Inbjuden av Gustaf III, den franska teaterdekoratören, konstnären och arkitekten Louis Jean Desprez, i Sverige 1784-1804, förnyade teaterdekorationen på Operan. Genom att analysera Desprez’ teaterdekorationer med inspiration från de abstrakta konstnärerna Mondrian, Malevich och Rothko, utvecklar uppsatsen ett nytt tolkningssystem som tillsammans med traditionell tolkning innebär en djupare tolkningsmetod. Detta visar att Desprez’ teaterdekorationer var viktiga för Gustaf III:s kulturpolitik / Invited by king Gustaf III, the French artist stage painter Louis Jean Desprez, in Sweden 1784-1804, renewed Opera stage painting.Lillemor Erlander1Inspired by abstract artists Mondrian, Malevich and Rothko, in analyzing the stage painting of Desprez, this paper develops a new system of interpretation which together with traditional interpretation signifies a new deeper method of interpretation. This shows that the stage painting of Desprez was of importance to the cultural policy of Gustaf III.

University of Macau / Faculty of Social Sciences and Humanities / Department of Government and Public Administration

University of Macau / Faculty of Social Sciences and Humanities / Department of Government and Public Administration

在擴大對「蘇聯文化」研究的基礎上，本論文探討蘇聯的文化政治與政策施作，其終極目標乃透過命名的權力來建構文化的社會主體性，也即「蘇維埃人」這樣的歷史共同體。為求例證之多樣性，本論文綜合了文化研究與歷史研究途徑，以文本分析和文獻分析作為研究方法，並將指涉的文化政策範圍縮限於文學與藝術領域，以及對文化公共財，如圖書館、博物館、劇院的擴充。 對布爾什維克而言，爭取文化霸權就是建構並傳播蘇維埃意識形態，透過意識形態國家機器，即藝文團體、報刊媒體等來體現，繼而將個人建構為主體，製造出一批批本應如此的「形象」。因此，蘇維埃意識形態始終驅動著蘇聯文化政策的開展。配合主政之領導人，國家對政策的指導可簡化為「文化革命─社會主義寫實主義─公開性」的歷程，並對應由逐漸緊縮到開放的程度。其中，由列寧發起的文化革命可謂蘇聯文化政策的承先啟後階段，尚且容許藝文團體的多元發展。進入史達林時期後，所推出的社會主義寫實主義既是一種創作風格，也是政策的依歸。從寫作到編曲，從繪畫到電影，它為蘇聯的文藝創作設置理論與框架，並成為作品能否公開展演及獲得國家獎勵的唯一標準。至於戈巴契夫的公開性則帶來蘇維埃意識形態更為人性化的修正與文化政策的轉折。 另一方面，本論文透過觀照經蘇維埃化所產生之新蘇維埃人的日常生活片斷，概括蘇維埃文化的若干特徵，點出其指導大眾邁向由官方營造之理想人生的規訓功能，繼而探究蘇聯社會中不同身分的互動，析論政策造成的後續影響。藉由對精英、婦女與青年等文化研究關鍵面向的討論，可以發現蘇聯文化政策的差別待遇模式，以及未將文化納入政策考量的若干失誤。

This dissertation analyses the roles and functions of the German film press during the Third Reich and explores the changes and tensions that characterized German cinema and, by extension, German society during that time period. A close reading of three major publications -- a trade journal, Film-Kurier, a popular magazine, Filmwelt, and the regime's official publication, Der deutsche Film -- first challenges the traditional view of a monolithic, top down control by the Nazi regime. I show the extent and the limits of the regime's utilization of culture and media and demonstrate how different parties used the film press to pursue different, but not mutually exclusive goals. By delineating the film press as a more dynamic public forum than previously assumed, this study secondly informs us about the multifaceted uses and functions of the film publications, and about the changing relationships between the film industry and the regime, as well as the theater, the music, and the press industries. I combine a media specific approach--demonstrating the central role of film publications in articulating the contradictions within film culture--with an exploration of the media convergence in place at the time. I thus firmly position the film press at the nexus of politics, business, film professionals, and the audience, and uncover a lively, albeit restricted, discursive system, with theoretical and practical discussions about film, its achievements under the new regime, its weaknesses and the need for improvement. I focus on the three most discussed issues: the relationship between film and theater, between film and music, and, as a correlation of the two previous topics, the need to train a new generation of film professionals, the Nachwuchs. This dissertation thus traces an important moment in German film history characterized by sustained debates about political, technical, aesthetic, and social aspects of film. More importantly, it uses the film press as a mirror to some of the tensions that characterized German society along several divides such as the masses and the elite, the past and the present, as well as the contradictions in its treatment and representation of gender and sexuality. / text

