Ce mémoire aborde la récupération de la musique à des fins politiques en interrogeant le rapport ambigu entre propagande et diplomatie musicale pendant la Guerre froide. Centrée principalement sur la production musicale aux États-Unis dans les années 1950, l’étude s’attarde aux stratégies adoptées, autant par des musiciens jazz que classique, pour critiquer et dénoncer les politiques discriminatoires d’une chasse aux sorcières communistes lancée par le sénateur républicain Joseph R. McCarthy (1908-1957). Elle montre également comment les dirigeants des États-Unis ont cherché à encenser les valeurs américaines en promouvant internationalement le jazz comme symbole démocratique, en particulier contre l’Union soviétique. Les deux premiers chapitres servent à camper le décor : le premier chapitre brosse par une mise en contexte un portrait politique et historique de la Guerre froide – en partant du postulat que celle-ci trouve ses racines dans la Révolution d’octobre 1917 –, et introduit le contexte sociopolitique des années 1950 en mettant l’emphase sur l’importante influence qu’a eue le maccarthysme, conception politique anticommuniste du sénateur McCarthy, sur la vie américaine. Le deuxième chapitre, également de mise en contexte, établit les différences entre les politiques culturelles américaines et soviétiques. Ce chapitre présente le Cultural Presentations program, le programme d’échanges culturels subventionné par le département d’État, de même que les relations culturelles officielles entre les États-Unis et l’URSS de 1958 à 1985. Les deux derniers chapitres présentent des études de cas afin d’illustrer l’impact sociopolitique sur la vie et la production musicales des années 1950. Le troisième chapitre analyse la présence du jazz au sein du Cultural Presentations program et retrace le parcours de quatre grands musiciens jazz ayant pris part au programme pour faire rayonner le jazz à l’international, tout en soulignant l’ironie d’utiliser des Afro-Américains comme représentants de la démocratie d’une Amérique ségrégée. Le quatrième chapitre traite spécifiquement du genre lyrique américain et des critiques du maccarthysme inscrites dans certaines œuvres de ce répertoire. Une attention particulière est portée à l’opérette Candide de Leonard Bernstein (1918-1990), en raison de l’engagement politique notoire du compositeur et du propos explicitement politique de l’œuvre. Cette recherche vise, en somme, à faire un état des lieux de la récupération politique de la musique en mettant en relation deux visions différentes de son utilisation aux États-Unis / This thesis addresses the subject of the political employment of music by questioning the ambiguous relationship between propaganda and musical diplomacy during the Cold War. Focusing mainly on the musical production in the United States in the 1950s, this study examines the strategies adopted by both jazz and classical musicians to criticize and denounce the discriminatory policies of this communist witch-hunt embodied by Republican Senator Joseph R. McCarthy (1908-1957). It also shows how U.S. leaders have sought to promote American values by internationally promoting jazz as a democratic symbol, particularly against the Soviet Union. The first two chapters serve to set the stage: the first chapter provides a contextualized political and historical portrait of the Cold War – starting from the premise that it is rooted in the October 1917 Revolution –, and introduces the socio-political context of the 1950s by emphasizing the important influence that McCarthyism, the anti-communist political conception of Senator McCarthy had on American life. The second chapter, also contextualizing, establishes the differences between American and Soviet cultural policies. This chapter introduces the Cultural Presentations program, the cultural exchange program funded by the Department of State, as well as the official cultural relations between the United States and the USSR from 1958 to 1985. The last two chapters focus on case studies to illustrate the socio-political impact on music life and productions in the 1950s. The third chapter discusses the presence of jazz in the Cultural Presentations program and traces the journey of four great jazz musicians who took part in the program to promote jazz internationally, while highlighting the irony of using African Americans as representatives of democracy in a segregated America. The fourth chapter deals specifically with the American operatic genre and the criticisms of McCarthyism in some works of this repertoire. Particular attention is paid to Leonard Bernstein’s (1918-1990) operetta Candide, due to the composer’s notorious political commitment and the explicitly political purpose of the work. This research aims to take stock of the political usage of music by linking two different visions of its use in the United States.

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 master's diploma thesis discusses the mechanisms by which the Slovak public television talent show Zem spieva (2017) creates the concept of folklore perfor- mance as a means of building and expressing national identity. This thesis also discusses the mechanisms by which the show creates a platform for negotiating the criteria of high standard folklore performance which should present a consistent reconstruction of tradition. These two effects of the show Zem spieva are in this thesis perceived as conceptually conflicting: on the one hand, there are essentialist ideas about the genetic predisposition of members of the Slovak nation for folklore performance; on the other hand, there are doctrines focused on the reconstruction of the tradition on the folklore stage. These doctrines are followed by an expert jury composed of prominent members of the folklore community. This thesis argues that the concept of performing folklore on stage perceived as an intellectual problem of the reconstruction of tradition is in the show subversive and therefore gradually replaced by emotionally and patriotically defined criteria of high quality folklore performance. This preferred measure preserves cultural cohesion in terms of sa- tisfying the needs of the mass audience. Following the conflict of the mentioned...

