近年來，透過地區行銷以及文化政策的地區創新已經超越了保護主義，並且帶來了地區發展，也影響了行政特區以及地方政府。 本研究主要的目的是探討什麼是影響地區行銷成功的因素？並且探討這些因素是如何被應用在文化特區？本研究透過這些成功的因素建立了一個基本的架構並且分析地區行銷策略。本論文的研究主軸主要是地區行銷的行銷創新。 本研究會從學術角度開始探討文化特區並且為韓國的文化特區下一個定義，並且根據研究的主軸做修正。研究的重心主要是韓國文化特區的比較研究。根據觀察，文化特區的形成有很多的因素及策略。不同的因素與策略會形成不同文化特區獨有的特色。本研究主要的目的是探討造成這種現象的成功因素與策略。 本研究關於地區行銷以及韓國文化政策的主要理論來自於創新理論、地區發展以及非營利機構。本研究使用理論建構、個案比較研究。本論文根據理論架構研究韓國文化特區的成功經驗，研究個案包括仁寺洞、大學路以及三清洞。研究時間自2011年10月到2012年六月。 關鍵字：文化特區、地區行銷、文化政策、仁寺洞、大學路、三清洞、首爾、韓國、地方認同、地方形象 / These days, district innovation through place marketing and cultural policy exceeds limitations stemming from the preservation of regional unique features and helps foster regional development, exerting great influence in special districts and local governments. The aim of the present study is to determine which are the most critical success factors in place marketing, and how these factors could be utilized in cultural districts. The study builds a framework and analyzes place marketing strategy from the perspective of the process and success factors. The main research focus is on marketing innovation aspects in place marketing. I will examine the academic definition of a cultural district and set a definition for Korean cultural districts, adjusting to the course and purpose of the intended study. Moreover, I have tried to comprehend the comparative research of Korean cultural districts. It was observed that there are many factors and strategies that lead the cultural district. Each guideline invents identities suited for each environment and provides help to strategies on forming cultural districts. And realistically, this study was done to know what successful factors and strategies actually lead that phenomenon. The primary theoretical background and concepts in place marketing and Korean cultural policy for this study consist of innovation theory, place development, and non-profit organizations (NGO). This study uses a theory building, comparative case research agenda with embedded, longitudinal and multiple case researches. The study applies the theoretical framework of successful cultural districts based on empirical research with the case studies of Insadong, Daehakro and Samcheongdong regions. The field research was carried out between October 2011 and June 2012. Key words: cultural district, managerial innovation, place marketing, cultural policy, Insadong, Daehakro, Samcheongdong, Seoul, Korea, place identity, place image.

An der Universitätsbibliothek Leipzig läuft seit September 2009 ein von dem Haushalt des Beauftragten der Bundesregierung für Kultur und Medien gefördertes Projekt zur Ermittlung von NS-Raubgut in den Beständen der UB Leipzig. Es beinhaltet die Ermittlung der ehemaligen Besitzer der Bücher, sofern dies über individuelle Merkmale möglich ist. Es wird von einer Gesamtzahl von ca. 6.000 Titeln ausgegangen, die in der Zeit des Nationalsozialismus unrechtmäßig erworben wurden. Nach Abschluss des Projektes sollen die Ergebnisse in einer Ausstellung der Öffentlichkeit bekannt gemacht werden.

This thesis is concerned with placing public art within the broader modernist spatialisation of social relations. The research takes place around two related enquiries. The first emerges from questions raised by the art critic Rosalyn Deutsche with regard to the proposition that public art functions as both a profession and technology that attempts to pattern space so that docile and useful bodies are created by and deployed within it. Following such questions, this thesis seeks to scrutinise the ways in which discourses on public art might operate in enabling, maintaining or disrupting everyday practices and socio-spatial relations. Secondly, as a foray into methodologies of public art research, the thesis considers Foucauldian governmentality approaches in terms of what these might have to offer an investigation of public art. The thesis undertakes the analysis of a wide range of texts connected with three South Australian urban developments for which public art was separately proposed, designed, selected and installed. Attention is given principally to the Rundle Street Mall, a pedestrianised shopping street in the city-centre of Adelaide, examined at several moments throughout the period of its development (1972-1977) and later refurbishment (1996-2001). Also discussed are the Adelaide Festival Centre Plaza (1973-1977) and the Gateway to Adelaide (1996-2000), the latter project involving the reconstruction of a major traffic intersection on the outskirts of metropolitan Adelaide. Through these examples the thesis documents key debates in the history of Australian discourses concerning public art. In addition, this study brings attention to the relations between artwork and a proliferation of individuals, agencies, and other interests, highlighting the competitions over space, authority and expertise, and the often unexamined role that public art plays in maintaining or unsettling socio-spatial relations. Knowledge about public art, it is argued, is produced, transformed and deployed across a range of discursive sites (contemporary art, urban design, planning, transport and others) and becomes tied to specific problems of governing. / Thesis (PhD)--University of South Australia, 2008

