This study is about the economic measurement of contemporary artworks, as set by the international market. It is about the internal forces that influence that value: the subtle interaction between the not-for-profit and profit-making sectors, and critical writing. It is also about the constraints placed on that value by external forces: macroeconomic and political factors and historical issues. The basis for this enquiry is that globalisation is a `reality' and that it is a Western construct. It is also understood that risk is an essential element of globalisation. It follows from this that global economic and political forces have an impact on culture and that a territory's economic and political performance is closely correlated with its cultural performance. As a consequence, territory's contemporary culture can be described economically as underdeveloped, developing or developed. It is accepted that most underdeveloped and developed territories aspire to become developed, and set about doing so by emulating the behaviour and performance of developed territories. So, developing territories experience the impact of global politics and economics and, by implication, culture. A developing society measures its contemporary artwork, therefore, economically, and correlates its value against the Western contemporary artwork. China is a developing nation and, therefore, measures the value of its contemporary artwork economically, using Western contemporary art as its yardstick. The mechanism for measuring value economically is the international market for artworks. The international art market, therefore, measures the value of a contemporary artwork. The value of a contemporary Chinese artwork is measured by the international art market and by local and regional equivalent markets, which emulate the performance of the international market. My study is complicated by the fact that it is a `safari' study (Hantrais, 1996). The region under discussion, Greater China, consists of two territories other than China; the Special Administrative Region of Hong Kong and Taiwan, which are both developed economies. The purpose of this study is to alert the commercial and not-for-profit artworld sectors in Greater China to the crucial role played by the international art market, and its equivalents, in raising the value of contemporary Chinese artworks. The other intention of this study is to raise awareness among the West's commercial and not for- profit sector for the Greater China art market, which remains relatively under exploited.

The following discourse takes three countries, each well known in its for its artistic treasury and arts, looks at the way each handles the administration of its arts, and tries to draw lines of similitude as well as disparity between each and the other two. Reference has been made to as many works of research as available to the writer, but a considerable amount of field work has also been undertaken to find facts and examples at first hand. In the case of each country, specific attention has been paid - in the area of supporting, maintaining and providing for the arts - to the public sector with its various tentacles and the private sector in its different forms and with itsdifferent motives. This has been done in such a manner as to make an overall comparison possible and, where applicable, to show where one country could benefit from a practice prevalent in another or how one country's meat could turn out to be another's poison. The ultimate purpose behind the study is not, however, merely to document statistical facts and figures or to look at the business of administering the arts as a rigid set of rules, regulations or even requirements, but to use the facts and figures obtained in the study and the practical applications observed in the three countries studied to investigate the nature of the quandary in which many seem to find the arts, and to examine the possibility of yet another attempt at resolving it. History is for others to write after the fact; any one generation's contribution to - it can at best be the notation of instances and a description of influences brought to bear upon them. The present work is not trying even to do that. To the writer, the arts are a world unto themselves and even though they have to be made to face. Economic reality and suffer administrative discipline, this should be done in such a manner as not to curb the artist himself; for as Keynes said, the true artist 'walks where the breath of the spirit blows him: he cannot be told his direction.' It is with that attitude that the writer looks at the subject of arts administration and tries to assess its possibilities, and impossibilities.

The principle objective of this study is to examine the culture of networks that are implicated in the production of culture, specifically as it pertains to artists' design and use of digitally networked information and communication technologies (ICTs) for the production of artworks. The analysis in this study seeks to reveal a better understanding of the working practices that underpin artists' creative engagements with new media while recognising the significance of discursive continuities that inform such engagements. Theoretically, a case is presented for combining several theoretical perspectives into a multilayered conceptual framework for examining the circulation of power as it relates both to artistic creativity and to technological innovation. The former is accomplished through a critical assessment of the production of culture theoretical tradition. In calling upon concepts of discursive conduct as a means of developing relations of power, the concept of maverickness is proposed to understand how certain artists do not necessarily bring about change in an art world but instead dedicate themselves to the production of artistic creativity through a contention among various conventions. The latter is problematised drawing upon theories of mediation to develop a model of the conversion and classification of new media standards into art world conventions. A novel methodological approach is developed based on the development of multiple biographical threads of an individual and of a technology within a single case study of an art world network. Empirically, the thesis contributes insights into the diverse end contingent collective work practices involved in the design and use of ICTs by artists for the production of artworks. The findings suggest that individual artists are able to develop designer roles consistent with their situated understandings of creative conduct for modifying aspects of the ICT infrastructure despite shifting technological and social new media standards. However, in order to coordinate such roles within wider collective social structures, artists also initiate forms of mediation, articulation, and classification work that extend beyond the production of artworks and into attempts at programming art world networks within which such artworks were produced and distributed.

