Dissertations / Theses: 'Cultural and art institutions'

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Tanurovska-Kjulavkovski, Biljana [Verfasser]. "Modelling Cultural and Art Institutions / Biljana Tanurovska-Kjulavkovski." Brussels : P.I.E-Peter Lang S.A., Éditions Scientifiques Internationales, 2021. http://d-nb.info/1236117816/34.

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Dunin-Wąsowicz, Roch. "Culture for Europe : struggles for contemporary meanings and social understandings of Europe through cultural institutions, festivals, and art projects." Thesis, London School of Economics and Political Science (University of London), 2015. http://etheses.lse.ac.uk/3223/.

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This thesis investigates struggles for meanings and social understandings of Europe taking place through cultural institutions, festival sites, and art projects. I claim that culture is a social field where meanings of Europe are made. I argue that meanings of Europe that emerge in these cultural sites are not prior or given, but are a result of struggles between the actors involved. They These meanings are to different degrees particular and autonomous, depending on the proximity of a given cultural site to the political structures of the state and the EU. This research identifies that actors who construct Europe’s meaning do so according to common patterns. Europe’s meanings evoke notions of unity – it is a symbol of coming together. At the same time, what different actors mean by Europe is an articulation of their particular ideals circumstances and aspirations, rooted in their direct contexts. In other words, in culture, there is but one Europe. There is not one Europe. This is confirmed by how Europe is understood by the immediate audiences of these cultural sites. It is perceived as relevant only when translated through familiar contexts – specific, local or national – and only then it is embraced. The background of the analysis is the significance of aesthetic culture in modernity, its role in making the nation, and its social imagining. This thesis examines the ways in which culture today demonstrates a similar capacity in regard to Europe, albeit in a micro scale. The methods employed are discourse and audience reception analysis, as well as participant observation. The empirical investigation comprises of a microanalysis of sites of cultural production. The case studies selected for this analysis, drawing on studies of cultural nationalism, include an online cultural outlet, an independent film festival and a transnational cultural festival, as well as a series of state commissioned contemporary artworks, all of which claim to be European in one way or another.

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Celeste, Elizabeth M. "Examining the OSU Urban Arts Space as a Model for Ecological Sustainability Initiatives for Arts and Cultural Institutions." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253047778.

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Frost, Sophie Louise. "Art at work : creativity and participation in the public cultural institution." Thesis, University of Aberdeen, 2016. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=230630.

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This thesis reflects upon the nature of creativity and participation in the UK public cultural institution. It asks: to what extent is creative agency enabled or disabled within this context? In order to answer this question a qualitative study of Southbank Centre, one of the UK's leading public cultural institutions, has been constructed. The thesis considers the institution in its totality, analysing and interpreting both internal, subjective dimensions and external, public-focused dimensions. An interdisciplinary approach characterises a theoretical and methodological framework that draws upon concepts and methods from sociology, visual culture, museum studies and institutional ethnography. The case study is contextualised through analysis of three key historical examples that provide the preconditions for current perspectives on the relationship between art and work in the public cultural institution: the 1951 Festival of Britain, Artist Placement Group (APG) and the Arts and Crafts Movement. The Southbank case study involves employee interviews, fieldwork observations and the interpretation of cultural objects. These provide the empirical evidence that enables reflection on how creative work and the public are constituted, and how the institution might be seen to exist as a site of struggle. These methods facilitate an assessment of the critical potential of creative work within and around the public cultural institution's self-defined boundaries and the specific historical, discursive and symbolic conditions through which it is enabled or disabled. Although the influence of neoliberal cultural policy cannot be underestimated in this context, the thesis concludes with an alternative suggestion for what the public cultural institution could be. It claims that the discursive tension between artistic and managerial agendas can act as a productive terrain for creative work in its broadest sense.

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Abbey, Jennifer Ann, and mikewood@deakin edu au. "Death and late-stage dementia in institutions: a cultural analysis." Deakin University. School of Nursing, 1995. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050825.153139.