This thesis is concerned with placing public art within the broader modernist spatialisation of social relations. The research takes place around two related enquiries. The first emerges from questions raised by the art critic Rosalyn Deutsche with regard to the proposition that public art functions as both a profession and technology that attempts to pattern space so that docile and useful bodies are created by and deployed within it. Following such questions, this thesis seeks to scrutinise the ways in which discourses on public art might operate in enabling, maintaining or disrupting everyday practices and socio-spatial relations. Secondly, as a foray into methodologies of public art research, the thesis considers Foucauldian governmentality approaches in terms of what these might have to offer an investigation of public art. The thesis undertakes the analysis of a wide range of texts connected with three South Australian urban developments for which public art was separately proposed, designed, selected and installed. Attention is given principally to the Rundle Street Mall, a pedestrianised shopping street in the city-centre of Adelaide, examined at several moments throughout the period of its development (1972-1977) and later refurbishment (1996-2001). Also discussed are the Adelaide Festival Centre Plaza (1973-1977) and the Gateway to Adelaide (1996-2000), the latter project involving the reconstruction of a major traffic intersection on the outskirts of metropolitan Adelaide. Through these examples the thesis documents key debates in the history of Australian discourses concerning public art. In addition, this study brings attention to the relations between artwork and a proliferation of individuals, agencies, and other interests, highlighting the competitions over space, authority and expertise, and the often unexamined role that public art plays in maintaining or unsettling socio-spatial relations. Knowledge about public art, it is argued, is produced, transformed and deployed across a range of discursive sites (contemporary art, urban design, planning, transport and others) and becomes tied to specific problems of governing. / Thesis (PhD)--University of South Australia, 2008

At the beginning of the twenty-first century, the Australian Universities Quality Agency (AUQA) began to audit Australian universities. At the same time, universities were increasingly using online technologies for teaching and learning. Little is known about how these two significant changes in teaching and learning might be acting and interacting at a time of increasing focus by universities on the educational marketplace. This thesis investigates the AUQA audits carried out in 2002 of three Australian universities which had different locations in the Australian higher education marketplace and had different approaches to the use of online technologies. I use Critical Discourse Analysis (CDA) to analyse a range of artefacts produced between 2002 and 2005 by and about the universities. I analyse the first three editions of the AUQA manual, the universities' web sites before and after their audit, the submissions of those universities to AUQA, and the audit reports by AUQA on them. I explore the role that representations of the "online university" discourse play in constructions of a "quality university" discourse within these texts. I discovered a number of shifts in emphasis in the texts over time. Notions of the "online university", while prevalent in the texts produced early in the time frame of the study, were absent from later texts. Also, texts produced early in the study represented the three universities as very different institutions. However texts examined towards the end of the study represented the universities to be more similar in nature. Given the diverse nature of the institutions' market locations, I found that quality assurance processes work to reduce the representation of institutional diversity. There was evidence that the "online university" discourse came to be used more as a marketing tool and less as a marker of quality education over the time period of the study. I argue that AUQA's audits do not support institutions? various market positionings as described by Marginson and Considine (2000), but rather provide the imprimatur of "brand Australia" by producing representations of each institution that are safe and amenable to the audit process. The "online university" discourse speaks of new and borderless teaching strategies, while the "quality university" discourse speaks of containment and control of university activities. The bounding and limiting effect of the "quality university" discourse over the outward reaching "online university" discourse resulted in the three universities representing themselves in increasingly isomorphic ways. My analysis shows that over the time frame of the study, the surveillance of a national quality audit body, through self-audit by universities and the subsequent publication of reviews of universities by that body, produced more cautious representations of the universities and ironically, less direct influence by the audit body over universities? actions in the marketplace. The study suggests that the degree of influence which the ?online university? discourse and the "quality university" discourse have on the representations of universities is dependent largely on the degree to which they can impel universities within the market. / Thesis (PhD)--University of South Australia, 2007

