉. / "2003年8月". / 論文(哲學碩士)--香港中文大學, 2003. / 參考文獻 (leaves 123-127). / 附中英文摘要. / "2003 nian 8 yue". / Yao Yingjia. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2003. / Can kao wen xian (leaves 123-127). / Fu Zhong Ying wen zhai yao. / Chapter 第一章 --- 引言 --- p.1-10 / Chapter 第二章 --- 抗戰時期的香港話劇：背景硏究(1937-1945) --- p.12-22 / Chapter 第三章 --- 戰後至1960年代的重整期：重視教育和 節省資源的文化政策 --- p.23-43 / Chapter 第一節 --- 維護政府管治權和重資源分配 --- p.24-30 / Chapter 第二節 --- 話劇發展及其主流 --- p.31-42 / Chapter 第四章 --- 1960至1967年的劇本荒：文化政策的寸步難移 --- p.44-65 / Chapter 第一節 --- 暴風雨前夕 --- p.45-51 / Chapter 第二節 --- 自力更生的話劇發展 --- p.52-64 / Chapter 第五章 --- 1967年暴動後至1982年中英談判的改革時期： 文化政策與政府爭取民望的導向 --- p.66-81 / Chapter 第一節 --- 香港本土文化的建立 --- p.67-71 / Chapter 第二節 --- 本土劇的初生和萌芽 --- p.72-81 / Chapter 第六章 --- 中英談判後至1997香港回歸：講求「價値」 提升的文化政策 --- p.82-100 / Chapter 第一節 --- 藝術發展的政治化與商業化 --- p.83-89 / Chapter 第二節 --- 中英談判後香港話劇的本土意識 --- p.89-98 / Chapter 第七章 --- 1997.7.1回歸後與未來展望：共同面向國際的中港文化 --- p.101-117 / Chapter 第一節 --- 回歸祖國文化與流傳 --- p.102-107 / Chapter 第二節 --- 商業藝術形成的惡性循環 --- p.107-114 / Chapter 第八章 --- 總結 --- p.118-122 / 參考書目 --- p.123-127 / 論文附錄 / 附錄(一）：抗戰劇人的背景資料 --- p.i 一ii / 附錄(二）：中英學會中文戲劇組的演出劇目 (1952-1963 年） --- p.iii´ؤiv / 附錄(三）：校際戲劇比賽劇目（1950- 1960年） --- p.v´ؤxiv / 附錄(四）：校際戲劇比賽中文戲劇冠亞季軍得獎作品 (1950-60 年） --- p.xv´ؤxvi / 附錄(五）：大會堂戲院和音樂廳的租用情況 (1962年3月至1964年6月） --- p.xvii´ؤxix / 附錄(六）：中國學生周報話劇組排練及演出的劇目 (1960-67 年） --- p.xx / 附錄(七）：專上學生聯會舉辦的大專戲劇節演出劇目 (1966-1975) --- p.xxi´ؤxxiv / 附錄(八）：1960年代中英學會中文戲劇組和 香港業餘話劇社演出的劇目 --- p.xxv / 附錄(九）：香港藝術節的演出話劇及場次(1973-1982年） --- p.xxvi´ؤxxvii / 附錄(十）：1997至2000年上演過的本地話劇 --- p.xxviii´ؤIii

Since 2002 Taiwan has transformed its cultural policy, following the lead of the UK's creative industry discourse in particular and neoliberal policy regimes in general. This thesis investigates the processes through which neoliberal thinking shaped changing cultural policy and the impact this has had on cultural workers and practices in Taiwan s cultural landscape. I examined policy making documents and interviewed a range of involved actors, including government officials and cultural workers to learn more about the policy process and its impact. The research argues that the creative economy has heavily influenced the development of cultural policy discourse and generally failed to promote the public interest in Taiwan. The results of neoliberalisation have been embodied in several salient characteristics such as the privatisation of public space, marketisation of public subsidy and investment, commercialisation of higher education, and flexibilisation of cultural labour market. I argue that cultural policy needs to be reshaped to represent the public interests and diversity of our cultural landscape.

No description available.

This thesis explores the desirability of Australia???s State museums to be inclusive of diverse cultures. In keeping with a cultural studies approach, and a commitment to social action, emphasis is placed upon enhancing the ability of State museums to fulfil obligations and expectations imposed upon them as modern collecting institutions in a culturally diverse nation. By relating the desirability and ability of State museums to attaining social justice in a multicultural Australia through broadening the concept of Australia???s heritage, the thesis is firmly situated within post-colonial discourse. The thesis analyses State multicultural, heritage, and museum legislation, in New South Wales, Victoria, and Queensland, with regard to State museums as agents of cultural policy. Results from a survey, Greeks and Museums, conducted amongst Australia???s Greeks in Sydney, Melbourne and Brisbane, reveal an anomaly between their museum-going habits and the perception of those habits as expressed by government policies promoting the inclusion of Australians of a non-English speaking background in the nation???s cultural programmes. In exploring the issue of inclusiveness, the thesis highlights the need for cultural institutions to shift the emphasis away from audience development, towards greater audience participation. The thesis outlines an initiative-derived Queensland Model for establishing an inclusive relationship between museums and communities, resulting in permanent, affordable, and authoritative collections, while simultaneously improving the museums??? international reputation and networking capabilities. By using the example of one of the nation???s non-indigenous communities, and drawing upon material obtained through the survey, and a catalogue containing photographs and lists of Greek textile collections found in the Powerhouse Museum (MAAS), Sydney, the National Gallery of Victoria and the Immigration Museum, Melbourne, the Queensland Art Gallery and the Queensland Museum, Brisbane, as well as collections owned by private individuals, the thesis focuses on the role played by museums in constructing social cohesion and inclusiveness.