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The first purpose of this study was to describe the deaths of fifteen nursing home residents with late-stage dementia. The devastating effect of dementia on a person has been called a living death (Woods, 1989). The caring which occurs when someone is going through this process in a nursing home was recorded and analysed. In analysing this act of caring, the second purpose was to look for the origins of the structures and the sources of pressure that shaped the context and therefore helped determine the behaviour of the various groups under observation. These groups were residents and their relatives, the staff of the nursing home and the treating doctors. Before commencing observations and carrying out this study, an understanding needed to be developed of: the condition of dementia as it is perceived by health professionals and presented in the media; the institutions in which the majority of people with dementia end their days; the background and conditions of the staff who nurse in them; the models of care that guide and determine policies; and the conceptions of life and death which underpin relevant laws and moral standpoints. Accordingly, in part 1. chapter 1 the history, causes, pathology and effects of dementing conditions are examined. Relevant medical and lay literature including media influences are examined which pertain to the subject of death and dementia and nursing home care. The history of this institutional care is briefly examined together with the growth of the discipline of gerontological nursing. Chapter 2 discusses some of the effects of this history on present day care and the concept of emotional work being carried out within the present day aged care public policy regulations. The moral arguments surrounding illness and dying in Australian society today are briefly discussed. Chapter 3 describes the conceptual framework for the study, the ethnographic method that has been employed and an outline of critical theory as the basis for analysis. The chapter concludes by recounting the practical steps taken to arrange the field work, secure the consent of participants, record data and gather documents, and outlines the ethical considerations given to the undertaking of the study. Chapter 4 describes the context in which the study took place and the first tentative exploration of the culture from an etic perspective. Part 2 describes the death trajectories observed and raises some questions about alternative strategies that may have been considered within a different paradigm of caring. In chapter 5 the death trajectories of each of the fifteen residents in the study are described, each written with a particular emphasis to illustrate aspects of the culture of care that emerged through thematic analysis. Observations, comments and feelings from staff and family are wound in and around these case studies. Chapter 6 looks more closely at the impact of policy and institutional pressure on the milieu in which these deaths took place. Part 3 draws conclusions from the observations and makes suggestions for emancipatory change as viewed from the author's standpoint of critical ethnographic analysis. In the final chapter an argument is presented for policy change that leads a movement towards palliative care practices for people with late-stage dementia. Approaches to implementation of palliative care will need to take account of any expression by the resident such as an advanced directive, indicating a preferred approach to treatment in the period prior to death; a need for a better understanding of such issues as the significance of body breakdown, the manifestations of pain and electrolyte imbalances; the surrounding ethical complexities and shift in public opinion, and perhaps, most of ail, the culture of the institutions in which this dying will take place. A definition of late-stage dementia which might be used in determining patterns of care is set out. A discussion about changes in practice which relate lo communication with treating doctors, the administering of antibiotics, the relief of pain, the mobilisation of residents and the provision of food and water takes place in light of the evidence found. The discussion of these issues is raised in the form of debate. Each aspect needs more rigorous analysis and information so that evidence-based practice, rather than care which is value-laden and emotional, can be used when treatment decisions are made for people with late-stage dementia.

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Wu, Chin-tao. "Privatising culture : aspects of corporate intervention in contemporary art and art institutions during the Reagan and Thatcher decade." Thesis, University College London (University of London), 1997. http://discovery.ucl.ac.uk/10044720/.