The Emma Lake Artists’ Workshops from the 1950s to the 1970s were a series of professional workshops held in northern Saskatchewan, under the auspices of the University of Saskatchewan and Regina College, for the creation and advancement of a dynamic arts culture in the province and as a way for the individual artists there to overcome feelings of isolation from the Canadian cultural hubs. Throughout the course of the Workshops provincial and federal attitudes, and cultural policies and perspectives on cultural nation building exerted an overarching influence in the shaping of the Workshops. The Workshops drew the attention and support of many established celebrity U.S. artists and it is due to their presence and influence at the Workshops that it is possible to examine the provincial and national response to perceived U.S. cultural imperialism. The founding and maturity of the Workshops is a case study of the ways in which the politics of Canadian nationalism and the effects of U.S. cultural imperialism in the late nineteenth and early twentieth centuries interacted to impact the growth and development of art communities across Canada. The Workshops serve as an example of the effects, on a regional art movement, of Canada’s relationship with the United States, and Canadian response to the perceived threat of cultural imperialism from the U.S. Because the Workshops were a microcosm of cultural production, involving artists who, aside from their participation at Emma Lake, were often fairly isolated from the ebb and flow of art currents inherent to larger cultural centers, the Workshops are also an important case study of the effects of national and provincial policy on the regional arts. The Workshops’ history reveals that ideas of nationalism, regionalism and continentalism can come together to have a profound and unique effect on the development of an art community. / Thesis (Master, Art History) -- Queen's University, 2011-12-20 17:29:24.88

A new cultural policy developed in Sweden in the 1960’s in order to renew the activities of mseums in a more socially relevant direction. The dissertation examines whether the museums adopted the new policy and to what extent the objectives were achieved. The thesis analyses three main areas: the new cultural policy and the attempts to implement it; activities in selected museums along with different intellectual trends that shaped their activities; and the debate between different “thought collectives” (L. Fleck) regarding museums’ missions and objectives as well as expectations within the museum sector. How did the various “actors” relate to the objectives of the new cultural policy? The thesis confirms the potential of the museums as generators for renewal and innovation in terms of democracy and development of the society. There was a clear shift in attitudes from values associated with the “Cultural heritage museum” towards the in this thesis introduced idea of the “Community museum”. The study shows how museums tried to introduce activities relating to current political and social issues, which supports the principal hypothesis in the study, that the museums became more socially relevant during the investigated period. However, during the 1980s, there could be seen a clear recurrence back to the idea of “Cultural heritage museum”. The movement in opposite directions illustrates the museums’ strong ties to the earlier traditional ”styles of thought” (Fleck) and their role as cultural guardians, which severely restricted their capacity for innovation and new ways of thinking. Nevertheless, the Swedish Exhibition Agency (Riksutställningar) performed a role as a searhead for the new cultural policy, corresponding with the heterodoxy and new style of thinking represented by the “Community museum”. A number of persons dominating the debate within the museum sector had a crucial importance in the shift towards the concept of “Community museums”. A revitalisation of the exhibitions, pedagogy and content was accomplished, often as a result of the Swedish Exhibition Agency’s efforts to develop the medium. During the period 1965–1990 Swedish museum exhibitions moved towards a temporary and more socially oriented content. According to Steven Conn’s principal thesis “Do museums still need objects?” the importance of objects gradually declined during the last century. In line with this development, the new Museum of Work had no objects/collections of its own. Furthermore, the arrival of new technology in the late 1980’s gave preconditions for reshaping knowledge and contributed to new attitudes towards communication. Museums were now seen as centres for social contact and communication. The role of museology as an academic discipline in the reprogramming of the museums towards a more socially oriented approach is another important issue. Museology has been criticized by those who – int the debate – questioned the entire idea of “Community museum”.

