The main subject of thesis The Role of Culture in the Process of Regeneration of Post-industrial City is to introduce the theoretical concept of regeneration of former industrial cities through culture and evaluate the impact of culture on the regeneration of post-industrial city. The first part is aimed at general issues of culture in regional development and attractiveness of the city, there are mentioned basic concepts related to the issue and defined trends in the development and regeneration of post-industrial cities through culture. The second part is aimed at the process of transformation of the city of Ostrava and contains an analysis of the current situation in the city. The City of Ostrava has prepared a strategic document presenting the revival of city through culture as a factor of improving its external image, but also a source of regional identity and the cultivation of the community. Empirical verification of the contribution of current policies to the regeneration and development of Ostrava city through culture is conducted through a questionnaire survey. The results show that the citizens of the city noticed visible changes towards the improving the quality of life in a city, however, if the city intends to continue in its successful strategy of regeneration, emphasis should be placed on citizen participation, their feedback and utilization of previously completed cultural investments should be improved by connection of existing cultural infrastructure.

The Diploma thesis is devoted to the problems of financing culture focusing on the private and public support. The Theoretical part defines the basic theoretical concepts and the principle of functioning of the state contributory organizations in Czech Republic and characterizes the basic sources of financing of the Culture, covering public direct financial support (e.g. subsidies) and indirect support (tax expenditures), private financial support from profit and non-profit organizations and financing from EEA grants. The Practical part is focused on the quantitative analysis of the financial resources to the Culture and its development in time and measures the financial self-sufficiency of the organizations and the possibility of obtaining additional financial and other support through the private sector. It can be approbate that the financial self-sufficiency differs between the semi-budgetary organizations significantly, as well between sectors. However, the financial self-sufficiency of the cultural sector as a whole shows a positive trend.

This master's thesis deals with the valuation of cultural institutions. Its aim is to estimate the value of cultural contributory organization Hussite Museum in Tabor to 30 th June 2012 for the purpose of its founder, which is the Ministry of Culture of the Czech Republic, and then compare this value with a subsidy paid from the state budget. For this purpose the forecast of population of the Czech Republic and the Tabor region and the forecast of attendance of Hussite Museum in 2012 is made. The value of the organization is determined by the method of contingent valuation based on the questions related to WTP and WTA and supplemented by Victor S. Yocco method for measuring three factors of the hypothetical value. The paper aims to describe the issue of cultural institutions valuation as complex as possible, because this issue has not yet been comprehensively worked out and in the Czech environment it is not yet much explored area.

Creative industries are considered as a new oportunity and a tool of economical and social growth in developed countries, because they represent a "new" source of wealth and prosperity. Creative economy is not based any more on traditional manufacturing industry and that is why are these now in the interest forefront of experts and executives. In the frame of the city and region development are creative industries seen as a new competitive advantage and they play role in innovative process and competitiveness of firms, towns or regions. Research section of my thesis is focused on old industrial regions, exactely on comparative analysis of Ústecký and Moravian-Silesian region. Emphasis is put on a spatial organization of creative industries and on their further characteristics, reviewed by different indicators. Concerning the town Ústí nad Labem, my thesis is focused on advertising industry, which has been considered as a new dynamic industry since 1989.

Thesis (M.A.)--University of the Witwatersrand, Faculty of Humanities, Arts and Culture Management, 2013 / This report examines the ways in which a community theatre project called Thesele Creative Society (TCS) active in Soweto, South Africa, influenced and broadened the career paths of five people who were directly marginalized by the Apartheid government’s policies. I focus on the period from 1991-1995, which corresponds to the transition to democracy, signifying increased accessibility within the country to a variety of career options for black people synchronous with an entry into a differently challenging global economy. In many parts of the world, community arts projects are known to enhance the ability of their participants to successfully participate in the job market and learn skills that are useful in life more generally. South African community arts projects are understood to have played a significant role in, inter alia, the economic and skills development of its participants over the last 60 years. Although located in a remote periphery of the arts, culture and heritage sector, with its impact running a risk of being undercounted within the creative economy, TCS proved to be one of the community arts projects with socio-economic bearing. Selected through purposive sampling, the five main participants of this study present intrinsically interesting cases through which I identify the types of skills provided by TCS within the community theatre environment, as well as the methodology employed in transferring these skills. I also show that the background and practice of TCS provides lessons in terms of the application of self-reliance and self-determination principles, and sequentially argue that the application of these principles is necessary for the advancement of many disadvantaged communities in South Africa. I create links between the qualitative data I have collected in the form of interviews with wider issues of creative economies, complementing existing theoretical and ideological studies of community arts practice with a practically grounded approach. This research draws attention to, and demonstrates the importance of, the study of community arts projects, as opposed to community arts centres, which have been the virtually exclusive focus of prior research.