Markets and mediators: Politics and primary art markets in Montréal is an ethnographic study of Montrealʼs primary art market and explains how history, government policy and calculative agency operate together to frame the practice of cultural mediators in the visual arts field. Actors operate within a complex financial and symbolic economy that must respond to changing modes of governance and international trends that increasingly concern metropolitan rather than national development. These forms of agency are situated within overlapping discourses concerning cultural policy at a provincial and municipal level that organize the artistic field in the city, the ʻrule and rolesʼ and ʻweak tiesʼ that format legitimate action in the primary market and the processes that are used to incorporate new trends and innovation in the field. The thesis argues that mediators in the primary art market play a generative role in the creation of a multicultural and cosmopolitan cultural capital while addressing the conflicting demands of Quebecʼs nationalist politics. The thesis uses Bourdieuʼs field and cultural theory, Callonʼs theory of markets and contemporary work on cities and multicultures to understand this competition over scarce resources by actors in an art world dominated by state support and institutions. The function of art worlds and their mediation by urban elites reiterates the political importance of aesthetic canonization and labor market practice in a city held to bear a specific responsibility for maintaining a sense of culture and identity.

National identity can be expressed in many ways by individuals, groups and states. Since the nineteenth century, Central Europe has been undergoing rapid changes in the political, social and cultural spheres, which was reflected in the self-definition of the nations living in this region, and in their definition by others. The Czech people, who until 1918 were a part of the Austro-Hungarian Empire, gave birth to a national revival movement in the nineteenth century and eventually emancipated themselves to create an independent Czechoslovakia. The idea of „national identity“ was, therefore, crucial and this was enhanced in many areas of human activity, including the construction of a historical legitimacy for the nation. The struggle for recognition of the historical existence of the Czech nation was also projected into the discourse adopted for historical and contemporary art writing and exhibition practice. In this thesis, I focus on the ways in which Czech national identity was constructed in the historiography of art. I shall argue that the various ideologies which influenced the writers led to an understanding of Czech art as epitomising certain qualities of the Czech nation. At the same time, the Czech nation was presented as highly advanced because of its artistic achievements. I shall explore how art historians, historians, artists, archaeologists and philosophers created their notion of a Czech national art on the basis of either negotiating a compromise with the various ethnic groups, methodologies and political affiliations, or by emphasising their opposition to the same. Another contested area was the concept and political uses of artistic quality. It will be my aim to examine broader circumstances of these contestations in the Introduction and more specific ideological motivations behind Czech art history in the subsequent chapters. In Chapter One, I shall outline the main places where art history was practiced in Bohemia and Moravia which were crucial for constructing the discourse on national art. Chapter Two examines the texts of the first Czech art historians in the second half of the nineteenth century who became interested in the national aspects of Czech art because of the political and cultural climate. In Chapter Three, I shall examine the nineteenth century debates between Czech and German authors on the origins of mediaeval art, confirming Czech or German national identity 3 respectively. Chapter Four studies the rise of Czech art history as a “scientific” discipline in Prague and the attempts of Czech art historians at its professionalisation, which – nevertheless – did not abandon a nationalistic discourse. The main focus of Chapter Five is the co-existence of nationalistic views of Czech art with the attempts of artists and art critics to bring Czech art into a dialogue with Western art. In the following chapter, Chapter Six, this practice is explored in the context of the Viennese university and the so-called Vienna School of art history, particularly the work and legacy of Max Dvořák. The influence of the School on Czech art history is the topic of Chapter Seven, which again brings up the question of the divide between international and national perspectives of Czech art. Criticism of the Czech Vienna School followers from various groups of art historians is examined in Chapter Eight. Finally, in Chapter Nine, I conclude with the exploration of the rise of a new concept of art historical identity, the concept of Czechoslovak identity.