From the 1990s onwards the Australian Broadcasting Corporation (ABC) adopted a range of interactive multimedia activities: CD-ROM, web publishing, datacasting and interactive television. Drawing on extensive primary research, this thesis explores why the ABC pursued an interactive multimedia program under a neo-liberal rationality and how online publishing in particular has impacted on its role as a public service broadcaster. Drawing on neo-Foucauldian governmentality theory and Scott Lash’s critique of information, the thesis examines how the ABC operates as a technology of government in the transition to an informational society. While it considers the ABC as a localised, specific form of public service broadcasting, many of the findings have importance for analysis within the broader field of state intervention in media markets. It demonstrates that networked interactive multimedia are a communications strategy appropriate to the governance of a globally implicated market-state during a period of informationalisation – characterised by increased symbolic flows, spatial and temporal compression, decontextualised and disorderly relations of information. Public service media will transition this period, characterised by rapid social change and institutional upheaval, where they can incorporate and exploit the informational relations that threaten to diminish their utility as governmental assemblage. It finds that while ABC executives used technological change to adapt to the enterprise focus of neo-liberal government, the corporation was simultaneously transformed by disorganisational influences pursuing an ethics of internetworking. Contrary to Lash’s ideal schema of institutional decline, disorganisation – embodied in the ad hoc, program-maker led push for internet access and publishing – can become a force for organisational renewal. This is observable in the development of ABC Online, a public access web service. The conclusion drawn from ABC Online’s emergence is that the era of digitalisation exposes the ABC as a mutable object, a flexible strategy of national communications governance. It is not exclusively tied to a technical system, such as radio or television, or a practice such as broadcasting. Interactive multimedia such as ABC Online may help the ABC to readdress its contradictory political rationale – the call to represent a coherent national identity in the face of infinite lived diversity – and play a new role in connecting and engaging its users.This thesis re-examines that role in light of Lash’s observations about the nature of informational power. It explores at length the response to a new self-governing, performative subject, the user of interactive multimedia technology. The user, unlike the audience, is visible, often vocal and social. She negotiates both the space of a multimedia object and dialogic interactions within that space. Her exemplary expertise may rival that of the ABC’s program-makers. This analysis indicates that in response to informational phenomena, the ABC has reconceived its space of government, its pedagogy and its production of citizenship in order to remain an effective expression of governmentality. An online ABC may act as a mediatory, contextualising strategy that helps users negotiate the construction and function of difference. It may also be altered by user knowledge. These relations are possible, although preliminary in this research, while the ABC remains wedded to the more disciplinary relations of broadcasting. The implication is that a digitally networked ABC should not be a self-enclosed institution. It is part of an informational network: a multi-sector innovation system. It should not be divorced from its public or the market except in its ethics of exchange. It is a technology that through its technocultural relations socialises, is shaped by and melds with its sometimes unruly user/citizens. It influences, is influenced by and is part of a volatile mediascape. The ABC is organisation and disorganisation, the rigidity of the one generating the other and then being reincorporated, in a cycle of institutional and industrial change.