[pt] A economia criativa gera em torno de 3 porcento do PIB mundial e 1 porcento dos empregos da população economicamente ativa, segundo pesquisa da UNESCO em 2015. Das indústrias que compõem a área, o subsetor Performing Arts, na qual a dança está inserida, se destaca como maior fonte de renda para EUA, Austrália, Rússia e China. No Brasil, o investimento no segmento de dança ainda é embrionário e com baixa expressividade. Neste contexto, a dança, que se profissionalizou há quase 200 anos com o ballet clássico, busca formas de atrair e manter o público, sendo a comunicação de marketing ferramenta fundamental, principalmente por meio dos significados transferidos ao consumo e das experiências de consumo representadas nos discursos. Este trabalho identifica as aproximações e os afastamentos nos significados de consumo enunciados nos discursos dos consumidores de espetáculos de dança e na comunicação de marketing das companhias de dança. Para tal, foi realizada análise, por meio do ferramental teórico-metodológico da semiótica discursiva de linha francesa, de 61 cartazes, 46 sinopses, 5 sites institucionais e de entrevistas com 10 espectadores frequentes de dança clássica e contemporânea. Foram encontradas seis temáticas diferentes em cada discurso. Para evidenciar os significados de consumo encontrados em cada um deles foi utilizada a axiologia do consumo proposta por Floch (1991). Os resultados da pesquisa, que podem subsidiar decisões gerenciais dos administradores das companhias de dança, indicam certo afastamento nas valorizações crítica, prática e utópica e a aproximação na valorização lúdica dos espetáculos. / [en] The Creative Economy generates about 3 percent of world GDP and 1 percent of jobs of the economically active population, according to a 2015 UNESCO s research. From the industries that compose this economy sector, the Performing Arts subsector, in which dance is embedded, stands out as the largest source of income for USA, Australia, Russia and China. In Brazil, investments in the dance segment is still embryonic and low expressiveness. In this context, dance, which has been professionalized for almost 200 years with classical ballet, seeks ways to attract and keep the public. For that, marketing communication is fundamental, mainly through the meanings transferred to consumption and the consumption experiences represented in its discourse. This work identifies the approximations and deviations in the consumption meanings enunciated in the discourses of the consumers of dance performances and in the marketing communication of the dance companies. For that, 61 posters, 46 synopses, 5 institutional sites and interviews with 10 frequent audience members of classical and contemporary dance was analyzed based on the theoretical-methodological tool of the French discursive semiotics. Six different themes were found in each discourse. The consumption axiology proposed by Floch (1991) was used to show the meanings of consumption found in each of them. The results of the research, which may support managerial decisions of dance company managers, indicate a certain distance from critical, practical and utopian valuations and an approximation in the ludic valuation of dance performances.

Copyright is conventionally justified as an incentive to produce and disseminate works of authorship. We can justify and theorise copyright more richly, not least because empirical evidence does not support the incentive narrative. Rather than focussing on quantitative matters such as the number of works incentivised and produced, we should consider copyright's qualitative influence on culture. A threshold objection to such an approach is the risk of cultural paternalism. This objection can be overcome. Rather than specifying paternalistic standards of merit for works, we can target the conditions under which their creation and consumption takes place. I argue, firstly, that we should adopt the following high-level principles: (i) that the conditions of creation and consumption of works should be conducive to democratic deliberation (democracy) and (ii) that they should facilitate the development of human capabilities (autonomy). Secondly, I propose that we pursue three mid-level objectives, which are helpful indicia of democracy and autonomy: - a fair and wide distribution of communicative and cultural power (inclusiveness); - diversity in the content and perspectives available to the public (diversity); and - conditions that permit authors and users of works to engage rigorously with the conventions of the media in which they operate (rigour). It is often said that copyright obstructs important qualitative objectives, like freedom of expression, and that we could better pursue these goals by weakening copyright and relying on non-proprietary alternatives. My approach produces a more optimistic, but also more complicated, view of copyright. While copyright's qualitative influence is not optimal, reductions in the strength and scope of copyright sometimes produces conditions and incentive structures that are worse for inclusiveness, diversity and rigour than stronger copyright. For example, both attention and wealth are highly concentrated in networked information economies driven by free sharing of content, and this is bad for diversity or inclusiveness. Online business models, based on surveillance of users' consumption of free works, are corrosive of autonomy and democracy. Merely removing copyright-based restrictions on the sharing of works is not a panacea for copyright's ills. A qualitative theory such as mine equips us to better understand and calibrate more richly the trade-offs involved in copyright policy decisions, and encourages us to treat copyright as part of a broader, qualitatively-oriented information and cultural policy.