This thesis named "Anti-Americanism and Canadian Cultural Policy (1928-1957)" examines how Canadian federal government cultural policies were influenced by a specific form of anti-Americanism, which reflected concerns over Americanization and cultural absorption by the United States, in this formative period for the development of a distinct national identity during the time of Canada's colony-to-nation transition. The chosen research design is interpretative content analysis of the reports of two Canadian royal commissions commonly known as the Aird Commission (1928-1929) and the Massey Commission (1949-1951). The aim of this thesis is to identify the main factors and incentives for a policy of government intervention in the field of culture and to assess the role of anti-Americanism as a response to what was perceived as American cultural invasion that threatened the development of a distinct Canadian culture. The theoretical framework contains a discussion about different forms of anti-Americanism, with emphasis on its unique nature in Canada, and introduces the concept of cultural imperialism which helps us to better understand Canadian opposition to American cultural influences in the examined period.

This thesis describes the phenomenon of alternative culture in public policy. The first part seeks to define what alternative culture means and builds on the research mainly from sociology and cultural studies. Very useful are then specific theory of social deviance, the theory of subcultures and postsubcultures. At the same time, the paper looks into the past, before 1989, when the alternative culture phenomenon was clearly defined, standing outside the mainstream culture and the alternative culture was illegal. Through the analysis of some events and political cases from the recent past, there could be seen both differences between alternative culture and an attitude to it before 1989, but also some important parallels with the current situation of alternative culture. Alternative culture is later specified by current alternative underground subcultures: freetekno - DIY, squatting and street art. In the case of these three controversial subcultures, the paper deals with an attitude of public policy to these subcultures through the extremism policy. The next part the paper deals with the contemporary cultural politics in the country. Briefly, it describes and outlines the current situation and possible areas for innovation in the context of alternative culture. In the last phase this thesis deals...

The thesis focuses on a chosen public policy issue, as a part of cultural policy, namely on an implementation of a project of new building of National library of Czech Republic in Prague, arisen from an international architecture competition. This thesis has a form of a case study paper and investigates all relevant events and circumstances of the case, as well as interested stakeholders. They were characterised to disclose their possible role in implementation deficit, which occurred in the case. The aim of this thesis is to provide complex insight into the case, to find the point of implementation deficit in the process and to identify the values and hidden motivations of stakeholders. The thesis is divided into three chapters. In the first chapter, there is a summary of theoretical knowledge about public policy and implementation process and its analysis. The author describes three possible approaches to implementation analysis. Second chapter focuses on culture and its specifics, in the forming of culture policy. The third chapter is a complete analysis of the case, including event analysis and stakeholder analysis. In the conclusion, the author sums up the identified causes of implementation deficit and gives recommendations for possible future implementation of a similar cultural project.

The dissertation "Czech and Slovak Public Diplomacy after 1993: The Transformation of Czech Centres and Slovak Institutes" seeks to compare Czech and Slovak model of public and cultural diplomacy after the peaceful separation of Czechoslovakia in 1993. It seeks to investigate whether the two countries embarked on similar journeys in their foreign affairs and whether the public and cultural diplomacy is at the forefront of their international policies. The dissertation aims to establish whether to accept or reject the hypothesis that the same historical circumstances and transformational similarities inevitably lead to similarities of Czech and Slovak public and cultural diplomacy. The first chapter of the dissertation focuses on a theoretical interpretation of public and cultural diplomacy. The second chapter of the dissertation deals with both countries' historical experience and describes the model of public and cultural diplomacy in each country from year 1993 to now. This part of the dissertation delineates conceptual documentation and describes the institutional dimension of this issue. The third and fourth chapter of the dissertation then separately deal with Czech Centres and Slovak Institutes as the primary players in the cultural diplomacy abroad. The final and core chapter of the...

This doctoral thesis deals with fundamental changes in West German foreign cultural policy during the 1960s and 1970s. Its objective is not only to examine how and under what circumstances the first (West) German conception of foreign cultural policy was conceived or which institutions and individuals participated most actively in its formation, but also to assess the understanding and definitions of foreign cultural policy and its role in the overall foreign policy of the Federal Republic of Germany. Further, the topic is analysed within a broad historical and international context. The research primarily uses the methodology of political history but has also been inspired by cultural history and political science.

Given the 2017 discontinuation of the Swedish Film Agreement and the surrounding debate on the rationales of film policy, this thesis will conduct a historical study of a particular instance of Swedish film policy history, thus seeking to contribute to the understanding of the consequences of film policy for the outcome of film. Looking at the relationship between Swedish public broadcasting (SVT) and the Swedish Film Institute (SFI) during the mid-1980’s, this thesis aims to investigate the historical background of the funding and production process that enabled the creation of Pica Pica, a feature documentary film on magpies made by director Mikael Kristersson. By applying Geir Vestheim’s theory of the four instrumental arguments for public support of the arts and through an idea analysis, the thesis will investigate what arguments could be said to be pivotal for the funding and production of Pica Pica. Analyzing policy documents concerning the SFI and SVT, as well as using interviews conducted with the people in decision-making positions at the time, the thesis investigates what rationales and circumstances might be said to have informed the funding and production of Pica Pica. Furthermore, Kristersson’s film will be analyzed in relation to concepts of ecocinema and in relation to its lineage in nature portrayal in Swedish film. Through its investigation of the role of the funding and production circumstances for the stylistic outcome of the film, the thesis seeks to contribute to the understanding of the importance and consequences of film policy and production organization for the outcome of film in current times withal.

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