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Sarah Owen Vandersluis critically examines approaches to cultural policy within the global economy. This study taps into the growing debate on ethical theory and International Political Economy. It challenges the normative positions of nationalists and welfare economists, before developing an alternative communitarian ethics for cultural policy in a global economy. The study concludes with an examination of the practical implications of this ethics in several case studies.
Global Cultural Economy critically interrogates the role cultural and creative industries play in societies. By locating these industries in their broader cultural and economic contexts, Christiaan De Beukelaer and Kim-Marie Spence combine their repertoires of empirical work across four continents to define the ‘cultural economy’ as the system of production, distribution, and consumption of cultural goods and services, as well as the cultural, economic, social, and political contexts in which it operates. Each chapter introduces and discusses a different theme, such as inclusion, diversity, sustainability, and ownership, highlighting the tensions around them to elicit an active engagement with possible and provisional solutions. The themes are explored through case studies including Bollywood, Ghanaian music, the Korean Wave, Jamaican Reggae, and the UN Creative Economy Reports. Written with students, researchers, and policy-makers in mind, Global Cultural Economy is ideal for anyone interested in the creative and cultural industries, media and cultural studies, cultural policy, and development studies.
Selected as an Outstanding Academic Title by Choice Magazine in 2014! This book aims to deepen the student’s understanding of the complex ethical challenges that businesses face in an increasingly globalized world. As the world moves towards greater interdependence, it has been demonstrated that globalization is linked to economic growth. This raises a critical question: as a key player in fostering economic growth, how does the multinational corporation function as a moral agent? Global Capitalism, Culture, and Ethics offers a sophisticated analysis of theoretical ethical issues such as universalism versus pluralism; the connection between law and morality; the validity of a corporate social agenda; and the general parameters of moral responsibilities for multinational corporations. With these foundational issues addressed, the book proceeds to analyze a number of specific controversies such as the proper scope of political activism, disinvestment, environmental sustainability, and responsible sourcing from low wage countries. The analysis of globalization is not confined to a treatment of the moral obligations of multinational corporations, but also reviews the history of global capitalism, the interdependence between governments and multinational corporations, and the beneficial and harmful effects of globalization on social welfare. Weaving together themes from economics, history, philosophy, and law, this book allows the reader to appreciate globalization from multiple perspectives. Its theoretical cogency and uncompromising clarity make it a rewarding read for students interested in issues of ethics and globalization.
As the world continues to evolve, globalization remains a key topic area among scholars and practitioners across disciplines and industries. It is essential for managers to stay informed and look out for potential threats that can negatively affect global operations. Geopolitics and Strategic Management in the Global Economy is a pivotal reference publication featuring the latest scholarly research on an international view of the challenges and opportunities organizations face in the global marketplace. Including coverage on a broad range of topics such as firm competitiveness, project management, and social capital, this book is ideally designed for academicians, researchers, students, and managers seeking current research on best ways to handle international management issues.
Articles offer a historical and socio-political analysis of major media and cultural policies in the European Union: 'The Place of Media and Cultural Policy in the EU', K. Sarikakis'; 'Can State Aid in the Film Sector Stand The Proof of EU and WTO Liberalisation Efforts?', C. Pauwels, S. De Vinck, B. Van Rompuy; 'Cultural Diversity and Subsidiarity: The Case of Cultural Tourism In the European Union', E. Dumont, J. Teller; 'Mediating Social Cohesion: Media and Cultural Policy in the European Union and Canada', K. Sarikakis; 'The EU, Communications Liberalisation and the Future of Public Service Broadcasting', P. Humphreys; 'More Europe: More Unity, More Diversity? The Enlargement of the European Audiovisual Space', H. de Smaele; 'Undermining Media Diversity: Inaction on Media Concentrations and Pluralism in the EU', G. Doyle; 'The Construction of European Identity and Citizenship Through Cultural Policy', L. Tsaliki; 'The EU and the Press: Policy or Non-policy?', D. Hutchison; 'Diverse Journalists in a Diverse Europe? Impulses for a Discussion on Media and Integration', S. Kretzschmar; ' Whither Cultural Diversity: The European Union's Market Vision For the Review of Television Without Frontiers Directive', M. Wheeler.
