Dubai’s rapid double-digit economic growth was severely challenged by the global financial crisis of 2007, which raised many concerns questioning the sustainability of the Dubai model of economic development and the viability of the emirate’s economic managerial practices. Although the economic landscape of Dubai has experienced a significant transformation over the last two decades, from a basic traditional economy of US $17.9 billion in 2001 to a diversified non-oil dependent economy of US $ 86.7 billion in 2012, there are few convincing empirical academic studies to assess and explain the Dubai model of economic development. This doctoral research provides a crucial assessment of the Dubai model in light of its political and socio-cultural contexts. For this purpose, a multidisciplinary theoretical framework that stems from the literature of economic geography, cultural economy and managerialism, has been designed in order to critically interpret the mechanism of the emirate’s economic practices in today’s global capitalism. This involves a methodological approach based on the study of narratives and performance to explain Dubai’s narratives and macro-economic performance. The multidisciplinary theoretical framework adopted is useful in analysing the Dubai model as an alternative to the discipline of mainstream economics, which ignores cultural and social dimensions and conditions that not only influence but also shape a given economic landscape. The research was undertaken by analysing a wide range of data, including intensive macro-economic statistics, financial and economic reports, international and local press, as well as conducting empirical in-depth elite interviews with fifty-six key stakeholders in the economy of Dubai: senior government officials, representatives of financial institutions, senior managers in the private non-financial sector, and academics. The research findings reveal that although the political and socio-cultural contexts naturally support Dubai's economic model, institutional and managerial problems were also exposed following the global financial crisis and the property shock of 2007. Dubai represents a financialized economy in which the government has adopted a hybrid model of government-driven developments and corporate managerial features within an environment that encourages commercial liberalism and market capitalism. However, despite this financialized economy, tensions remain in Dubai's pursuit of these goals. Finally, the research stresses the need for appropriate government mechanisms to foster oversight over economic performance and long-term sustainable economic development.

Animation of music heritage is a process, incorporating partly forgotten music work back to the cultural life of the society. The aim of the animation is to get back the music work into the current life. The idea is creation of the animation strategy, which lies insights in musiocological and economical views. The music work of Anthony Philip Heinrich is a suitable example to create the conception, methods and processes of the practical animation strategy. The personality of this composer, comming from the Bohemia on the edge of the 18th and 19th century, became famous in the United States as a musician, composer and organiser of the musical life. Although his life and work are wellknown in the United States, it si not the case of the Czech Republic. The awareness of Heinrich's life and work is relatively low in the Czech society due to distortions of culture after World War II. The knowledge of his work is restricted in the community of the musicologists, nowadays. The composer is not forgotten, however, his life deserves a comeback to the Czech music life. This thesis is a case study providing the animation strategy of the A. P. Heinrich's music work. The application of such a case study will contribute to incorporation of a partly forgotten composer into the Czech concert life and particularly into the cultural economics.

