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"What does culture have to do with policy? Debates over offensive art and government funding represent only a small part of our cultural landscape. We need to think about culture differently and bring new contexts to changing realities. What challenges will American cultural life face in the future? How will new communications technologies and global transformations affect the way we perceive culture? Can cultural institutions survive a loss of support and reach new audiences? How might the arts and culture activate neighborhoods and cities?" "The Politics of Culture brings together important recent thinking in this emerging field. Featuring fresh research and thought-provoking commentary, these selections provide a compelling outline for the future of American cultural policy."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Klaus von Beyme is a distinguished German political scientist and recipient of the Mattei Dogan Award of Political Science (2012). In honour of his 80th birthday this book addresses political culture, cultural policy, art and politics. The first part on transformation theory analyses: “Historical Memories in Political Theories”, “Historical Memory in Nation-Building and the Building of Ethnic Subsystems”, “The Concept of Totalitarianism – A Reassessment After the Breakdown of Soviet Rule”, “Political Culture – A Concept from Ideological Refutation to Acceptance in the Soviet Social Sciences”, “Institutions and Political Culture in Post-Soviet Russia” and “Political and Economic Consolidation in Eastern Europe. Evidence from Empirical Data”. The second part on cultural policies addresses “Why is There No Political Science of the Arts?”, “Historical Memory and the Arts in the Era of the Avantgardes: Archaisme and Passéisme as a ‘passéisme of the future’”, and “Capital-building in Post-war Germany”.
Contemporary society is complex; governed and administered by a range of contradictory policies, practices and techniques. Nowhere are these contradictions more keenly felt than in cultural policy. This book uses insights from a range of disciplines to aid the reader in understanding contemporary cultural policy. Drawing on a range of case studies, including analysis of the reality of work in the creative industries, urban regeneration and current government cultural policy in the UK, the book discusses the idea of value in the cultural sector, showing how value plays out in cultural organizations. Uniquely, the book crosses disciplinary boundaries to present a thorough introduction to the subject. As a result, the book will be of interest to a range of scholars across arts management, public and nonprofit management, cultural studies, sociology and political science. It will also be essential reading for those working in the arts, culture and public policy.
This book places the study of public support for the arts and culture within the prism of public policy making. It is explicitly comparative in casting cultural policy within a broad sociopolitical and historical framework. Given the complexity of national communities, there has been an absence of comparative analyses that would explain the wide variability in modes of cultural policy as reflections of public cultures and cultural identity. The discussion is internationally focused and interdisciplinary. Mulcahy contextualizes a wide variety of cultural policies and their relation to politics and identity by asking a basic question: who gets their heritage valorized and by whom is this done? The fundamental assumption is that culture is at the heart of public policy as it defines national identity and personal value.
Over the last three decades, a new generation of conceptual artists has come to the fore in the Arab Middle East. As wars, peace treaties, sanctions, and large-scale economic developments have reshaped the region, this cohort of cultural producers has also found themselves at the center of intergenerational debates on the role of art in society. Central to these cultural debates is a steady stream of support from North American and European funding organizations—resources that only increased with the start of the Arab uprisings in the early 2010s. The Politics of Art offers an unprecedented look into the entanglement of art and international politics in Beirut, Ramallah, and Amman to understand the aesthetics of material production within liberal economies. Hanan Toukan outlines the political and social functions of transnationally connected and internationally funded arts organizations and initiatives, and reveals how the production of art within global frameworks can contribute to hegemonic structures even as it is critiquing them—or how it can be counterhegemonic even when it first appears not to be. In so doing, Toukan proposes not only a new way of reading contemporary art practices as they situate themselves globally, but also a new way of reading the domestic politics of the region from the vantage point of art.
Political scientists by and large ignore cultural industries and technologies whereas they are prominent in other disciplines. This book provides insights from local, societal, national, and international levels in understanding cultural industries, technologies, and policies and integrates these perspectives into the study of political science.
The authors interviewed over 5,000 citizens in Germany, Italy, Mexico, Great Britain, and the U.S. to learn political attitudes in modem democratic states. Originally published in 1963. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
“This masterful collection illuminates many of the all-important interfaces between culture and economy. . . . These insights have never been more important.” —W. Lance Bennett, author of News: The Politics of Illusion The backlash against globalization and the rise of cultural anxiety has led to considerable rethinking among social scientists. This book provides multiple theoretical, historical, and methodological orientations to examine these issues. While addressing the rise of populism worldwide, the volume provides explanations that cover periods of both cultural turbulence and stability. Issues addressed include populism and cultural anxiety, class, religion, arts and cultural diversity, global environment norms, international trade, and soft power. The interdisciplinary scholarship from well-known contributors questions the oft-made assumption in political economy that holds culture “constant,” which in practice means marginalizing it in the explanation. The volume conceptualizes culture as a repertoire of values and alternatives. Locating human interests in underlying cultural values does not make political economy’s strategic or instrumental calculations of interests redundant: The instrumental logic follows a social context and a distribution of cultural values, while locating forms of decision-making that may not be rational.
Why has identity become so central to judging art today? Why are some groups reluctant to defend free speech within culture? Has state support made artists poorer not richer? How does the movement for social justice influence cultural production? Why is Post-Modernism dominant in the art world? Why are consumers of comic books so bitterly divided? In Culture War: Art, Identity Politics and Cultural Entryism Alexander Adams examines a series of pressing issues in today's culture: censorship, Islamism, Feminism, identity politics, historical reparations and public arts policy. Through a series of linked essays, Culture War exposes connections between seemingly unrelated events and trends in high and popular cultures. From fine art to superhero comics, from political cartoons to museum policy, certain persistent ideas underpin the most contentious issues today. Adams draws on history, philosophy, politics and cultural criticism to explain the reasoning of creators, consumers and critics and to expose some uncomfortable truths.
David Bell and Kate Oakley survey the major debates emerging in cultural policy research, adopting an approach based on spatial scale to explore cultural policy in cities, nations and internationally. They contextualise these discussions with an exploration of what both ‘culture’ and ‘policy’ mean when they are joined together as cultural policy. Drawing on topical examples and contemporary research, as well as their own experience in both academia and in consultancy, Bell and Oakley urge readers to think critically about the project of cultural policy as it is currently being played out around the world. Cultural Policy is a comprehensive and readable book that provides a lively, up-to-date overview of key debates in cultural policy, making it ideal for students of media and cultural studies, creative and cultural industries, and arts management.