In recent years, the global creative economy has experienced unprecedented growth. Considerable research has been conducted to determine what exactly the creative economy is, what occupations are grouped together as such, and how it is to be measured. Organizations on various scales, from the United Nations to local governments, have released ‘creative’ or ‘cultural’ economy reports, developed policies for creative urban renewal, and directed attention to creative placemaking – the purposeful infusion of creative activity into specific urban environments. Parallel to these research and policy interests, academic institutions and professional organizations have begun a serious discussion about training programs for future professionals in the creative and cultural industries. We now have entire colleges offering undergraduate and graduate programs, leading to degrees in arts management, arts entrepreneurship, cultural management, cultural entrepreneurship or cultural economics. And many professional organizations offer specialized training and certificates in cultural heritage, museums studies, entertainment and film. In this book, we bring together over fifty scholars from across the globe to shed light on what we collectively call ‘cultural entrepreneurship’ – the training of professionals for the creative industries who will be change agents and resourceful visionaries that organize cultural, financial, social and human capital, to generate revenue from a cultural and creative activity. Part I of this volume begins with the observation that the creative industries - and the cultural entrepreneurship generated within them - are a global phenomenon. An increasingly mobile, international workforce is moving cultural goods and services across national boundaries at unprecedented rates. As a result, the education of cultural professionals engaged in global commerce has become equally internationalized. Part II looks into the emergence of cultural entrepreneurship as a new academic discipline, and interrogates the theoretical foundations that inform the pedagogy and training for the creative industries. Design thinking, humanities, poetics, risk, strategy and the artist/entrepreneur dichotomy are at the heart of this discussion. Part III showcases the design of cultural entrepreneurship curricula, and the pedagogies employed in teaching artists and culture industry specialists. Our authors examine pedagogy and curriculum at various scales and in national and international contexts, from the creation of entire new schools to undergraduate/graduate programs. Part IV provides case studies that focus on industry- or sector-specific training, skills-based courses (information technology, social media, entrepreneurial competitions), and more. Part V concludes the book with selected examples of practitioner training for the cultural industries, as it is offered outside of academia. In addition, this section provides examples of how professionals outside of academia have informed academic training and course work. Readers will find conceptual frameworks for building new programs for the creative industries, examples of pedagogical approaches and skillsbased training that are based on research and student assessments, and concrete examples of program and course implementation.
First Published in 2006. Routledge is an imprint of Taylor & Francis, an informa company.
This is a handbook for the cultural entrepreneur, offering some of the best examples on practice, franchises, research, innovation and business opportunities in the cultural sector. The key theme is the contribution and possibilities of the cultural economy as a business, with a strong supporting subtext on innovative practice. The book illustrates the theme by providing multiple practice-based and empirical examples from an international panel of experts. Each contribution provides an accessible and easily accessed bank of knowledge on which existing practice can be grown and new projects undertaken. It provides an eclectic mix of possibilities that reinforce and underscore the full innovative and complex potential of the cultural economy. Topics include a review of the global and regional economic benefits of the cultural economy, evidence-based analysis of the culture industries, and an outline of the top ten cultural opportunities for business. This collection transcends the space between theory and practice to combine culture and innovation and understand their importance to a wider economy. This is essential reading for researchers and practitioners interested in entrepreneurship, non-profit management, art and visual culture, and public finance.
The concept of sustainable development is commonly divided into environmental, economic, social and cultural dimensions. While a variety of international actors have declared the importance of culture in sustainable development, jointly articulating this clearly has been difficult. For example, the Sustainable Development Goals (SDGs) that were adopted by the UN General Assembly in September 2015 contained only the most fleeting mention of culture. None of the SDGs referred directly to the case for integrating culture into sustainable development planning and decision-making. The role of cultural policy has remained unclear. This book contributes to a better understanding of the role of culture in achieving sustainability, focusing on the particular roles for cultural policy in this context. Cultural sustainability is conceptualised as the sustainability of cultural and artistic practices and patterns, and to the role of cultural traits and actions to inform and compose part of the pathways towards more sustainable societies. The links between culture and sustainable development are analysed in ways that articulate and contemplate different roles for cultural policy. The contributors take up the concerns and perspectives of international, national, and local authorities and actors, illuminating ways in which these multi-scale efforts both intersect and diverge. This book was originally published as a special issue of the International Journal of Cultural Policy.
The newly-updated version of this groundbreaking textbook continues to provide a topical and relevant analysis of the ethical dimensions of conducting business in a global political economy. From a starting point of applied ethics, the book introduces a common set of normative terms and analytical tools for examining and discussing real case scenarios.