The presented thesis intends to introduce topics of both cultural periodicals issued in the Czech Republic from 1998 to 2006, as well as cultural politics in terms of which the the periodicals exist. The first part of the study examines a phenomenon of cultural periodicals from three different perspectives: socio-scientific perspective, setting the phenomenon in the centre of public and political sphere; formal and journalistic, perceiving the phenomenon as a set of particular literary and journalistic practices; contetual and art-based, providing a tool for grasping a complex and structured segment of cultural periodilcals. The second part inroduces briefly the Czech cultural policy, employed in the above-mentiod time span, in relation to the examined segment. This part refers to the conceptual base and its consequences for publishing of cultural periodicals. Along with this subject matter, the question of non-governmental subventions and an activity of key endowment funds is raised. The treatise seeks to accentuate a significance of cultural periodicals in the public life and their unsubstitutable position within the political as well as cultural life in its broadest sense.

EÖTVÖS LORÁND UNIVERSITY IN BUDAPEST Charles University Faculty of Arts Institute of World History REDEFINING THE RELATIONSHIP IN AN ERA OF HERITAGE: THE FRANCO-CHINESE CULTURAL DIALOGUE Master's Thesis Meiyu ZHAI Thesis supervisor in Prague: Mgr. Ondřej Daniel, Ph.D. Thesis supervisor in Budapest: Dr. Péter Erdősi Budapest and Prague, 2021 Abstract A long history and rich national cultural heritage have made China and France global cultural powers and laid the foundation for the development of their cultural industries. However, unlike many powerful countries, the model of cultural governance in these two countries is generally state-led. They have a centralized administrative tradition, with direct and extensive state involvement in cultural affairs, and cultural exchanges with foreign countries promoted by governmental organizations, which is more like a kind of cultural diplomacy. The French government places the protection of cultural heritage at the forefront of its cultural policy, considering that cultural industries are related to the quality of nationals, national tradition and cohesion, national image and national cultural security, etc. In recent decades, China has become increasingly active in the cultural heritage discourse led by UNESCO, and there has been a 'heritage fever'. As a result,...

Using the optics of institutional analysis, the master's thesis "Institutional Analysis of Support of Czech Cinematography" examines and critically evaluates the dynamics of shifts in public policy approach towards audiovisual culture and its subvention from public resources. First, the subsystem of audiovisual policy is set into a broader social and cultural context. Then the thesis continues with identification of key events that influenced the formal institutions of cinematography support, one of the most significant branches of audiovisual culture. Following the Velvet Revolution, cinematography is approached with a neoliberal optics because of its potential to generate a financial profit and its artistic dimension and ability to function as a medium for values and education are sidelined. Despite declared efforts to support cinematography, the state institutions do not offer any conceptual solution for severely underfinanced sector of domestic cinematography, the sector, whose functionality should be in public interest. Only recently, changes in formal institutions, striving to bring a more complex quality approach back to cinematography, can be observed. As long as there is no conceptual financial support, however, the desired goals cannot be achieved.

This thesis deals with German foreign cultural policy in the Czech Republic after 1989 in relation to the promotion of German language promotion. The thesis describes both the development of the conceptions of German foreign cultural policy and the promotion of German language based on activities of three German institutions: Central Agency for German Schools Abroad (ZfA), Goethe-Institut and German Academic Exchange Service (DAAD). The research period is divided in two parts -before 1999 and since 2000, because the thesis assumes that there have been changes concerning quantity and quality of German policy regarding language promotion since about 2000. In addition the thesis searches for the effects on the real measures in the Czech Republic concerning the conceptual changes in German policy. After the 90's when the German was promoted massively in the Czech Republic as well as in the whole region of Central and Eastern Europe, the promotion of German has been rather declining since 2000. It is given by the lowering interest in the region just as by the lower importance that was attributed to the promotion of German. Simultaneously the number of people learning German in the Czech Republic has fallen rapidly. Lately the German actors have tried to counteract this trend by renewing their effort in...

