Kulturlivet har liksom alla delar av samhället kommit att i allt högre grad legitimeras i ekonomiska termer. Denna utveckling kan beskrivas i termer av en ekonomisering av samhället. Då managementtekniker från New Public Management har dominerat den offentliga förvaltningen sedan 1980-talet har ett samhälle där alla aktiviteter utsätts för konkurrens, kontraktsstyrning och kontroll växt fram. Kulturarbete har i samband med denna samhällsutveckling alltmer börjat organiseras som projekt. I denna studie används idéhistorikern och filosofen Michel Foucaults begreppsvärld för att visa på hur denna ekonomisering och projektifiering kan förstås som en diskurs som formar kulturarbetaren såväl som kulturpolitiken. Med utgångspunkt i att diskurser formar verkligheten undersöks hur projektifieringens diskurs har etablerats på kulturområdet, och hur kulturarbetaren subjektiveras – formar sig – inför denna verklighet. Dessa frågor utforskas genom en analys av kulturpolitiska styrdokument och genom intervjuer med kulturarbetare. Projektifieringens innebörd utforskas genom Foucaults teorier om biopolitik och styrmentalitet som relateras till nyliberalism, New Public Management och ekonomisering. Johanna Oksala och Wendy Browns teorier om nyliberalism, Roland Almqvists och Jan-Erik Lanes beskrivning av New Public Management, samt Johann Packendorffs analys av projektifieringens konsekvenser för individen utgör några av utgångspunkterna för denna diskussion. Studien visar på att projektifieringens diskurs har etablerats på kulturområdet och tre centrala begrepp som formar den har identifierats: flexibilitet, förnyelse och frihet. Analysen visar på att dessa begrepps diskursiva innebörder kan relateras till entreprenörskap, anpassningsbarhet, konkurrens, kreativitet och valfrihet. Vidare visar analysen på att kulturarbetaren subjektiveras av diskursen som ett nyliberalt subjekt: fri att göra val men som därigenom hålls ansvarig för sitt välbefinnande på livets alla områden. Slutligen diskuteras de konsekvenser som en projektifiering av kulturen kan få: ett försvagat offentligt samtal och ett mindre demokratiskt kulturliv. / Like all other parts of society the cultural sector has come to increasingly be legitimized in economic terms. This development can be described in terms of an economization of society. As the management techniques of New Public Management have come to dominate public sector administration since the 1980’s a new type of society has developed where all activities are exposed to competition, contract management and control. In light of this developement, the cultural sector has increasingly begun to organize cultural work in the form of projects. This paper uses the work of philosopher Michel Foucault to illustrate how this economization and projectification can be understood as a discourse which shapes the cultural worker as well as cultural policy. Based on the idea that discourses shape reality this paper examines how the discourse of projectification has been established in the cultural sector, as well as how the cultural worker is constituted as a subject within the discourse. These issues are explored through an analysis of cultural policy documents and through interviews with cultural workers. The implications of the discourse of projectification are studied through Foucault's theory of biopolitics and governmentality in the light of neoliberalism, New Public Management and economization. Johanna Oksala and Wendy Brown's theories of neoliberalism, Roland Almqvist and Jan-Erik Lane's analysis of New Public Management, and Johann Packendorffs analysis of the consequences this projectification has for the individual are starting points for this discussion. The paper shows that the discourse of projectification has been established in the cultural field and three central concepts that form the discourse have been identified: flexibility, innovation and freedom. The analysis shows that discursive meanings of these concepts can be related to concepts of entrepreneurship, adaptability, competition, creativity and freedom of choice. Furthermore the analysis in this paper shows that the cultural worker is subjectivated by the discourse as a neoliberal subject: a subject with an unquestionable ability to make free choices, which means that the individual is responsible for their own wellbeing in all areas of life. Finally, the paper discuss the possible consequences of this projectification of culture: a weakened public dialogue and a less democratic cultural life.

Submitted diploma thesis shows the portrait of Josef Fišer (1878 {--} 1944), the headmaster of a grammar school, regional historian, chronicler, cultural worker and a member of a range of societies. Josef Fišer was born in Klenčí pod Čerchovem, but he spent the majority of his life in Moravské Budějovice, where he stood in the head of a newly established Czech high school. The aim of this work is the interpception of Josef Fišer{\crq}s life, historical work and the picture of his personality in the eyes of his contemporaries. This diploma thesis also describes Josef Fišer as a high school pedagogue. Josef Fišer is undisputedly important person for the region of Moravské Budějovice. Up to present days there hasn{\crq}nt been published any monograph about him. Therefore Josef Fišer{\crq}s personal works saved in the branch of the State district archive in Třebíč {--} in Moravské Budějovice {--} played the crucial role in the creation of this work. In the first line there were newspaper{\crq}s and periodical{\crq}s articles or studies published in the occasion of the Fišer{\crq}s death or birth jubilee. The whole text is divided into six chapters, which are subdivided into subchapters. Textual or picture enclosures are joined to the diploma thesis to enrich the whole text.