From the 1990s onwards the Australian Broadcasting Corporation (ABC) adopted a range of interactive multimedia activities: CD-ROM, web publishing, datacasting and interactive television. Drawing on extensive primary research, this thesis explores why the ABC pursued an interactive multimedia program under a neo-liberal rationality and how online publishing in particular has impacted on its role as a public service broadcaster. Drawing on neo-Foucauldian governmentality theory and Scott Lash’s critique of information, the thesis examines how the ABC operates as a technology of government in the transition to an informational society. While it considers the ABC as a localised, specific form of public service broadcasting, many of the findings have importance for analysis within the broader field of state intervention in media markets. It demonstrates that networked interactive multimedia are a communications strategy appropriate to the governance of a globally implicated market-state during a period of informationalisation – characterised by increased symbolic flows, spatial and temporal compression, decontextualised and disorderly relations of information. Public service media will transition this period, characterised by rapid social change and institutional upheaval, where they can incorporate and exploit the informational relations that threaten to diminish their utility as governmental assemblage. It finds that while ABC executives used technological change to adapt to the enterprise focus of neo-liberal government, the corporation was simultaneously transformed by disorganisational influences pursuing an ethics of internetworking. Contrary to Lash’s ideal schema of institutional decline, disorganisation – embodied in the ad hoc, program-maker led push for internet access and publishing – can become a force for organisational renewal. This is observable in the development of ABC Online, a public access web service. The conclusion drawn from ABC Online’s emergence is that the era of digitalisation exposes the ABC as a mutable object, a flexible strategy of national communications governance. It is not exclusively tied to a technical system, such as radio or television, or a practice such as broadcasting. Interactive multimedia such as ABC Online may help the ABC to readdress its contradictory political rationale – the call to represent a coherent national identity in the face of infinite lived diversity – and play a new role in connecting and engaging its users.This thesis re-examines that role in light of Lash’s observations about the nature of informational power. It explores at length the response to a new self-governing, performative subject, the user of interactive multimedia technology. The user, unlike the audience, is visible, often vocal and social. She negotiates both the space of a multimedia object and dialogic interactions within that space. Her exemplary expertise may rival that of the ABC’s program-makers. This analysis indicates that in response to informational phenomena, the ABC has reconceived its space of government, its pedagogy and its production of citizenship in order to remain an effective expression of governmentality. An online ABC may act as a mediatory, contextualising strategy that helps users negotiate the construction and function of difference. It may also be altered by user knowledge. These relations are possible, although preliminary in this research, while the ABC remains wedded to the more disciplinary relations of broadcasting. The implication is that a digitally networked ABC should not be a self-enclosed institution. It is part of an informational network: a multi-sector innovation system. It should not be divorced from its public or the market except in its ethics of exchange. It is a technology that through its technocultural relations socialises, is shaped by and melds with its sometimes unruly user/citizens. It influences, is influenced by and is part of a volatile mediascape. The ABC is organisation and disorganisation, the rigidity of the one generating the other and then being reincorporated, in a cycle of institutional and industrial change.

Ce travail étudie les liens qui relient la critique dramatique à une forme d’engagement politique dont certaines revues généralistes ont été porteuses du milieu des années 1960 au début des années 1980, à partir d’un corpus d’articles parus dans Les Temps modernes, Esprit et La Quinzaine Littéraire, dont la plupart sont respectivement signés par Renée Saurel, Alfred Simon et Gilles Sandier. La politisation de cette critique se manifeste dans laconception qu’elle professe du rôle du théâtre dans la société, dans les critères qu’elle applique à l’analyse des spectacles, dans sa participation aux débats des milieux artistiques et intellectuels, mais aussi dans l’acte même de l’écriture. La critique théâtrale pratiquée dans ces revues tend à se distinguer à la fois de la chronique journalistique et ducommentaire savant. Si sa périodicité lui permet de suivre l’actualité de la scène française (et surtout celle du théâtre public parisien), elle entend rompre avec le modèle traditionnel du compte-Rendu journalistique effectué sur un mode impressioniste. Elle tente d’expliciter ses critères de jugement en les rapportant aux problèmes théoriques soulevés par le marxisme, le brechtisme ou encore le structuralisme. Pour ce faire, elle s’ouvre à de nouveaux domaines de controverse comme celui des politiques culturelles. Bien qu’elle reconnaisse un certain degré d’autonomie aux questions esthétiques, elle considère l’écriture et la mise en scène au prisme de l’efficacité politique, en vue de promouvoir un théâtre véritablement populaire. Support matériel et instance symbolique, la revue constitue un lieu propice pour une critique alliant la revendication politique à l’exigence de savoir. / This research project aims to analyse the links between drama critique and political commitment, manifest in a number of reviews from the mid-1960s to the early 1980s. This investigation focuses on a corpus of articles published in Les Temps Modernes, Esprit and La Quinzaine Littéraire, most often signed by, respectively, Renée Saurel, AlfredSimon, and Gilles Sandier. This critique’s politicisation is most evident in four main areas, namely: its conception of the social function of theatre; in the selected criteria used to analyse performances; in its active involvment in the artistic and intellectual debates of the time; as well as in the very act of critical writing. The particular form of theatre critique emerging from these reviews tends to differ both from the journalistic column and from the scholarly commentary. These reviews’ publishing frequency allows this form of critique toremain topical in regards to contemporary french (and particularly public parisian) theatre; however, these texts also seek to break away from the traditional model of the theatre review and its impressionist mode. This critical movement attempts to explicate its criteria of appraisal by basing itself on the theoretical issues raised by Marxism, brechtism and/or structuralism. In so doing, it opens up its focus to include new controversial areas, such as debates on cultural policies. Despite aknowledging some form of autonomy to aesthetic issues, this critique analyses writing and mise-En-Scène through the lens of political efficiency, as a means to develop a genuine popular theatre. These reviews, considered here both as materialised spaces for intellectual debate and as objects of symbolic authority, become fertile loci in which to foster a new form of critique aiming to combine the development of theoretical frameworks with political commitment.