The aim of this thesis is to create knowledge on discursive formations surrounding literature that is being produced and/or reproduced in Sweden today. This is achieved by studying how the project group members responsible for writing the Gothenburg application to become a UNESCO City of Literature, and other key players involved in this process, argue for the values of literature and why a membership in the UNESCO creative cities network would be beneficial for Gothenburg city, its citizens and the literary field. To this end, both documents related to the process of getting Gothenburg’s candidature approved by UNESCO and interviews with the project group members responsible for writing the application to UNESCO are studied and analyzed. Eight interviews were conducted with members of the project group using a semi-structured qualitative interview methodology. The theoretical framework for this thesis consists of a foucauldian discourse analysis, ideology and studies of institutional logics in Swedish cultural politics. While analyzing the collected material, I was able to identify several dominating discursive formations about literature and literary work, as well as minor, competing discursive formations, that can all be recognized in how Swedish cultural policy have been discussed historically. These are later related to overarching ideological and political structures that are connected to them. Key findings include that literature is portrayed as a human right, as essential to a healthy, sustainable democracy and as something with inherent value. The project group members navigate predominant discursive formations and ideological understandings of literature, creating an environment where literary work is prioritized.

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[ES] El arte urbano y el graffiti -aun presentando diferencias significativas entre sí- son dos manifestaciones artísticas contemporáneas que comparten un origen urbano e independiente. La naturaleza efímera de sus intervenciones es cuestionada con la aparición de internet y las redes sociales, que permiten una nueva forma de documentación y difusión. El aumento de visibilidad propicia una popularidad inédita para esta clase de prácticas. La dimensión pública -física y virtual- de estas obras, particularmente las del muralismo de gran formato, es la que atrae la atención tanto de las instituciones como del sector comercial. A partir de estos hechos, en la presente investigación analizamos intervenciones independientes y eventos institucionales y/o comerciales sucedidos en la capital y la provincia de Málaga durante las primeras décadas del siglo XXI. En este recorrido se apuesta por estudiar dichos eventos de acuerdo a una determinada realidad sociopolítica, entendiendo el contexto como la base de esta investigación. Durante el proceso se observa cómo el modelo de ciudad y la política cultural impulsadas por el gobierno municipal -en el poder durante el periodo analizado-, define el carácter general adoptado por las expresiones locales asociadas al arte urbano. Finalmente, concluimos que, por un lado, el graffiti no ha podido ser asimilado institucionalmente puesto que no es rentable en su forma salvaje. Y que, por otro lado, el arte urbano presenta mayores facilidades para -a través del muralismo- ser desprovisto de sus herramientas críticas, neutralizado e instrumentalizado. Así, mientras que determinados artistas asociados al arte urbano local han entrado felizmente en las dinámicas del mercado, unos pocos cuestionan una desvirtuación del presunto potencial crítico de estas disciplinas / [CA] L'art urbà i el grafit -tot i presentar diferències significatives entre si- són dues manifestacions artístiques contemporànies que comparteixen un origen urbà i independent. La naturalesa efímera de les seues intervencions és qüestionada amb l'aparició d'internet i les xarxes socials, que permeten una nova forma de documentació i difusió. L'augment de visibilitat propicia una popularitat inèdita per a aquesta classe de pràctiques. La dimensió pública -física i virtual- d'aquestes obres, particularment les del muralisme de gran format, és la que atrau l'atenció tant de les institucions com del sector comercial. A partir d'aquests fets, en la present investigació analitzem intervencions independents i esdeveniments institucionals i/o comercials succeïts a la capital i la província de Màlaga durant les primeres dècades del segle XXI. En aquest recorregut s'opta per estudiar els dits esdeveniments d'acord amb una determinada realitat sociopolítica, en què entenem el context com la base d'aquesta investigació. Durant el procés s'observa com el model de ciutat i la política cultural impulsades pel govern municipal -en el poder durant el període analitzat-, defineix el caràcter general adoptat per les expressions locals associades a l'art urbà. Finalment, concloem que, d'una banda, el grafit no ha pogut ser assimilat institucionalment, atès que no és rendible en la seua forma salvatge. I que, de l'altra, l'art urbà presenta més facilitats per a -a través del muralisme- ser desproveït de les seues eines crítiques, neutralitzat i instrumentalitzat. Així, mentre que determinats artistes associats a l'art urbà local han entrat feliçment en les dinàmiques del mercat, uns pocs qüestionen una desvirtuació del presumpte potencial crític d'aquestes disciplines. / [EN] Street art and graffiti are two contemporary artistic expressions which, differing significantly from each other, share urban and independent origins. The ephemeral nature of their interventions is questioned by the emergence of the internet and social media, which allow for a new form of documentation and dissemination. The increase in visibility has led to an unprecedented popularity for these kinds of practices. The physical and virtual public dimension of these works, particularly those of large-format muralism, has attracted the attention of institutions as well as the commercial sector. Based on these facts, the present research analyzes independent interventions and institutional and/or commercial events that took place in the capital and the province of Malaga during the first decades of the 21st century. Understanding the context as the basis of this research, in this journey we have chosen to study these events according to a certain socio-political reality. During this process it is observed that the city's urban model and cultural politics put in practice by the municipal government -in power during the period under analysis- defines the general character adopted in local expressions related to street art. In the end, we conclude that, on the one hand, graffiti has not been able to be assimilated institutionally due to a lack of profit of its pure wild form. On the other hand, through muralism, street art presents greater ease at being stripped of its critical tools, neutralized and instrumentalized. Thus, while certain artists associated with local street art have happily entered into the market dynamics, a few others question the distortion of the presumed critical potential of these disciplines. / Martínez Rodríguez, FDA. (2024). De la calle a la institución. Asimilaciones y contradicciones del graffiti y el arte urbano en Málaga (2000-2023) [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/204529