In Australia, the decades of the 1960s, 1970s and 1980s were times of a great nationalist revival and cultural self-discovery. In the visual arts, theatre, popular and classical music, and especially in cinema and television, a distinct Australian voice could be heard that was accepted as culturally valid and nationally relevant. The renaissance of local production for cinema and television was reliant on the patronage of the state, first the Commonwealth government with the establishment of the Australian Film Development Corporation and the Experimental Film and Television Fund in 1970 and, later, the Australian Film and Television School. Then from 1972 to 1978 each Australian state established a film support agency to extend that patronage and assure the state of a role in the burgeoning film industry. This thesis relates the stories of the creation and development-and in some cases demise-of those six state film agencies over the period 1970 to 1988. It identifies the influences that directed the creation of each state agency and proposes a qualitative model of the relationships between the influences. It then argues the applicability of the model to the formation of cultural policy in general in a pluralistic democratic society. It also argues that the state film agencies were more influential on national film industry policy than has hitherto been recognised.

Every year, hundreds of thousands of people participate in art and handicrafts study circles organized by educational associations, and thus receive an increased esthetic education. The degree of this increase in knowledge is dependent on the quality of the particular study circle, the extent to which they live up to the aims and conditions required for the receipt of state grants. There are some indications that educational associations sometimes close their eyes to these aims and conditions and neglect to provide information about them. An educational association is able to control the quality of art and handicrafts study circles—for example, through the selection of course leaders, and by providing course leaders with better information and in-house training. Educational associations also receive state grants for this type of activity. The grants are not specifically ear-marked for this purpose, and it is the educational association itself that decides how to use the grants received. Certain areas of activity can be given priority over others. It is therefore of interest to examine the official attitudes of the various aducational associations towards their activities within the area of arts and handicrafts. This study, which concentrates on the four major educational associations in Sweden- the Workers' Educational Association (ABF), the Adult Educational Association (Vuxenskolan), the Educational Association of the Citizens' School (Medborgarskolan), and the Salaried Employees' Educational Association (TBV)-is based on the following: - a direct method, involving an analysis of official publications, e.g. charter, programme, publications and journals - a questionnaire directed to the Directors of Studies at the various educational associations - an indirect method involving the analysis of the educational associations' reactions to the cultural policy introduced in the 1970s. The results of the study show that none of the educational associations give esthetic activities the highest priority, despite the fact that in the eases of Medborgarskolan and Vuxenskolan these activities are clearly dominant, and also constitute the major activity for TBV. There are many signs that instead indicate that the interest in esthetic activities is rather luke-warm. The associations also question the aims and conditions that the state has drawn up in order to maintain a certain standard in the content of study circles. TBV and Medborgarskolan consider these aims and conditions to be too demanding. Vuxenskolan does not appear to have any unified policy concerning these aims and conditions, and ABF appears to deny the very existence of fixed aims for study circle acitivites. / digitalisering@umu

Urban theorists and policy makers have begun to re-evaluate the importance of culture in urban development models. Culture is now widely viewed as a critical factor in the economic and social health of cities. Notions of creativity and the growing recognition of the role that culture-rich environments can play in attracting the “creative class,” are being partly expressed in the widespread adoption of urban cultural planning strategies. Cultural planning is commonly defined as the identification (mapping) and leveraging of cultural assets to support local community and economic development. It is also often explained as a “cultural approach” to municipal planning, an approach that entails effective cross-departmental and cross-sectoral collaboration in the implementation of strategic goals outlined within the cultural plan. A literature has been written on the potential of cultural planning by leading experts in the cultural policy field, especially from Australia and Britain. However, there has been a noticeable lack of critical research on this cultural development approach by scholars in Canada, where cultural planning is a relatively new and emerging municipal activity. This dissertation examines the policy and planning scope of the increasingly popular yet under-explored “municipal cultural planning” movement in Ontario, Canada. Research began with a thorough review of the cultural planning literature. Cultural planning deficiencies and research gaps identified in the international literature were subsequently addressed through an analysis of all ten existing cultural plans in Ontario’s mid-size cities. The analysis of plans was complemented by thirteen in-depth interviews with municipal staff responsible for overseeing the development and implementation of cultural plans. Aside from addressing the interpretations of and rationales for municipal cultural planning, the information derived from document analysis and interviews was used to address four important issues that have been either ignored or only addressed in a cursory way in the literature: the nature and actual extent of community consultation and cultural mapping in the cultural plan development stage; the accuracy of the growing arts policy labelling of cultural planning abroad as it applies to municipal cultural planning; the relationship between cultural planning and its conceptual roots in urban planning; and the outcomes of the cultural planning strategy. It was found that the development of cultural plans involved substantial community input, albeit not through the participatory “cultural mapping” process that is often claimed to be the preliminary step of cultural planning. In addition, it was observed that the increasingly common charge, particularly from Australia, that cultural plans are overly focussed on traditional arts sector concerns was not found to be the case with most cultural planning initiatives in Ontario. Further, while a strong urban development and planning-oriented basis has been used to differentiate cultural planning from traditional arts policy, the scope of cultural planning concerns in the sphere of urban planning practice was observed to be, with some noticeable exceptions, fairly superficial. However, this research also found that the strategic objectives outlined within cultural plans, which address a broad range of policy and planning activities related to cultural and community development, were generally being implemented and were effecting change.