Art education has faced cutbacks in school funding because of the mandates and current trends in our nation’s educational policies. The United States Department of Education states that its federal involvement in education is limited. In fact, federal legislations, regulations, and other policies dictate the structure of education in every state particularly with the No Child Left Behind Act (NCLB) and now the Race to the Top (RTTT) initiative. The arts have been unfavorably impacted under the nation’s most predominant policy, NCLB, and run the risk of further adverse impacts with RTTT, regardless of the public’s support of the arts and its educational benefits. By linking federal funding to the school's yearly progress in reading and mathematics, NCLB created an environment in which art is viewed as nonessential and secondary to the academic mission of the school. Policymakers have underestimated the critical role the non-profit cultural sector can offer to arts learning for academic support. Collaboration of the arts community with local schools expands access to the arts for America’s schools. Some schools have already adopted this strategy to tap the expertise of local community arts organizations to address the issues surrounding arts education, like the lack of funding and resources. The future of our educational system must create innovative ways for students, teachers, parents, and the community to work together in partnerships to ensure all American children is provided a high-quality education. An example of this promising practice would be to connect schools with the arts community, particularly schools and museum partnerships. School and museum partnerships have a long-standing history of collaborating with one another and therefore share a commitment to some of the same educational goals (Osterman & Sheppard, 2010). The purpose of this study investigated features and operational logistics of successful partnerships between museums and schools. The study explored an existing partnership with an art museum and an urban public school district. To understand the elements of these partnerships, the study investigated art education and cultural governing policies, program goals and long-term goals, operation and funding. It is my hope that through this study a discourse about policy recommendations or policy-making eventually develops that could aid in the creation of successful partnering relationships to sustain art education in the state of Georgia. In this qualitative case study, the research design utilized several methods of data collection, including semi-structured interviews, documents, and visual methods, specifically image elicited exercises as positioned by Harper (2002). Participants in the study included school administrators, principals, art teachers, and museum educators.

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.

Taiwan¡¦s democratization which began during former president Lee Teng-Hui¡¦s ¡]§õµn½÷¡^administration¡]1988-2000¡^has to be multiple values and open society. The democracy trend has influence the identity of nations ¡Ðeven the signature, meaning and territory of R. O. C. ¡]The Republic of China¡^ etc. issues¡Ðand the legitimacy of the governments. This article believes that culture policies are the key point of these issues, which have created cleavage of identity of nations, which even despoil the consolidation of democracy ¡X that is a common agreement of an order political board of nations. I believe that to decalcify the direction and change of culture policies is necessary and benefit for Taiwan¡¦s democratization consolidation. Generally, There are three main dimensions of culture policy researches: one is about the growth of economics; another is about the management¡]release and control¡^ of information-communication; the other is about individual¡¦s consensus which heritage from the socializations and nation¡¦s cultures. If we were used the three main dimensions to analysis Taiwan¡¦s development process of culture policies, we could discover that form two former Chiang president periods¡]¨â½±®É¥N¡^ to former president Lee Teng-Hui¡¦s administration, they were concerning on the first and second dimensions. The main points of culture policies of this period, which are the promotion of political loyalty, distribution of the massage which satisfied the profits of the ruler ranker, and educated the youths to be an unable to judge what is a justice and fairness for a society or a nations. But, the post- Lee Teng-Hui¡¦s period, Lee claims ¡§One-Country-On-Each-Side-Of-The-Strait¡¨¡]¨â°ê½×¡^and ¡§New Taiwanese¡¨¡]·s¥xÆW¤H¡^that is the great cleavage point from the culture policies of two former Chiang president periods culture policies which are ¡§Chinese Culture Recovery Movement¡¨¡]¤¤µØ¤å¤Æ´_¿³¹B°Ê¡^and ¡§Pax China¡¨¡]¤j¤¤°ê·NÃÑ¡^. The culture policy of Chen Shui-bian ¡]³¯¤ô«ó¡^,who beats competitor of KMT which party empower for 50 years, concerns over the first and third dimension of culture policies researches and is continued Lee¡¦s ¡§New Taiwanese¡¨ formation.The culture policies of Chen¡¦s administration are more concern over what are economic benefits ¡]incomes¡^ from them.

