Sammanfattning Publikutveckling är ett paraplybegrepp inom den offentliga kultursektorn som blivit alltmer uppmärksammat de senaste åren. Det märks inte minst genom Kreativa Europas studie Audience Development – How to place audiences at the centre of cultural organisations, som presenterades 2017. Samtidigt är begreppet komplext och på många håll finns en osäkerhet kring hur publikutveckling bäst kan tillämpas. Sett ur ett medie- och kommunikationsvetenskapligt perspektiv berör publikutveckling alltifrån strategisk kommunikation, PR och marknadsföring till interaktiva satsningar och olika digitala lösningar. Denna studies fokus ligger på regional nivå och avgränsas till scenkonstområdet i Värmland. Syftet med studien är att belysa publikutveckling genom att försöka reda ut vad som innefattas i begreppet sett ur ett regionalt perspektiv. Syftet är även att undersöka vilka möjligheter eller utmaningar som den regionala scenkonsten upplever i sitt praktiska arbete kopplat till publikutveckling. Vidare syftar studien att problematisera begreppet genom att anta ett sociologiskt perspektiv med hjälp av Bourdieus sociala teori. För att uppfylla syftet söker studien svara på tre frågeställningar: Hur ser de värmländska scenkonstverksamheternas upplevelse och användning av publikutveckling ut? Vilka slags möjligheter och fördelar ser den värmländska scenkonsten i sitt arbete med publikutveckling? Vilka slags utmaningar och problem ser den värmländska scenkonsten i sitt arbete med publikutveckling? Studien antar en abduktiv forskningsansats med kvalitativ metod. Studiens empiri genereras genom kvalitativa samtalsintervjuer med totalt åtta respondenter från fyra olika värmländska scenkonstverksamheter. Det empiriska materialet analyseras i relation till tidigare forskning och teori. Analysen av resultatet presenteras i tematiserad form främst i relation till Kawashimas (2000; 2006) kategorisering av publikutveckling i typerna: audience education, taste cultivation, extended marketing och outreach. Studiens resultat diskuteras även utifrån Bourdieus (1984; 1991) teoretiska begrepp sociala fält, symboliskt kapital, habitus, distinction och doxa. Studiens slutsatser visar att scenkonsten i Värmland betonar vikten av att skapa varaktiga relationer med publiken och lyfter kulturens betydelse för ett demokratiskt samhälle. Utmaningar kopplas främst till bristande resurser och avsaknaden av en samstämmighet kring kvalitetsbegreppet. Scenkonsten önskar bland annat att vara en röst i samhällsdebatten, skapa mötesplatser, värna sin konstnärliga frihet och förbättra det kollegiala samarbetet. Nyckelord: publikutveckling, kulturpolitik, scenkonst, PR, Värmland / Abstract Audience development is a term that has become increasingly used within the publicly financed cultural sector. This can be seen in Creative Europe’s study Audience Development – How to place audiences at the centre of cultural organisations, that was presented in 2017. But the concept of audience development is a complex one, and there is often some confusion as to how it is best applied. From a media studies perspective audience development branches into everything from strategic communication, public relations and marketing, to interactive ventures and digital solutions. The focus of this study is limited to Performing Arts in the region of Värmland. The aim of the study is to focus on the concept of audience development and to clarify what is contained within this concept on the regional level. The aim is also to investigate what practical possibilities and/or challenges Performing Arts operations in Värmland experience in their work connected to audience development. Finally the study aims to, from a sociological standpoint and with the help of Bourdieu’s theory on media and social production, problematize the concept of audience development. To achieve these aims the study attempts to answer three questions: 1) How do the Performing Arts of Värmland understand and use audience development? 2) What possibilities and advantages do the Performing Arts of Värmland see in their work with audience development? 3) What challenges and problems do the Performing Arts of Värmland see in their work with audience development? The study used an abductive approach with qualitative methodology. Empirical material was generated through qualitative interviews with a total of eight respondents from four different Performing Arts operations in Värmland. The gathered material was analysed with the help of existing research and theory. Analysis of the results is mainly presented in relation to Kawashima’s (2000; 2006) categorisation of audience development into the types audience education, taste cultivation, extended marketing and outreach. The results of the study are also discussed in relation to Bourdieu’s (1984; 1991) theoretical concepts of field, symbolic capital, habitus, distinction and doxa. The conclusions of the study show that the Performing Arts in Värmland emphasize the importance of creating lasting relationships with the audience, and uphold the importance of culture for a democratic society. Challenges are mainly connected to limited resources and a lack of consistency when it comes to the concept of quality. The Performing Arts wish to, among other things, be a voice in the public debate, create cultural spaces where people can meet, protect their artistic freedom and improve collegial cooperation. Keywords: audience development, cultural politics, Performing Arts, PR, Värmland

The subject of the thesis "Selected samizdat magazines 1980 - 1987 (X Desítka (Ten)/Violit and Jednou nohou (One Foot)/Revolver Revue)" is to give a picture of how these magazines were created and how they functioned in the context of the time. The first part of the thesis gives a general description of historical events, especially the period surrounding Gustáv Husák's rise to become the head of the Czechoslovak Communist Party and the start of normalisation. This change brought about issues such as political cleansing and trials and the development of opposition. The second chapter is devoted to the phenomenon of Charter 77, its origins, the response to it by the party and state apparatus and what it meant to be a Charter 77 member in everyday life. The concept of samizdat is briefly defined in chapter three. The fourth and fifth chapters deal with the magazines themselves. In the sixth chapter they are compared mainly in terms of production and distribution.