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本研究按照歷史進程，將台灣的影評依照書寫背景轉變的重大事件劃分為三個時期，逐期分析並接續整體影評生態在社會與物質環境中演變的歷史過程。本研究分析的重點在於自新電影以來不同背景脈絡與書寫／認知邏輯的影評人如何在總體社會場域中進行文化政治與文化經濟的權力及資本角逐。而在社會環境與物質條件演進的背景中，大眾媒體、新興媒體以及其他相關機構的邏輯又是如何介入並影響影評人的定義、形成、書寫與活動。 從電影評論的歷史與本質之探討開始，本研究透過Bourdieu對藝文產業生產二元次場域的分析架構、對文化中介者角色與功能的描述以及藝文商品與消費發展之歷史脈絡的論述，對照影評相關的中外理論文獻，嘗試建立能夠有效研究影評現象的社會學與政治經濟學理論架構，並針對活躍於不同時期的多位影評人與相關業界人士進行深度訪談。 研究發現，新電影時期由於解嚴前政治氛圍以及有限的媒體篇幅，二元價值體系與書寫邏輯的影評人透過不同的平台與市場，累積符號資本並建立社會資本。在新電影運動興起時，不同的影評勢力以及片商／媒體的商業邏輯結構產生辯論與碰撞，確立了台灣電影市場的二元特質，在論述上佔有優勢的影評群體取得影評人定義的想像，卻也確立了影評人文化菁英，與大眾意見脫節的階級位置想像。而隨著電視、錄影帶的普及以及電影在國民娛樂消費中性質的轉化，物質環境的變遷逐漸稀釋了影評之於一般電影觀眾與發行商的重要性。在網路出現後，部落格與社群網站等應用更是不斷地更新電影資訊與評論的產製形式與接收方式，透過數位經濟的邏輯與數位文化的規則，對影評的定義以及影評人的形成及書寫表現產生明顯地影響。 / The research divided the history of film critique of Taiwan cinema since 1979 into three periods and illustrated the transforming process of each period, especially on the politic and economic conflicts of film critique, as a field of cultural production. Futhermore, the research also discussed on how the definition, cultivation and activities of film critique was affected by social and material changes. Through the aspects of Pierre Bourdieu’s study on the field of cultural production and historical progress of cultural commodities, the research tried to build a theoretic structure on the analysis of film critique, and explored the actual interaction between film critique writers and social structure by literature review and interviews. Since the press industries declined, and the social networks flourished on the internet, the credibility of traditional film critique had been challenged. At the time when everyone can share film critique online, the relation between mass media and film critique has changed from equally cooperation to governing by the media, and the background of film critique writers has also changed from professional film workers or scholars to famous bloggers who could generate many readers or click-rates online. Meanwhile, since their publication space transfered from newspaper to blog or community website on the internet, the film critique as a form of cultural production in digital age has separated from the press and film industries, and combined with digital economy of Web 2.0., even 3.0.

Syftet med denna rapport är att utreda hur kultur värdesätts i samhället. Tanken är att strukturera upp den kulturpolitiska debatten och sammanföra olika begrepp och perspektiv i en överskådlig modell. Rapporten fokuserar på de kulturverksamheter som är mål för den svenska kulturpolitiken, nämligen konstarterna, medierna, bildningsarbetet och kulturarven. Till grund för min analys ligger särskilt Anders Frenanders forskning kring den svenska kulturpolitiska historien. När det gäller att värdera kultur finns två dominerande synsätt genom historien. Med ett ”kulturkonservativt” synsätt uttalar man sig om vad som är bra och värdefull kultur i allmängiltig bemärkelse. Det ”kulturrelativistiska” synsättet innebär dock att det inte går att säga generellt vad som är bra kultur i och med att kulturella värden är relativa eller subjektiva. I min framtagna modell sätter jag denna värdering av kultur i förbindelse med kulturens finansieringskällor. De är också uppdelade i två kategorier, nämligen politik och kommersiell marknad. Politiken bedömer värdet för samhället i stort och den kommersiella marknaden bedömer det ekonomiska värdet baserat på utbud och efterfrågan. Med dessa perspektiv på kulturell värdering har jag analyserat och kategoriserat olika argument kring kulturens värden som lagts fram i debattboken ”Att vara eller inte vara – visioner om en annan kulturpolitik”, som kom i maj 2010. De slutsatser jag kunnat dra av detta är att det blir en stor utmaning för svensk kulturpolitik i framtiden att hitta utvecklade metoder för att sätta värde på kultur och att hitta nya former för dess finansiering. / The aim of the report is to examine how culture is being valued in society. The idea is to structure the Swedish cultural policy debate around certain terminologies and to bring different perspectives together in a clear and simple model. The report focuses on culture expressions covered within Swedish cultural policy, namely the visual arts, the media, the “learning-movement” and the cultural heritage. In terms of valuing culture, there are two principal perspectives dominating the debate through history, namely a “conservative” perspective that is highly normative in terms of what is good and bad culture, and a “relativistic” perspective, that is more individualistic and relative in nature. Additionally, cultural values are linked to sources of finance and support, which are also divided in two categories – the political sphere and the commercial marketplace. The political sphere measures the value for the society at large and the commercial marketplace works out the economic value based on the preferences of buyers and sellers. I have developed a model on cultural values based on these perspectives. This model lays the framework for analysing and categorising different arguments on cultural values found in 14 written documents in a contemporary debate book on cultural policy from a coalition of cultural organisations in Sweden. The conclusions I have drawn from this analysis is that it will pose a big challenge for cultural policy makers to find appropriate and elaborate measures to assess and finance culture in the future.