Pagrindinis darbo tyrimo aspektas yra teisinis. Tai valstybės strategija dvarų atžvilgiu, vykdomos programos, galiojantys teisės aktai. Tyrimo objektas yra Lietuvos kultūros politika dvarų atžvilgiu. Darbe keliamas tikslas – išsiaiškinti, kokia yra valstybės strategija bei požiūris į dvarų išsaugojimą, kiek įtakos turi privačių dvarų valdytojai, įvairios organizacijos. Taip pat aiškinamasi, kokios yra išsaugojimo ir integravimo į šiuolaikinį visuomenės gyvenimą problemos, kaip jas būtų galima spręsti. / The main aspect of the current study is juridical. This includes the strategy of the government regarding manors, ongoing projects, and active legal acts. The object of the current research is Lithuanian cultural policy regarding manors. The aim of the study is to investigate the strategy of manors' preservation and to examine the importance of private superintendents and various organisations in this matter. The problems of preservation and integration into the modern society as well as how these problems might be solved are also being investigated in this study.

During the 1980s and 1990s, the world witnessed a radical change in which globalization diminished the power of the nation-state and shifted that impetus to a certain number of “Global Cities.” London, New York and Tokyo appeared to be the first of these cities and they acted as the heart of the new commercial and financial geography. In order to further strengthen their status, these cities organized transnational cultural events such as fairs, festivals and biennials.  Those events have been assumed as a driving force behind other political, economic and financial activities in the era of globalization. Since the 1980s, Istanbul has emerged as a candidate for a new global city at the eastern frontier of Europe. Thus, with the encouragement of the government, the private sector has begun to organize several large-scale cultural events in order to reshape the city as a global city and re-present the nation with a more European outlook. This is in keeping with the desire to facilitate Turkey’s EU accession process and attract global commercial activities. The Istanbul Biennial is one of the most important of these cultural initiatives. Thus, this research will scrutinize the Istanbul Biennial within this framework. The main premise will be: “The organization of the Istanbul Biennial aims to attract global financial activities, enable the political aspirations of the city and therefore transform the city into a global one.”

Social movements are an understudied aspect of Canadian society. This thesis is an attempt to address this general lacuna by examining the social movement efforts of Canadian cultural nationalists during the 1960s and 1970s, as they struggled to build a strong, vibrant Canadian cultural community. Four social movement based questions guide the analysis. First, why did the Canadianization movement begin when it did? Second, how did the movement transform itself for long-term survival? Third, what kinds of mobilizing structures did the movement make use of, and what influence did these structures have on the movement's activities? And finally, how did the movement maintain itself in times when the political and media climate was unreceptive? This thesis addresses these questions with the combined use of data collected from archival sources as well as twenty-two interviews. The case of Canadianization permits us to empirically document the actions that organizational intellectuals take in pushing for social and cultural change, an aspect of the social movements literature that, until now, has been largely only theorized about.

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 the early 2000’s Canada and France were at the forefront of what appeared to be a counter-hegemonic movement in the rapid creation of the Convention for the Protection and Promotion of the Diversity of Cultural Expressions at UNESCO to perceived US cultural hegemony at the World Trade Organization. However, the final Convention lacks the fundamental protections it set out to create and reinforces the commodification of culture and the promotion of cultural industries, rather than challenging commodification or supporting arts and culture. This thesis uses Marxian critical theories to interrogate the nature and form of the Canadian government’s involvement in the creation of the Convention and posits Gramscian evidence of the presence of behaviours of hegemony and resistance to hegemony, the formation of a Weltanschauung (common sense world view) led by organic intellectuals in civil society and demonstrates important instances of trasformismo (absorption of counter-hegemonic ideas) at work. / Graduate