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This study provides an analysis of the growth of corporate art intervention in America and Britain during the Reagan-Thatcher era of the 1980s. The premise is that the factors governing business intervention into the art world are inseparable from the free-market enterprise culture and the government-specific policies deployed to promote it. After a general introduction, Chapter 2 investigates the concept of the state and its role in relation to the arts. The public perception of differences between the American and British arts funding systems is further explored in terms of the financing of American art museums, and the arts provision provided by the state before the 1980s is examined in the practices of the Arts Council of Great Britain and the National Endowment for the Arts. The public arts policies of the New Right, and in particular the use of tax deduction incentives, are analysed in Chapter 3. It also examine the host of measures implemented by the two governments to inject the principles and ethos of the free market into these public arts agencies, and to transform them into paragons of arts privatisation. The corporate takeover of art museums is the subject of Chapter 4. The crucial role played by the corporate elites who served on the boards of trustees of these institutions is investigated, together with the great influx of corporate capital into them. Chapter 5 gives an account of how corporations integrated themselves into the arts support system, by holding art exhibitions themselves, and by establishing branches of public art museums within corporate premises. Chapter 6, which concentrates on corporate art collections themselves, shows how these came to fulfil the dual function of private investment and public image-enhancing, how they sought and achieved validation and legitimation, how artists reacted to them, and how they succeeded in re-defining the meaning of cultural production. A conclusion summarises the various developments of corporate art intervention under the "casino economy" of the Reagan-Thatcher decade, and looks forward to possible directions for the future.

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Couret, Magali. "La production de l'œuvre publique d'art contemporain." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010256/document.

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L'art contemporain se veut transgressif, c'est un art fugitif dont on garde trace dans ses souvenirs, grâce à des photographies et des protocoles conservés dans les archives des institutions et prêts à être «réactivés». Située à la frontière de plusieurs domaines de création et confrontée à une forte dématérialisation, l'œuvre d'art contemporain déroute le juriste. Aujourd'hui, elle ne résulte plus du travail d'un artiste agissant seul dans son atelier, mais d'équipes réunissant les talents de multiples professions qui fragmentent sa réalisation en plusieurs phases. De fait, la scénographie ou le procédé artistique l'emportent souvent sur l'œuvre elle-même. Ce procédé prend le nom de «production» d'art. C'est pourquoi l'art contemporain constitue un objet d'étude complexe en droit, lequel s'attache encore trop à la forme de l'œuvre plutôt qu'à ses modes de création. La production artistique contemporaine est un domaine où les usages et les coutumes naissent au gré de pratiques efficientes, et prennent petit à petit le pas sur le droit. Dès lors, un fossé se creuse entre les professionnels de l 'art contemporain et le droit, ce qui a tendance à induire la coexistence de pratiques divergentes et d'interprétations diverses des coutumes établies, ainsi que le chevauchement de la coutume et de la législation, sans que des directives d'application de l'une ou l'autre ne soient adoptées. La question à laquelle nous tentons donc de répondre dans cette thèse est celle de savoir comment réduire cet écart entre la pratique des professionnels de la création contemporaine et le droit afin d'apporter sécurité juridique à la production artistique, et plus particulièrement au sein de la commande publique Contemporary art transgress, it is a fugitive art, which we remember thanks to our memories, to photographs and protocols owned by institutions, ready to be revived. The contemporary work of art is dematerialized and located in-between many fields of creation. That is why legal experts have troubles understanding it. Nowadays, a sole artist does not make the work of art anymore. Although, it is the result of the work of a team, gathering multiples professionals, who divide the creation of the work of art up in many phases. That phenomenon is called « production of art». Thus, contemporary art is a complex subject for the law, which is still focused on the form and materials constituting the work of art, instead of being focused on the ways it is produced. The artistic production is regulated by customs, which tend progressively to take advantage on the law. In fact, this creates divergent practices and interpretations of the rules. Plus, the law and the customs sometimes tend to overlap, and no one knows which one should be applied. The question we try to answer in this thesis is how is it possible to reduce the gap between the professional practices and the law, in pursuing the goal to bring legal security in the artistic production, and most specifically, in the field of public call for artists

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Bazin, Quentin. "Perplexités, Institutions, Créativités : De l’art brut au laboratoire itinérant." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE3046.