The starting point for this research project is the high incidence in recent years of problems in the management of opera houses in Europe, especially those of an economic and managerial nature. This thesis concentrates on analysing these issues and suggests that there are inherent tensions in running an opera organisation which cause these difficulties. A key concept in the analyses presented in this thesis is the artistic-economic dichotomy, which describes the dual aim of arts organisations: artistic aims and economic-organisational aims. In creating an analytical framework for this concept, theories by Jurgen Habermas, Jean L. Cohen and Andrew Arato, and Henrik Kaare Nielsen are applied. The theoretical concepts employed include civil society, state and market as defined by Habermas and quality as contextual entity as defined by Nielsen. With the help of these concepts an analytical model is created for analysing the framework in which opera organisations operate. In the course of the thesis five case-study organisations are analysed with the analytical apparatus created. The organisations analysed are: Deutsche Opera Berlin, English National Opera, Finnish National Opera, Glyndebourne Festival Opera and Opêra national de Paris. The information presented about the case-study organisations includes a brief organisational history, income and expenditure information, personnel structure and organisational structure. Additionally, programming, pricing and audience information is presented with basic details of the opera houses in which the organisations operate. The key finding of the research process is that a dual organisational structure often exists in opera organisations: the official organisational structure and an unofficial artistic structure. This dual structure, it is argued in this thesis, is the reason for difficulties in managing an opera organisation. Based on this finding, a model describing the artistic-economic framework in which opera organisations need to operate is created at the end of the thesis. This model — incorporating the different value assumptions and quality contexts existing in the framework of opera organisations — is the main result of the research process. It can be applied in the analysis of opera organisations and can, it is argued, assist in academic as well as practical discussion about how opera houses could be better managed in the future.

The study examines the development of arts policy and town planning in the United Kingdom and investigates their relationship in the provision of arts and cultural amenity in urban contexts. The historic evolution of arts planning is taken through the pre and post-Welfare State periods, concentrating on national arts and related environmental, urban and economic policies. The evolution of town planning in Britain is assessed both in terms of urban policy and planning and as they affect arts provision and development. The position of London and the 'regions' is assessed in terms of the distribution of arts resources, in the light of the Arts Council's 'Glory of the Garden' strategy (1984) and subsequent initiatives and this is extended to the increasing influence of European policy through cultural and economic development programmes. The adoption of economic rationales for arts provision and investment is assessed in terms of the shift towards a cultural industries approach to local economic development. Arts-led tourism and the use of cultural attractions as part of inward investment and image improvement strategies are contrasted with the provision of local arts facilities, taking the example of the arts centre and workspace for artist and crafts producer. The application of planning standards for leisure and recreation is evaluated in terms of arts amenity planning and the relative outcomes of arts versus sports provision. Two surveys of London local authorities assess the adoption of arts and urban regeneration measures and the place of arts amenities in local land-use plans. The results are then compared with other citiesin the UK and overseas. A detailed analysis of one London borough, Isli ngton, is made in terms of arts policy and provision in the context of the national planning regimes operating during the 1980s. A local cultural quarter, Clerkenwell, is then investigated in terms of the impact of such policy and planning changes on artist, crafts and other cultural production and premises usage. The thesis develops the case for the utilisation of arts planning standards and the results suggest an integrated policy and planning approach to local arts provision, and to economic and cultural development, at both local and regional levels.

This thesis investigates the provision of orchestral training in Great Britain through the opportunities offered in pre-graduate, undergraduate and postgraduate areas. The research follows on from the 1965 and 1978 Gulbenkian Reports, "Making Musicians" and "Training Musicians" and investigates those conclusions and recommendations of the reports which appertain to this thesis. The research was carried out by surveys, interviews and through literature available to the author. Surveys were carried out by questionnaire and interviews were undertaken in person. The research aimed to prove three particular points. Firstly that British youth orchestras perform a vital task in providing the initial training of orchestral musicians. Secondly, whether the view taken by some of the British professional orchestras that British conservatoires do not devote sufficient curriculum time to complete orchestral training to the standards required by the professional orchestras is accurate. Thirdly that better opportunities for postgraduate orchestral training are required. This thesis thus concentrates on the provision for those students who show ability in playing an orchestral instrument and have attained entry into the higher levels of orchestral performance. Thus the research looks at orchestral provision at county level, conservatoire junior departments, national youth orchestras, conservatoires, universities, postgraduate opportunities and the summer music schools. The conclusions drawn from the research are that, despite serious financial pressures, the provision of orchestral training before entry to higher education is continuing to produce very high quality playing opportunities. In nearly all cases this is a good depth of provision, with young players being offered subsidised orchestral training courses on a regular basis and for many, the opportunity of working alongside professional conductors and tutors. The responses indicate the positive value placed on the training opportunities provided at this level and that they are held in high esteem by the music profession. The research also shows that conservatoires have not yet come to terms with the dilemma of developing high profile master musicians whilst at the same time ensuring that the training of instrumentalists encompasses all aspects of the orchestral profession and other changes in employment opportunities for their students. Postgraduate training that is already available receives high praise, but there are significant findings indicating that a greater provision is necessary.