Les deux décennies bornées par la Première et la Seconde Guerres mondiales furent une période particulièrement prospère pour les échanges culturels entre France et Roumanie. La situation politique et l’orientation diplomatique des deux pays concourent alors à renforcer les liens qui les unissent. La fin de la Première Guerre mondiale est marquée par l’achèvement du processus d’union nationale en Roumanie, et la création d’une entité territoriale élargie : la Grande Roumanie. Au même moment, la France, principal allié de la Roumanie, s’impose au cœur de la politique continentale. Entre les deux pays, des relations culturelles qui remontent à la fin du XVIIIe siècle s’intensifient, pour atteindre leur apogée avant la Seconde Guerre mondiale. Ces relations reposent tout à la fois sur des initiatives personnelles, institutionnelles et étatiques, et bénéficient fortement du resserrement des relations diplomatiques entre la France et la Roumanie. Soucieuses de développer leur influence, la France et la Roumanie financent considérablement leur activité culturelle. La France, tout particulièrement, développe une politique de rayonnement, et s’appuie pour cela sur une opinion publique roumaine gagnée depuis longtemps à la francophilie ; dans un même temps, la présence roumaine s’affirme à Paris : la ville attire écrivains et artistes roumains. Fondée sur la lecture et l’analyse d’un ensemble de sources archivistiques disponibles (archives nationales, archives diplomatiques, archives privées, en France et en Roumanie), notre étude vise à restituer l’intensité et la densité des échanges culturels entre la France et la Roumanie pendant l’entre-deux guerres. / The two decades between the First and the Second World Wars were a thriving period for the cultural exchanges between France and Romania. The political situation and the diplomatic orientation of the two countries converged in reinforcing the ties between them. The end of the First World War was marked by the completion of the national unification process in Romania and the creation of a larger territorial entity: the Great Romania. Meanwhile, France, Romania’s main ally, imposed itself in the centre of the continental politics. Started at the end of the 18th century, the cultural relations between the two countries intensified and reached a peak before the Second World War. These relations were built on personal, institutional as well as on State initiatives and they highly benefited from the tightening of the political relations between France and Romania. Concerned about developing their influence, France and Romania financially backed their cultural activity. France, in particular, developed a policy of rayonnement that was supported by the public opinion long drawn to francophilia. Meanwhile, the Romanian presence became more important in Paris: the city attracted Romanian writers and artists. Based on the reading and analysis of the body of the available sources (national archives, diplomatic archives, private archives in both France and Romania), our study aims at reconstituting the intensity and density of the cultural exchanges between France and Romania during the inter-war period.

Orientadora: Fabiana Lopes da Cunha / Banca: Antonio Simplicio de Almeida Neto / Banca: Milton Carlos Costa / Banca: Ronaldo Cardoso Alves / Banca: Alexandre de Sá Avelar / Resumo: Esta tese apresenta a trajetória do polígrafo e historiador João Ribeiro (1860-1934) durante a Primeira República Brasileira (1889-1930). Analisando sua biografia e as principais obras pretende-se reavaliar a atuação desse importante homem de letras e suas contribuições à historiografia brasileira de então, bem como sua atuação no Ensino de História, em especial como autor de livros didáticos. Além disso, este estudo põe em foco os debates intelectuais acerca da identidade nacional brasileira em um período marcado pela prevalência de uma cultura cosmopolita nos países ocidentais destacando a contribuição de João Ribeiro para a área / Abstract: This thesis presents the trajectory of the polygraph and historian João Ribeiro (1860- 1934) during the First Brazilian Republic (1889-1930). Analyzing his biography and the main works, it is intended to reevaluate the performance of this important man of letters and his contributions to the Brazilian historiography of that time, as well as his performance in History Teaching, especially as author of textbooks. In addition, this study focuses on intellectual debates about Brazilian national identity in a period marked by the prevalence of a cosmopolitan culture in western countries highlighting the contribution of João Ribeiro to the area / Doutor