Thesis (M.A.)--Miami University, Dept. of Geography, 2008. / Title from first page of PDF document. Includes bibliographical references (p. 79-85).

Submitted by Wagner Junior (wagner.junior@unioeste.br) on 2018-12-10T12:51:10Z No. of bitstreams: 2 Sergio_Luiz_Winkert_2018.pdf: 1759350 bytes, checksum: 3fdbb1e984c81d2e7e0b1937a84140e8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-12-10T12:51:10Z (GMT). No. of bitstreams: 2 Sergio_Luiz_Winkert_2018.pdf: 1759350 bytes, checksum: 3fdbb1e984c81d2e7e0b1937a84140e8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-08-30 / The capitalist mode of production in the face of all its complexity represents an economic system that encourages competitiveness and promotes inequality. The workers face changes in labor relations or even the extinction of these, as a decrease in jobs due to the Industrial Revolution III or the precariousness of labor itself. In this context, elements such as cooperation, solidarity through self-management and economic action, principles of solidarity economy, arise as opportunities for work and income. The research has as its main axis the foundations of Solidarity Economy (ECOSOL) and its importance in the development of the Culture Economy in Foz do Iguaçu. For this, Maracatu Alvorada Nova, the first Maracatu of Foz do Iguaçu, was chosen as the object of study. Through an exploratory, bibliographical, documentary and field study research. A historical contextualization of the origin and the evolutionary process of the Maracatu Group will be presented in the case study format. This will verify the importance or relevance of applying the ECOSOL principles to the organizational evolution of this cultural initiative, as well as the relationships and articulations used to strengthen this solidarity enterprise. / O modo de produção capitalista diante de toda sua complexidade representa um sistema econômico que incentiva a competitividade e promove a desigualdade. Os trabalhadores enfrentam mudanças nas relações trabalhistas ou até mesmo a extinção destas, visto uma diminuição dos postos de trabalho devido a III Revolução Industrial ou a própria precarização do trabalho. Neste contexto, elementos como a cooperação, a solidariedade por meio da autogestão e a ação econômica, princípios da economia solidária, surgem como oportunidades de trabalho e renda. A pesquisa tem como eixo principal os fundamentos da Economia Solidária (ECOSOL) e sua importância no desenvolvimento da Economia da Cultura em Foz do Iguaçu. Para isso se escolheu como objeto de estudo o Ponto de Cultura Maracatu Alvorada Nova, o primeiro Maracatu de Foz do Iguaçu. Por meio de uma pesquisa exploratória, bibliográfica, documental e estudo de campo. Será apresentado no formato de estudo de caso uma contextualização histórica da origem e o processo evolutivo do Grupo de Maracatu. Desta forma se verificará a importância ou relevância da aplicação dos princípios da ECOSOL na evolução organizativa desta iniciativa cultural, bem como as relações e articulações utilizadas para o fortalecimento deste empreendimento solidário.