The issue of identity has become increasingly important in the 21't century. Facing the dilemma of being tom between globalisation and indigenisation, our sense of identity is constantly changing and in turmoil. This dissertation engages with several questions: How does our sense of belonging come about? In what ways and to what extent can the state construct culture, regulate our behaviour, and formulate a sense of belonging through cultural policy? And, why cultural policy might fail? Because the politics of cultural policy has either been overlooked or considered only in general terms without thorough examination on a long-term basis, this thesis examinest he relationshipb etweenc ulturalp olicy and culturali dentityb y exploring the case of post-war Taiwan. The development and dramatic change of cultural identity in post-war Taiwan provides a good testing ground to examine the relationship between cultural policy and identity construction, especially during the volatile identity crisis in the 1990s. There are two parts in this dissertation. Part I focuses on textual research of a half-century of Taiwanese cultural policy, alongside the island's historical development; Part 11 records and analyses the fieldwork I carried out on Taiwanese theatre to substantiate the textual analysis in Part 1. This thesis deals with issues in two areas that no other research has explored before and tries to indicate the universal implications of the analysis of Taiwanese identity construction and cultural policy. Firstly, through the analysis of the politics of culture in Taiwan, this research demonstrates how a stable and deeply rooted China-centric identity was overturned within only two years. Furthermore, it highlights the politics of culture by displaying how an authoritarian regime was challenged, and how cultural hegemony could be won in order to grasp political power. Secondly, the case study provides evidence manifesting the changing nature of contemporary cultural policy, and its hidden politics. Under the name of 'supporting the arts', the state uses cultural policy to maintain its cultural hegemony. Although Taiwan has carried out a process of democratisation since the 1980s, the state has not loosened its control on culture, but has rather changed its strategy of how to control. A new alliance between regulation and market forces has formed, and becomes the nexus of modem cultural policy.

The aim of this research project is to analyse forms of remembrance and memory of the Shoah in Germany in its and their political and cultural formations. The underlying question driving the research project is Adorno's famous essay 'What does it mean: coming-to-terms with the past?'. The thesis deals with historical-philosophical reflections and the historical-literary perspective on the complex process of remembering the Shoah in Germany and its monumental manifestations in the form of the planned Holocaust Memorial in Berlin. The research project sets out to critique and analyse a body of artistic, literary and philosophical works that engage with the problematics of remembering and re-presenting the Shoah. It explores these critical questions against the backdrop of the changed social and historical conditions of the reunited Germany and makes reference to the debates of the 1990s, the planned Holocaust Memorial in Berlin and the wider context of post-Holocaust discourse. The first chapter delivers an exegetical reading of Walter Benjamin's texts in order to open up new interpretative perspectives for an understanding of the issues at stake. Benjamin's notions of 'history' and 'memory' serve as ideas for a comparative analysis of the problematics of memory in the country of the perpetrators and for the possibilities of future memory. The second chapter discusses the decision-making process for a national, central 'Memorial to the murdered Jews of Europe' in Berlin; it explores the winning designs of the competition and their respective implications on what constitutes the memory of the Shoah in Germany. The decision for a central memorial and the implications of the chosen design are measured against the backdrop of the debates of the 1990s and the politics of a re-united Germany. The third chapter discusses the different attempts of literary and (historical-)philosophical reflection on the occurrence of the Shoah in the writings of Thomas Mann, Hannah Arendt, Karl Jaspers and Alexander and Margarete Mitscherlich. The chapter questions the political positioning and action of the author Martin Walser, as a representative of the generation of perpetrators, to the process of working-through and coming-to-terms. It critically examines Walser's speech of October 1998 and places the speech in the historical context of coming-to-terms in post-war Germany. The thesis demonstrates that the choice of design. for the planned Holocaust Memorial correlates with the status of politics in the united Germany. It is argued here that the focus on what it is that needs to be worked through and come to terms with, has shifted during the post-Holocaust discourse. The thesis demonstrates that the questions at stake in the most recent debates are the workings-through of a younger generation that confronts part of a horrifying family history. The thesis argues for the necessity of memory and remembrance in the future.