This thesis argues for a dualistic, epistemological, framework for the study of legitimacy which recognises the different ways it might be understood to exist, and as such be managed, within organisations. It is based on an ethnography of a Scottish professional theatre, Dundee Rep, undertaken over a 30 month period. The research adopts a social constructionist ontology and an epistemological framework based on the knowing that / knowing how framework of Gilbert Ryle to present three accounts of the legitimacy of the theatre – as belonging, becoming and integrated- and to challenge the notion implicit in the organisation studies literature that legitimacy is treated (and should be treated) as a belonging by organisations. The proposed integrated epistemological framing of legitimacy explains how notions of legitimacy as an emergent, negotiated perception and as a competitive resource possessed are both crucial to developing an integrated understanding of how legitimacy is produced at the organisational level.

In creative industries such as the gaming industry, the failure rate is typically higher in relation to many other industries. This is usually due to the constant need of innovation and the extreme competition in the industry of gaming. Firms in this industry take on multiple innovation projects, which inherently have a high rate of failure. Literature has previously stressed and focused on the importance of failure and how it can enhance learning that can be a crucial asset for any organization. However, failure brings along negative emotions that can slow down or block the learning process of an individual or an organization at large. In an industry where failure is common, it is important for the management to tackle this issue. Therefore, the purpose of this thesis is to explore the approach the management of small gaming firms take in order to normalize failure. In this study, the data has been collected qualitatively while using a thematic analysis to recognize consistent themes and patterns, which arise from the primary data that was collected. By conducting four semi-structured interviews with two different companies (2 interviews each), we found that both companies have a similar attitude regarding project failure. Both companies either expect failure to happen or even encourage it. One of our key findings was that both companies emphasize failing fast, which allows them to save time, money and resources as well as helps some members of the organization to react less emotionally to the termination of a project. Empirical results were then discussed and analyzed by judging whether the actions these companies took can be classified as a way of normalizing failure. We concluded that there was evidence for management employing various methods of action that would eventually lead to normalization of failure. Some of these actions included the fail fast attitude, failure supportive slogans and the thought of planning for failure beforehand.

Orientador: Antônio Francisco Magnoni / Resumo: A presente pesquisa tem como objetivo principal gerar um registro e uma análise do processo criativo da versão alpha do jogo digital independente (indie game) Lux Ex, que foi produzido quase que inteiramente por um único desenvolvedor, de forma autoral e adotando o modelo de produção independente conhecido como “Lone Wolf Developer” (Desenvolvedor Lobo Solitário). Tal modelo de produção possui particularidades que podem agregar ao produto final um caráter mais autoral, porque todas as suas etapas de realização são marcadas por um processo criativo pouco linear e entrelaçado com uma produção altamente interdisciplinar. Assim, o jogo apresenta uma complexa rede de significados para expressar conceitos e ideias emergentes da subjetividade de seu criador, valendo-se de sistemas simbólicos já estabelecidos. O objeto de análise da dissertação que aqui apresentamos, é o processo criativo completo de um jogo digital independente. / Abstract: The present research has as main objective to generate a registry and an analysis of the creative process of the alpha version of the indie game Lux Ex, that was produced almost entirely by a single developer, in an authorial way and adopting the model of production independently known as the "Lone Wolf Developer". Such a model of production has particularities that can add to the final product a more authorial character, because all its stages of realization are marked by a creative process not linear and intertwined with a highly interdisciplinary production. Thus, the game presents a complex network of meanings to express concepts and ideas emerging from the subjectivity of its creator, drawing on already established symbolic systems. The object of analysis of the dissertation presented here is the complete creative process of an independent digital game / Mestre