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Made available in DSpace on 2016-04-26T20:48:59Z (GMT). No. of bitstreams: 1 Daniele Soares da Silva.pdf: 1386235 bytes, checksum: 6fd3d5d342baea6525be33421c37004d (MD5) Previous issue date: 2010-05-18 / The aim of this study is to analyze the financing of federal public policies in Brazil's cultural sector, mainly the fiscal incentives mechanism established by the Rouanet law. In other words, the intention is to verify what are the problems faced and propose a few improvements to this mechanism. The research procedure consists on a bibliographic research and a comparative analysis of the French experience with the Brazilian case. It has been identified that the fiscal incentives mechanism works as public money repass; concentration of the resources from this mechanism in a few companies; a geographic imbalance on the distribution of these resources; lack o clarity regarding the differences between donation and financing and lack of transparency on the direction and use of the resources. The French model presents distinct and similar problems compared to the Brazilian one, exhibiting an opportunity to improvements in the model. The law project in the Brazilian Congress waiting for approval foresees changes to correct these distortions. The proposed changes present elements that indicate a possible solution to the presented problems / O objetivo deste trabalho é analisar o financiamento das políticas públicas federais do setor cultural no Brasil, principalmente o mecanismo dos incentivos fiscais estabelecido pela lei Rouanet. Em outras palavras, o propósito é verificar quais são os problemas enfrentados e propor alguns aperfeiçoamentos desse mecanismo. O procedimento da pesquisa consiste da pesquisa bibliográfica e uma análise comparativa da experiência francesa com o caso brasileiro. Foram identificados o mecanismo de incentivo fiscal funcionando como repasse de dinheiro público; a concentração dos recursos oriundos desse mecanismo em poucas empresas; o desequilíbrio geográfico da distribuição desses recursos; a falta de clareza quanto à diferença das modalidades doação e financiamento e a falta de transparência no direcionamento e uso dos recursos. O modelo francês apresenta problemas distintos e semelhantes aos do modelo brasileiro, dando oportunidade de detectar mudanças possíveis para melhora deste. O Projeto de Lei que está no Congresso brasileiro para aprovação prevê alterações que buscam corrigir essas distorções. As alterações propostas apresentam elementos que indicam uma possível solução para os problemas apontados