Urban cities with populations under 250,000 are looking at innovative approaches to revitalize their downtown's and commercial shopping districts. Since suburban expansion and the development of retail malls many urban cities have watched their business districts slowly close down. These urban cities have begun using enterprise zones and tax incentives to attract and maintain business developments. Unfortunately most of these cities are still losing new development to larger urban cities because they also offer enterprise zones, tax incentives and cultural entertainment. Most industries that relocate or open new headquarters in urban cities base their site selection on the best development incentives and cultural entertainment for their middle and upper management. The City of Gary is an example of an urban city with a population under 250,000 and attempting to compete with other urban cities. Their comprehensive plan sets forth guidelines for change and orderly growth management affecting land uses and infrastructure, and for the past 15 years Gary has improved on the possibility of attracting diversified industries, but they are still losing to the surrounding cities within the Northwestern Region. It is the hope that the development of a cultural entertainment district known as the Englehart Arts District will further transform the City of Gary to the forefront. Indiana University School of Arts, Emerson School of Performing Arts, and local arts organization within the city of Gary are very eager to be centralized in one area, and feel that the Englehart Arts District would be a great factor in the future growth and education of the city. Upon research of cultural entertainment within Northwest Indiana, recent data proved that Gary is losing millions of dollars to surrounding cities and not attracting the businesses and industries that could make the city more attractive to consumers and developers.The intent of this creative project is to guide the development of the Englehart Arts District in an older shopping district through the use of special district zoning. Special District Zoning will create a cohesive mixed use area combining the arts, entertainment, retail and offices. The Englehart Arts District will have the potential of becoming a place of attraction, and contribute to the city's goals within the comprehensive plan. / Department of Urban Planning

The aim of this paper is to investigate dominant beliefs and approaches to the "cultural entrepreneur" both within a public context, and also among business owners within the cultural field. What happens when ideas and attitudes in the public sector towards culture driven businesses meets the perspective of individual cultural entrepreneurs? This study is based on analysis of political documents about the cultural and creative industries (CCI) from the European union, national level and regional level. Interviews with six business owners in the field of culture and one representative of the Swedish region with the fictive name “Alma” has been conducted. The research is also based on participant observation in public seminars and conferences about the creative industries in Sweden. The paper mainly uses Queer phenomenological theory (Sara Ahmed) to analyze the informants life worlds and how they are oriented in the same. The study is also based on poststructuralist discourse analysis and the logics approach, developed by Jason Glynos and David Howarth when analyzing political documents. This research shows there is a complex and contradictory approach towards the CCI and the cultural entrepreneur based on idealized images about the artist and the businessman, idealized images thats been existing in the discourses over a long time and which created deep structures. The cultural entrepreneurs are being described as the hope and future of the economy and welfare in Europe and its regions and at the same time as something very costly which no one really have faith in. This dual approach is a contributing factor to change being prevented.

This dissertation analyses the formation of Swedish cultural policy in the twentieth century and the emergence of a modern concept of cultural policy. The aim is to historicise this concept by opening up the process through which it was established. The dissertation explores different aspects of this process: the use of the word cultural policy (kulturpolitik), the ambitions in the 1960s to establish a form of knowledge production relevant in cultural policy making and the attempts made by various official authorities in the 1960s and early 1970s to identify and manage the field of concerns defined as belonging to cultural policy, thus demarcating culture as a formal area of policy making. I view these as examples of practices where the category of cultural policy was elaborated and established in a form widely recognized today. Accompanying my attempts to historicise the modern concept of cultural policy is an interest in how the history of cultural policy has generally been conceived. In previous research devoted to the history of cultural policy an analytical sense of cultural policy has tended to overrule the understanding(s) of cultural policy found in the historical sources. As a consequence, the histories of cultural policy have left out what historically was identified as cultural policy, thus leaving the historical grounds for the modern concept of cultural policy partly hidden. In the first empirical chapter I examine the uses of the word cultural policy when it was introduced in the Swedish language in the late nineteenth century until the 1950s. From a multitude of usages, I suggest that it was in the mid-twentieth century that a more consistent vocabulary developed, with “cultural policy” referring to political endeavors aiming at a nation’s domestic cultural life. In the second empirical chapter I investigate how scientific conceptualisations and operationalisations rendered culture available for scientific, political and administrative undertakings, and in the third chapter I study how culture was demarcated as a formal area of policy making. The chapters reveal different aspects of the historical process through which the category of cultural policy was established in its present shape.