In Scotland, as the UK and internationally, publicly funded cultural organisations face a precarious future, characterised by funding cuts and a growing need to justify investments. This practical need to understand and articulate the importance of cultural resources has underpinned an intense debate in the field of cultural studies, about the nature of cultural value and the best methodological tools to explore it. The appropriateness of relying upon cultural strategies to pursue urban development and regeneration has also been subject to extensive discussions in the field of urban studies. This study approaches these problems through mixed-methods, comparative case studies set in Edinburgh and Dundee. This research employs Contingent Valuation (CV) in combination with focus groups. It provides a contextualised understanding of the diverging notions of culture emerging in the two cities. A higher valuation for culture was registered in Edinburgh, with stronger preference for museums and performing arts. In Dundee, higher importance was placed on community-based activities. These patterns are linked to the mix of demographic and socio-economic backgrounds characterising each city. Therefore, this study highlights a need for a tailored approach to cultural valuation and cultural policy, in contrast with the tendency for these to be implemented on a one-size-fit-all basis. The study also concludes that greater consideration is needed for the intangible and non-use related elements of cultural value, reinforcing a dominant critique in the literature. In addition, it highlights potential for negative sides to the impacts of cultural activities. Examples include issues of gentrification and displacement. Their inclusion is shown to be neglected in the typologies of value predominantly associated with culture, pointing at the need for their amendment. Finally, this study shows the use of CV alongside qualitative methods to be particularly advantageous in overcoming the dichotomous approach characterising this debate. The study avoided the single monetary valuation strongly rejected within the cultural sector, while still managing to yield grounded insight that is potentially valuable for policy-makers.

Submitted by FLAVIO ANICETO (flavio.aniceto.produtor.cultural@gmail.com) on 2014-05-23T14:56:35Z No. of bitstreams: 1 DISSERTAÇÃO FLAVIO ANICETO DOS SANTOS FINAL 18.05.2014.pdf: 1128904 bytes, checksum: 49dacd3c3362f7b8453b840e45cdb402 (MD5) / Approved for entry into archive by Rafael Aguiar (rafael.aguiar@fgv.br) on 2014-05-29T17:53:04Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO FLAVIO ANICETO DOS SANTOS FINAL 18.05.2014.pdf: 1128904 bytes, checksum: 49dacd3c3362f7b8453b840e45cdb402 (MD5) / Approved for entry into archive by Marcia Bacha (marcia.bacha@fgv.br) on 2014-06-02T13:50:57Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO FLAVIO ANICETO DOS SANTOS FINAL 18.05.2014.pdf: 1128904 bytes, checksum: 49dacd3c3362f7b8453b840e45cdb402 (MD5) / Made available in DSpace on 2014-06-02T13:51:12Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO FLAVIO ANICETO DOS SANTOS FINAL 18.05.2014.pdf: 1128904 bytes, checksum: 49dacd3c3362f7b8453b840e45cdb402 (MD5) Previous issue date: 2014-04-15 / This research focuses on the state of cultural performances in public forums in the city of Rio de Janeiro, referred to as Public Art, after the effects of the Street Artist Law from June 2012, which guarantees the free use of urban spaces for these artistic performers and officially recognizes them. Taking that into perspective, we propose a reflection on the possible contradictions between the cultural mediation we believe to be intrinsic to these movements and the institutionalization that comes from this law. The study of said mediation also intends to point out other forms of social integration found in the planning of cultural policies. The investigation's primary target was the professional clowns who perform in the streets, squares, parks, communities and other public forums in the city. / O presente trabalho analisou ações culturais em logradouros públicos do município do Rio de Janeiro, atualmente chamadas de Arte Pública, no contexto posterior a promulgação em junho de 2012 da Lei do Artista de Rua, que garante o uso livre do espaço urbano para as apresentações artísticas destes grupos e artistas e reconhece oficialmente estas manifestações. A partir deste quadro a pesquisa se propõe a refletir sobre as possíveis contradições entre a mediação cultural que acreditamos ser inerente a este segmento e a institucionalização decorrente desta lei. O estudo da mediação visou ainda pensar em outras formas de participação social no planejamento das políticas culturais. A investigação foi feita prioritariamente com palhaços profissionais que atuem nas ruas, praças, comunidades e outras áreas públicas do município.