Urban theorists and policy makers have begun to re-evaluate the importance of culture in urban development models. Culture is now widely viewed as a critical factor in the economic and social health of cities. Notions of creativity and the growing recognition of the role that culture-rich environments can play in attracting the “creative class,” are being partly expressed in the widespread adoption of urban cultural planning strategies. Cultural planning is commonly defined as the identification (mapping) and leveraging of cultural assets to support local community and economic development. It is also often explained as a “cultural approach” to municipal planning, an approach that entails effective cross-departmental and cross-sectoral collaboration in the implementation of strategic goals outlined within the cultural plan. A literature has been written on the potential of cultural planning by leading experts in the cultural policy field, especially from Australia and Britain. However, there has been a noticeable lack of critical research on this cultural development approach by scholars in Canada, where cultural planning is a relatively new and emerging municipal activity. This dissertation examines the policy and planning scope of the increasingly popular yet under-explored “municipal cultural planning” movement in Ontario, Canada. Research began with a thorough review of the cultural planning literature. Cultural planning deficiencies and research gaps identified in the international literature were subsequently addressed through an analysis of all ten existing cultural plans in Ontario’s mid-size cities. The analysis of plans was complemented by thirteen in-depth interviews with municipal staff responsible for overseeing the development and implementation of cultural plans. Aside from addressing the interpretations of and rationales for municipal cultural planning, the information derived from document analysis and interviews was used to address four important issues that have been either ignored or only addressed in a cursory way in the literature: the nature and actual extent of community consultation and cultural mapping in the cultural plan development stage; the accuracy of the growing arts policy labelling of cultural planning abroad as it applies to municipal cultural planning; the relationship between cultural planning and its conceptual roots in urban planning; and the outcomes of the cultural planning strategy. It was found that the development of cultural plans involved substantial community input, albeit not through the participatory “cultural mapping” process that is often claimed to be the preliminary step of cultural planning. In addition, it was observed that the increasingly common charge, particularly from Australia, that cultural plans are overly focussed on traditional arts sector concerns was not found to be the case with most cultural planning initiatives in Ontario. Further, while a strong urban development and planning-oriented basis has been used to differentiate cultural planning from traditional arts policy, the scope of cultural planning concerns in the sphere of urban planning practice was observed to be, with some noticeable exceptions, fairly superficial. However, this research also found that the strategic objectives outlined within cultural plans, which address a broad range of policy and planning activities related to cultural and community development, were generally being implemented and were effecting change.

Taiwan¡¦s democratization which began during former president Lee Teng-Hui¡¦s ¡]§õµn½÷¡^administration¡]1988-2000¡^has to be multiple values and open society. The democracy trend has influence the identity of nations ¡Ðeven the signature, meaning and territory of R. O. C. ¡]The Republic of China¡^ etc. issues¡Ðand the legitimacy of the governments. This article believes that culture policies are the key point of these issues, which have created cleavage of identity of nations, which even despoil the consolidation of democracy ¡X that is a common agreement of an order political board of nations. I believe that to decalcify the direction and change of culture policies is necessary and benefit for Taiwan¡¦s democratization consolidation. Generally, There are three main dimensions of culture policy researches: one is about the growth of economics; another is about the management¡]release and control¡^ of information-communication; the other is about individual¡¦s consensus which heritage from the socializations and nation¡¦s cultures. If we were used the three main dimensions to analysis Taiwan¡¦s development process of culture policies, we could discover that form two former Chiang president periods¡]¨â½±®É¥N¡^ to former president Lee Teng-Hui¡¦s administration, they were concerning on the first and second dimensions. The main points of culture policies of this period, which are the promotion of political loyalty, distribution of the massage which satisfied the profits of the ruler ranker, and educated the youths to be an unable to judge what is a justice and fairness for a society or a nations. But, the post- Lee Teng-Hui¡¦s period, Lee claims ¡§One-Country-On-Each-Side-Of-The-Strait¡¨¡]¨â°ê½×¡^and ¡§New Taiwanese¡¨¡]·s¥xÆW¤H¡^that is the great cleavage point from the culture policies of two former Chiang president periods culture policies which are ¡§Chinese Culture Recovery Movement¡¨¡]¤¤µØ¤å¤Æ´_¿³¹B°Ê¡^and ¡§Pax China¡¨¡]¤j¤¤°ê·NÃÑ¡^. The culture policy of Chen Shui-bian ¡]³¯¤ô«ó¡^,who beats competitor of KMT which party empower for 50 years, concerns over the first and third dimension of culture policies researches and is continued Lee¡¦s ¡§New Taiwanese¡¨ formation.The culture policies of Chen¡¦s administration are more concern over what are economic benefits ¡]incomes¡^ from them.