This thesis deals with the different roles and social functions of Swedish museums today. It consists of an analysis of five cultural policy documents, which have been reviewed with the purpose of categorizing the various tasks and visions for the museums described in the texts. The different statements have been categorized into three main categories: the museum as an institution of free knowledge, the museum as a foster and the museum as a social actor. Within these categories different directives appears, that both contradict and reinforce each other. Here is a mixture of both older values and contemporary words with positive connotations. There is also a constant construction of negatively charged ”counter images”, or problems – of which the document’s own policys are designed as the problem solver.   The various contradictions and paradoxes concerning the role and social function of the museum are seen in the thesis as an expression of the struggle between different discourses, proceeding from the concepts of discourse and hegemony presented by Laclau & Mouffe. Within the framework of these statements a process of negotiation between different discourses takes place, where different forces aim to fill different concepts with different meaning. This is important for the mission and social function of the museum, both today and in the future. The thesis finally shows how the museum functions as a social kitt, with the purpose of bringing together collective values in the fragmented and divided context of today. This functions as a protection against both internal and external threats.

Concevoir la culture comme représentation sociale met en perspective les travaux de la sociologie despratiques culturelles en éclairant leurs liens à un univers de sens et de valeurs. Les composantesconnotatives qui la structurent à Issoudun constituent les modalités par lesquelles elle devient un outilde positionnement social.Les usages sociaux différenciés de la culture sont analysés par la distance des acteurs à la culturecultivée, d’abord définie par l’appartenance professionnelle. Intégrée dans le système culturel local, lareprésentation de la culture rend compte de rapports sociaux de force qui structurent la société locale,marquée par le poids de l’acteur politique. La cohérence des liens unissant les représentations etpratiques culturelles montre l’existence de modes de vie spécifiques de groupe. L’observation deperturbations dans la superposition de l’espace des pratiques culturelles et des positions socialessouligne la force de la dimension subjective des hiérarchies culturelles : c’est à ce niveau, plutôt qu’àcelui des pratiques, que s’expriment les différences sociales.Les effets de localité, alliant dimensions urbaines et rurales, sur les façons de penser la cultures’expriment particulièrement dans les discours politiques. Les conceptions différenciées de la culture àIssoudun, Vendôme et Châteaudun sont mises en oeuvre selon des modes et des intensités variablesd’intervention dans le champ culturel local. Les usages politiques de la culture mettent enfin en évidencel’élaboration de figures originales de la ruralité au service de l’élaboration d’une identité urbainespécifique, notamment à travers la fête. / Social representation of culture is interesting for a sociology of culture by putting in perspective theknowledge about cultural practices with their values and meanings for individuals. Different elementsallow an identification of a social representation in Issoudun, which is used in various ways by socialactors.The different uses of the notion of culture depend on occupation in general, and in the local system ofculture, in which political actors weight heavily in small cities. The relations between cultural practicesand representations underline different ways of life. Local factors of social representations are alsodescribed, specifically regarding the socioeconomic profile of the local population and the rural contextof the cities. The results show that the main expression of social differences stays rather on a mindlyperspective than on a practical one.The impact of rural context on social representation of culture appears mainly in political speeches. Thepolitical way to think the cultural phenomenon in rural spaces leads to specific actions which allow toidentify different types of cultural policies. In this way, culture is also used to revalue the idea of ruralityto build a new cultural identity of the city.

The presented thesis deals with the topic of Czechoslovak cultural politics in music during the Socialist Realist era. The author based the study on the personal history of Václav Dobiáš, a prominent composer, cultural organiser and a pedago- gue, who serves as a typical representation of an artist, who bestowed all his artistic talents to the cause of the Communist Party of Czechoslovakia. The first chapter briefly describes Socialist Realism as a movement in music in the Soviet Union, the place of its origin. The main emphasis is put on the introduction to Zhdanov's po- litical speech, which consequently became the mandatory norm in the countries of the Eastern bloc. The next chapter is focused on Czechoslovak reflexion of Socialist Realism and its reception. This chronological development aims to expose the spe- cifics of each periods' reception of this artistic movement. Following chapters are dedicated to Václav Dobiáš. The first chapter of this part of the thesis deals with the beginning of the artist's journey which was strongly influenced by the avantgarde movement of 1930's. Next chapters depict his adoption of communist ideology in 1945, explore the motives behind this ideological conversion and characterize his po- litically-engaged work. This part is followed by a portrayal of Dobiáš as a...