本研究透過文獻分析法、參與觀察法、深度訪談，嘗試理解目前以文化經濟作為治理與地方發展的臺北客家義民嘉年華中，如何進行客家認同的打造，並與1980年代他者建構的客家認同有何不同。而本文理論視角強調該族群節慶如何透過文化經濟模式，進行治理、地方發展，與客家認同的建構。 研究分析指出以下四點：第一、藉由行動者間的治理關係分析，第三部門的行動者在對公部門與私部門具有曖昧的關係，從中顯示了資源的進入與領導權的爭奪，造成關係的質變；第二、透過Ray文化經濟四模式分析地方發展模式，文化展演將臺北客家義民嘉年華展現客家為兼容的「多元」文化、「殊異」於現代都會的文化慶典，成為擴大非客家族群參與的策略；第三、本研究特殊在於，透過區分對內部行動者與對外非客家族群，不同對象的地方認同上具有不同的指涉與操演。如內部行動者涉及原鄉與臺北的地方認同，而對非客家族群，則是將臺北形塑為「多元族群融合」的地方，以啟動其地方認同；第四、在這樣地方認同的操演機制下，透過節慶，乃是建構義民爺代表的忠勇精神作為客家精神與文化傳承的族群形象。 / By conducting document analysis, participant observation, and in-depth interviews, this thesis focuses on the context where cultural economy serves as governance and local development. This study analyes the formation of Hakka identity in the cultural economy of Taipei Hakka Yimin Festival which is different from that in 1980s. The main findings of this thesis center on the following: Firstly, from the perspective of “governance”, due to resources and competition for leadership, the relationships among third sector, public sector, private sector are ambiguous. Secondly, using the four models of cultural economy from Ray to analyze local development, this study identifies that cultural performance is used to construct Taipei Hakka Yimin Festival as a multi-culture which shows compatible of Hakka culture and a festival which is distinct from modern city. And using these features to attract participation of non-Hakka. Thirdly, through distinguishing insider of actors and outsider of non-Hakka, there have different place identity logic to different target. To insider, place identity refers to hometown and Taipei place identity. To outsider, by constructing Taipei as a multi ethnic city is a way to active place identity. Lastly, in demonstration of place identity, the festival is used to build an ethic image which implies the spirit of Yimin as brave and loyalty are seen as Hakka spirit and cultural heritage.

A tese analisa as transformações socioespaciais das metrópoles de São Paulo e Rio de Janeiro na virada do século XX para o XXI a partir do turismo e da moda, refletidos como economias culturais do espaço. Para isso, considera os acionamentos e sentidos do turismo, para além de suas categorizações, e pelas quais é possível identificar uma turistificação urbana presente em diferentes níveis e escalas; um primeiro verificado nos discursos e sentidos das políticas urbanas de promoção da imagem urbana e competição internacional; um segundo na busca da diversificação e comoditização da experiência turística, numa imiscuição dos negócios ao lazer, à cultura e ao entretenimento; um terceiro a partir da necessidade de reconciliação das centralidades urbanas na medida em que verifica a emergência de um centro econômico e simbólico dessas metrópoles que transita e reforça os diálogos entre os seus centros históricos tradicionais e suas novas centralidades terciárias. No plano da moda, a análise foca as mutações do setor, desde processos de reestruturação econômica e espacial das indústrias e mercados têxteis e do vestuário na escala metropolitana, bem como na produção e reprodução de cenas e circuitos criativos que associam à moda repertórios simbólicos e narrativas identitárias numa imagética da economia simbólica em que São Paulo e Rio de Janeiro são mercados, mas também produtos. Numa perspectiva mais ampla, as metrópoles de São Paulo e Rio de Janeiro são refletidas como hipermetrópoles, categoria que convida a pensar a vida e os objetos socioespaciais como uma exacerbação dos próprios sentidos e projetos da hipermodernidade em que se poderiam entrever novas urbanidades possíveis nas simultâneas e complexas escalas das existências metropolitanas contemporâneas. / This thesis analyze the sociospatial changes at São Paulo and Rio de Janeiro capital cities in the period of turnover from the XX to the XXI Century with regards to tourism and fashion, these being reflected as cultural economies of space. Tourism uses and senses are considered beyond its categorizations, identifying an urban touristification process at different levels and scales; (1) in speeches and senses of urban policies for urban image promotion and international competition; (2) in search of diversification and commoditization of touristic experience by business intermeddling with pleasure, culture and entertainment; (3) from the need of reconciliation of urban centers according to the emergency of an economic and symbolic center of these metropolis reinforcing the relationship between traditional historical centers and new tertiary centers. Concerning fashion the analyzes is focused on changes of the sector considering processes of economic and spatial restructures of industries and textile markets and of clothing at metropolitan scales, as well as production and reproduction of creative scenes and circuits associating fashion to an identity symbolic and narrative repertoire through image of symbolic economy in which São Paulo and Rio de Janeiro are market-inserted and also products. In a wider perspective, São Paulo and Rio de Janeiro metropolis reflect themselves as hypermetropolis leading us to think about life and sociospatial objects as exacerbation of senses and projects of hypermodernity in which new urbanities are likely in simultaneous and complex scales of contemporary metropolitan existences.