Cultural & Creative Industry (CCI) is a highly knowledge-based and productive industry. And the cultural tourist industry also been treated as the most potential industry in 21st century. Kaohsiung city, Kaohsiung county, and Ping Tung county are located in the most southern part of Taiwan. In the past, the local governments didn¡¦t focus on cultural travel. Since 2004, these three local government established ¡§Regional development committee¡¨ to open mutual dialogue between administrations. This committee is not only coordinating the relationships of governments, but also to run for more resources to develop industry captivity. Therefore, this research will take the region of Kaohsiung city, Kaohsiung County, and pin Tong County as research target. In vertical dimension, the research will focus on global trends, cultural touristy theory, cultural property theory, and overseas case study. In horizontal dimension, the research will combine the country¡¦s development policy, city vision, and regional resources. With cross analysis, the research will find out the benefits in politic, economic, and culture. Also, the research use methodologies such as document reading, case analysis, SWOT analysis, in-depth interview, and field study. This research will try to discuss following contents: 1.to clarify the trend and content of cultural touristy in international point of view through document reading. 2.to review the nation¡¦s development policy and southern city visions. The research will find the combination of targets. 3.to trigger the standards of economic benefit, and tell the develop advantage of this area from the development of cultural & creative industry and overseas successful case. 4.to use unique regional culture to create southern cultural travel image in eco-tourism as the last theme.

Pagrindinis darbo tyrimo aspektas yra teisinis. Tai valstybės strategija dvarų atžvilgiu, vykdomos programos, galiojantys teisės aktai. Tyrimo objektas yra Lietuvos kultūros politika dvarų atžvilgiu. Darbe keliamas tikslas – išsiaiškinti, kokia yra valstybės strategija bei požiūris į dvarų išsaugojimą, kiek įtakos turi privačių dvarų valdytojai, įvairios organizacijos. Taip pat aiškinamasi, kokios yra išsaugojimo ir integravimo į šiuolaikinį visuomenės gyvenimą problemos, kaip jas būtų galima spręsti. / The main aspect of the current study is juridical. This includes the strategy of the government regarding manors, ongoing projects, and active legal acts. The object of the current research is Lithuanian cultural policy regarding manors. The aim of the study is to investigate the strategy of manors' preservation and to examine the importance of private superintendents and various organisations in this matter. The problems of preservation and integration into the modern society as well as how these problems might be solved are also being investigated in this study.

Since the liberalization of international trade intensified in the middle of the XXth century, some States wished that goods and services containing a cultural value be put aside from the process of liberalization by means of a cultural exception. Others, on the contrary, considered that cultural industries constitute commodities entirely subjected to the principles of free trade. This thesis analyzes the present debate in order to determine if the cultural value of certain industries is enough to justify a specific treatment in international trade. For that purpose, the study goes back to the historical origins of the problem and attempts to determine if these industries have a specificity, particularly by analyzing their role in a society and by examining their legal nature. Based on these considerations, during the negotiations of the international trade agreements, some States intended to impose their point of view. Some of the latest agreements hold a specific regime to the cultural sector, whereas others did not refer explicitly to these. However, several governments have implemented support measures for their cultural industries, something other States considered violations to the principles of free trade and attacked them on political and legal grounds. Finally, this thesis examines the recent evolutions of the debate, especially at the time of the new round of negotiations within the framework of the WTO. It analyzes, as well, the new questions given arise by the development of new technologies, the new strategies of the States, and the solutions proposed to solve this debate. Most of these solutions refer to the cultural diversity concept, which, in a sense tend to appear as a political objective, which will make it possible to draw some legal conclusions in the field of international trade.

This dissertation examines the intersection of race, urban development, and arts policy in Chicago between 1935 and 1987. Maintaining a focus at the city level, it considers how activists, politicians, civic leaders, and bureaucrats operated within three policy environments presented by the Works Progress Administration’s Federal Art Project (1935-­‐1943), an interregnum period of dispersed domestic cultural policymaking (1944-­‐1963), and the early years of the National Endowments for the Arts and Humanities (1965-­‐1985). In the interplay between cultural activism, federal policy implementation, and the arc of urban development in Chicago, recognition of the arts as a key component of the local economy deepened, an extensive infrastructure formed, and refinements of the meaning of cultural democracy advanced. Chapters focus on the development of Work Progress Administration community art centers as a component of the relief policy framework; the implications for municipal arts policy of Mayor Richard J. Daley’s concern for stimulating the local economy and attracting affluent whites to the city; the extension of a state-­‐wide system of support for the arts in Illinois; and the Harold Washington administration’s efforts to institutionalize the arts as a part of city government via a vision of cultural democracy that emphasized multiculturalism, access, and free exchange. The dissertation considers the role of government in supporting the arts sector’s orientation towards cultural democracy, defined by valued diversity, open participation, and the right to be heard regardless of race and class background.