The Florida Everglades is a highly diverse socionatural landscape that historically spanned much of the south Florida peninsula. Today, the Florida Everglades is an iconic but highly contested conservation landscape. It is the site of one of the world’s largest publicly funded ecological restoration programs, estimated to cost over $8 billion (U.S. GAO 2007), and it is home to over two million acres of federally protected lands, including the Big Cypress National Preserve and Everglades National Park. However, local people’s values, practices and histories overlap and often conflict with the global and eco-centric values linked to Everglades environmental conservation efforts, sparking environmental conflict. My dissertation research examined the cultural politics of nature associated with two Everglades conservation and ecological restoration projects: 1) the creation and stewardship of the Big Cypress National Preserve, and 2) the Tamiami Trail project at the northern boundary of Everglades National Park. Using multiple research methods including ethnographic fieldwork, archival research, participant observation, surveys and semi-structured interviews, I documented how these two projects have shaped environmental claims-making strategies to Everglades nature on the part of environmental NGOs, the National Park Service and local white outdoorsmen. In particular, I examined the emergence of an oppositional white identity called the Gladesmen Culture. My findings include the following: 1) just as different forms of nature are historically produced, contingent and power-laden, so too are different claims to Everglades nature; 2) identity politics are an integral dimension of Everglades environmental conflicts; and 3) the Big Cypress region’s history and contemporary conflicts are shaped by the broader political economy of development in south Florida. My dissertation concluded that identity politics, class and property relations have played a key, although not always obvious, role in shaping Everglades history and environmental claims-making, and that they continue to influence contemporary Everglades environmental conflicts.

o objetivo da pesquisa foi realizar uma reflexão crítica sobre o espaço teatral na cidade de São Paulo, pelo viés da Geografia, no período de 1999 a 2004, utilizando como referenciais teóricos Anne Ubersfeld e Milton Santos. O tema foi investigado a partir da hipótese de que a natureza do lugar teatral é ser um agente, uma espécie de mídia definidora do processo teatral, em sua relação com as políticas culturais do período (Lei de Incentivo à Cultura, Lei do Fomento ao Teatro e implantação de salas de teatro nos CEUs), e com os Guias de Teatro da cidade (jornais Folha de São Paulo e o Estado de São Paulo). Foi elaborado um banco de dados com informações acerca desses lugares e da sua relação com os respectivos Guias de Teatro, na cidade de São Paulo, no período de 1999 a 2004. O lugar teatral revelado na cartografia que surgiu das informações desse banco de dados caracterizou-se como múltiplo; fortemente ligado ao distrito central da cidade; com tendência à polarização entre as salas pequenas e grandes; forte ação do teatro de grupo na criação de novos espaços; e propriedade, na sua maioria, privada. A partir destes dados, discutiu-se a ?crise? do edifício teatral e a importância da atividade Teatro se vincular social e culturalmente ao lugar geográfico. Definiu-se, o lugar teatral pela noção de uso - na forma de um território vivido - e não pela arquitetura do edifício que ocupa. / The purpose of this research was to achieve a critical reflection about the theatrical space in São Paulo city by the slant of Geography in the period from 1999 to 2004. This was done using Anne Ubersfeld and Milton Santos as theoretical references. The subject was investigating to start from the hypothesis that the type of theatrical place is to be a agent, a specie of media that does the definition of theatrical process with their regarding to the cultural politics in this period (Cultural Incentive Law, Promotion to the Theatre Law and the theatrical rooms introduction in CEUs) and also with the regarding to the city theatrical guides (Folha de São Paulo and Estado de São Paulo newspapers). A database was preparing with the information concerning those theatrical places and with their regarding to the respective theatrical guides in São Paulo during the period from 1999 to 2004. The showing theatrical place in the cartography and that came up those records made up as multiple, it was strongly connected to the downtown district and it had a polarize tendency between small and big rooms. Those information showed also the strongly action of the theatrical groups in the new spaces raising and the private ownership in the most of those places. Arise from those records we talked about the theatrical building ?crisis? and the importance of the theatrical activities to be linked cultural and socially with the geographic place. We defined the theatrical place by the using basics- such way that a territory experienced in life- and not by it occupy in the building architecture.

in English: Culture is an integral part of civil society. Its positive effect on human being affects whole society. Social relations are created by culture. For that culture is percieved as public service to which is necessary to create appropriate atmosphere for its developement. There are a number of instruments which can do that, for example legislative atmosphere, cultural politics of state, regions and towns, public and private support and motivation of citizens to participate actively. According to theatres in Prague I try to describe these instruments and to find out which legal form is the most appropriate for cultural subjects from the legislative point of view and practic functioning.

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<p>This dissertation maps the militarization of Canadian culture under the War on Terror. The first section examines the rise of everyday life militarizing cultural practices such as the Yellow Ribbon campaign to Support the Troops, Red Fridays, and the Highway of Heroes. The second section takes up militarizing cultural texts: the most recent wave of Canadian Forces recruiting advertisements, the CBC radio play <em>Afghanada</em>, and Paul Gross’s 2008 film <em>Passchendaele</em>. Across these diverse sites of analysis I argue that it is precisely through the mobilization of the previous national myths of multiculturalism, peacekeeping and tolerance that the contrary cultural politics of the new militarism coheres.</p> / Doctor of Philosophy (PhD)