Frans Hendrik Odendaal is in 1898 op Kimberley gebore. Hy het sy jeugjare op Boshof deurgebring en matrikuleer in 1916. Deur privaatstudie kwalifiseer hy in 1927 as prokureur. Hy is in 1919 met Magdalena Petronella du Plessis getroud. Uit hierdie huwelik is vier dogters gebore. Na h kart wewenaarskap tree hy in 1948 met Magdalena Jacoba Truter in die huwelik. Uit hierdie huwelik is twee dogters gebore, terwyl hy die dogters uit Magdalena Truter se vorige huwelik wettiglik aangeneem het. In 1928 vestig Odendaal horn as prokureur op Nylstroom w~ar hy by sy vennoot, adv J G Strijdom se politieke bedrywighede inskakel. In 1938 word hy lid van die Nasionale Party van Transvaal se Inligtingsburo. Gedurende die Tweede Wereldoorlog was hy vir h kort tydperk Kommandant van die OssewaBrandwag in die Waterberg. In 1948 is hy tot L P R vir Waterberg verkies en in 1952 tot L U K. In 1958 is hy as Administrateur van Transvaal benoem. Hy het geskiedenis in Transvaal gemaak deurdat hy die eerste Administrateur was wat uit die geledere van die Provinsiale Raad in die gesogte pas benoem is. Odendaal het bekendheid verwerf as eerste voorsitter van TRUK en vir sy aandeel in die bevordering en opbou van die kunste in Transvaal. Insgelyks het hy kuns in Suid-Afrika op h ordelike grondslag geplaas. Hy kan as een van die grondleggers van georganiseerde streekrade vir die kunste in Suid-Afrika beskou word. As Administrateur het hy horn verder onderskei as onderwysvernuwer en bevorderaar van snelboumetodes in die provinsiale geboue-program in Transvaal. Voorts het hy baie bygedra tot die groat ontwikkeling op nywerheids- en verkeersgebied in sy provinsie. Tussen 1952 en 1966 was hy ononderbroke voorsitter van die Nasionale Parkeraad. Hy was deels daarvoor verantwoordelik dat di~ organisasie tot h winsgewende en ordelike besigheidsonderneming uitgebou is. In die proses het hy natuurbewaring in die hele Suid-Afrika bevorder. Hy was oak voorsitter van die veelbesproke Kommissie van ondersoek na aangeleenthede in Suidwes-Afrika en kan beskou word as die vader van vernuwing en ontwikkeling in moderne Namibie. Hy is in 1966 na h hartaanval oorlede. / Frans Hendrik Odendaal was born at Kimberley -in 1898. He grew up in Boshof where he matriculated in 1916. Through private studies he quaiified as an attorney in 1927. He married Magdalena Petronella du PlessLs in 1919. Four daughters were born from this marriage. In 1948, after a short period as a widower, he married Magdalena Jacoba Truter. Two daughters were born from this marriage, while he legally adopted Magdalena Truter's two daughters from a previous marriage. In 1928 Odendaal settled at Nylstroom and practised as an attorney. He became involved with the political activities of his partner, adv J G Strijdom, and in 1938 he became a member of the National Party's Bureau of Information. During the Second World War he acted for a short period as Commandant of the Ossewa Brandwag in the Waterberg district. In 1948 he was elected M P C for Waterberg and in 1952 became M E C. In 1958 he was nominated as Administrator of Transvaal. He made history by becoming the first Transvaal Administrator to be selected from the ranks of the Provincial Council. Odendaal distinquished himself as the first Chairman of P A C T and for promoting the performing arts in Transvaal. At the same time he placed the performing arts on a sound footing in South Africa. He can be regarded as one of the founders of regional councils for the performing arts in South Africa. As Administrator he excelled as educational innovator in his province, and he also promoted quick building methods in the provincial building programme. He also contributed towards the development of industries and transport in his province. For the entire period between 1952 and 1966 he was chairman cf the National Parks Board. Due partially to his edeavours, the Board was developed into a profitable business organisation. In the process he played an important role in developing and promoting nature conservation throughout South Africa. He was also chairman of the commission of enquiry into the affairs of South West Africa and can be considered the father of development and renewal in modern Namibia. He- died of a heart attack in 1966. / History