Cultural policy theory operates on a division between producers and the public. Dualisms, such as producer/consumer – or, in more nuanced circles, the triadic relationship of consumer/producer/owner – have had a structuring effect on the way in which we envision cultural policy theories. At its core, the producer/consumer dualism implies subjectivities – that is to say that it defines positions in relationships between socio-political actors/actresses. At the governmental level, such clear-cut subject positions are perceptible beyond theories, entering into the actual practice of policy-making to the point where certain policies structure the notion of the public (or consumers), and the producers and/or owners. Copyright law, for instance, represents a good example of such an ideational construct. As a form of cultural policy, copyright law seeks to define the rights of producers with regards to their productions. Consequently, this thesis aims at exploring the forms of agency that develop and challenge both the practice and theoretical constructs of cultural policy. Two aspects command us to question anew these boundaries, one based on contemporary social and technical transformations (the rise of the digital age), and one based on cultural practice (in this case, those of fans and fandoms).Borrowing from theories of cultural studies and Foucauldian approaches to discourse analysis, this thesis explored the emerging discourses surrounding fans and their use of copyrighted material via the internet. Putting emphasis on three fandoms that have had marked histories of fan activism and fan production via the use of copyrighted material – Star Trek, Firefly, and Harry Potter – this paper investigated fans’ use of copyrighted material in developing fan cultures and as a vehicle for their discursive practices. These cases illustrate how fans have challenged the established repertoires of subjects in cultural policy (making and theory), and how their form of agency represents an interesting case of resistance to the rise of the cultural industries conception of cultural policy.

During the 1980s and 1990s, the world witnessed a radical change in which globalization diminished the power of the nation-state and shifted that impetus to a certain number of “Global Cities.” London, New York and Tokyo appeared to be the first of these cities and they acted as the heart of the new commercial and financial geography. In order to further strengthen their status, these cities organized transnational cultural events such as fairs, festivals and biennials.  Those events have been assumed as a driving force behind other political, economic and financial activities in the era of globalization. Since the 1980s, Istanbul has emerged as a candidate for a new global city at the eastern frontier of Europe. Thus, with the encouragement of the government, the private sector has begun to organize several large-scale cultural events in order to reshape the city as a global city and re-present the nation with a more European outlook. This is in keeping with the desire to facilitate Turkey’s EU accession process and attract global commercial activities. The Istanbul Biennial is one of the most important of these cultural initiatives. Thus, this research will scrutinize the Istanbul Biennial within this framework. The main premise will be: “The organization of the Istanbul Biennial aims to attract global financial activities, enable the political aspirations of the city and therefore transform the city into a global one.”

Social movements are an understudied aspect of Canadian society. This thesis is an attempt to address this general lacuna by examining the social movement efforts of Canadian cultural nationalists during the 1960s and 1970s, as they struggled to build a strong, vibrant Canadian cultural community. Four social movement based questions guide the analysis. First, why did the Canadianization movement begin when it did? Second, how did the movement transform itself for long-term survival? Third, what kinds of mobilizing structures did the movement make use of, and what influence did these structures have on the movement's activities? And finally, how did the movement maintain itself in times when the political and media climate was unreceptive? This thesis addresses these questions with the combined use of data collected from archival sources as well as twenty-two interviews. The case of Canadianization permits us to empirically document the actions that organizational intellectuals take in pushing for social and cultural change, an aspect of the social movements literature that, until now, has been largely only theorized about.

This thesis explores the desirability of Australia???s State museums to be inclusive of diverse cultures. In keeping with a cultural studies approach, and a commitment to social action, emphasis is placed upon enhancing the ability of State museums to fulfil obligations and expectations imposed upon them as modern collecting institutions in a culturally diverse nation. By relating the desirability and ability of State museums to attaining social justice in a multicultural Australia through broadening the concept of Australia???s heritage, the thesis is firmly situated within post-colonial discourse. The thesis analyses State multicultural, heritage, and museum legislation, in New South Wales, Victoria, and Queensland, with regard to State museums as agents of cultural policy. Results from a survey, Greeks and Museums, conducted amongst Australia???s Greeks in Sydney, Melbourne and Brisbane, reveal an anomaly between their museum-going habits and the perception of those habits as expressed by government policies promoting the inclusion of Australians of a non-English speaking background in the nation???s cultural programmes. In exploring the issue of inclusiveness, the thesis highlights the need for cultural institutions to shift the emphasis away from audience development, towards greater audience participation. The thesis outlines an initiative-derived Queensland Model for establishing an inclusive relationship between museums and communities, resulting in permanent, affordable, and authoritative collections, while simultaneously improving the museums??? international reputation and networking capabilities. By using the example of one of the nation???s non-indigenous communities, and drawing upon material obtained through the survey, and a catalogue containing photographs and lists of Greek textile collections found in the Powerhouse Museum (MAAS), Sydney, the National Gallery of Victoria and the Immigration Museum, Melbourne, the Queensland Art Gallery and the Queensland Museum, Brisbane, as well as collections owned by private individuals, the thesis focuses on the role played by museums in constructing social cohesion and inclusiveness.