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En indiquant l’importance de travailler à soigner la culture qui est malade, en affirmant que ce quiimporte se passe dans les interstices de la société, l’art brut n’est pas pour autant dénué deréflexes normatifs et identitaires. Comment prendre la mesure de la nouveauté impliquée par l’a rtbrut sans servir ses contradictions ? Comment raconter l’art brut, que l’on tient pour capable devivifier nos créativités, sans reconduire des dominations portées sur les altérités qui président àses oeuvres ?Ce travail cherche à appréhender la notion d’art brut en considérant que ses productions, sesdiscours et ses effets témoignent d’une nouvelle conception de la créativité, qui nourrit lecommun par le détour de ce qui est hors du commun. Le premier mouvement prospecte descomposantes signifiantes de l’art brut (les fantasmes portés sur l’altérité, la primitivité, l’intensit é ,la singularité, mais aussi les pouvoirs de mutation et de conflit des productions brutes), ainsi quedes registres de discours tenus sur ses productions. Le mouvement suivant descend le long del’imaginaire conceptuel brut pour approcher une métaphysique de la créativité. Celle-ci articule lescomposantes de l’art brut et redessine le rapport aux subjectivités, aux expériences esthétiques etaux institutions (ce terme renvoyant aux établissements, mais aussi au langage, aux significationset aux comportements institués). Le dernier mouvement remonte des concepts vers uneproposition de pratiques organisées, prenant place dans une politique culturelle attentive auxrapports aux institutions, aux créativités mineures et aux inégalités dans les légitimités à créer. Cespratiques s’organisent autour d’un projet de laboratoire itinérant en Auvergne-Rhône-Alpes, dontles fonctions sont la transmission de nouvelles de la biodiversité culturelle locale, l’animationd’ateliers et de chantiers collectifs dans l’espace public et en institutions, ainsi que la recherche surles créativités populaires et leurs potentiels de transformation sociale By pointing out the importance of working to heal the culture that is sick, by saying that what matters is happening in the interstices of society, art brut is not without normative and identity reflexes. How can we measure of the novelty implied by the art brut without serving its contradictions ? How to tell the art brut, which we consider capable of invigorating our creativities, without renewing the domination of the othernesses which preside over his works ?This survey seeks to understand the notion of art brut by considering that its productions, its speeches and its effects reflect a new conception of creativity, which feeds the common through what is out of the ordinary. The first movement explore the significant components of art brut (phantasies about otherness, primitivity, intensity, singularity, but also the powers of mutation and conflict of raw productions), as well as registers of speeches about his productions. The next movement descends along the raw conceptual imaginary to approach a metaphysics of creativity. It articulates the components of art brut and redesigns the relationship to subjectivities, aesthetic experiences and institutions (this term referring to establishments, but also language, instituted meanings and behaviors). The last movement goes back from concepts to a proposal of organized practices, taking place in a cultural policy attentive to relations with institutions, minor creativities and inequalities in the legitimacy to create. These practices are organized around a mobile laboratory project in Auvergne-Rhône-Alpes, whose functions are the transmission of news about local cultural biodiversity, the animation of workshops and collective projects in the public spaces and in institutions, as well as research on popular creativity and their potential for social transformation

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Didier, Caroline. "Enjeux communicationnels et injonctions à la créativité dans des dispositifs participatifs." Thesis, Université Grenoble Alpes (ComUE), 2015. http://www.theses.fr/2015GREAL010/document.

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Le renouvellement des formes de participation des structures culturelles et territoriales pose la question du positionnement des acteurs de la participation dans la mise en place de dispositifs participatifs. L'analyse des dispositifs participatifs montre en quoi ces derniers inscrivent la participation dans une mise en scène de la participation sur le territoire. Des évolutions sont relatives à la « figure » du participant et à sa « parole » potentielle dans les structures et soulèvent des contradictions entre des logiques d'audience et de production, et une volonté d'intégrer des formes plus « sensibles ». En effet, des injonctions à la « créativité » apparaissent avec la mise en place de parcours dans la ville avec les participants, d'ateliers d'écriture pour scénariser les usages du territoire et de restitutions sur scène des expériences de participation, nécessitant de la part des participants un engagement corporel et scénique. Des collaborations avec le monde de l'entreprise et la recherche scientifique conduisent à une complexification des langages de la participation et des techniques empruntant à la fois à l'animation théâtrale et à l'entreprise, du management de la « créativité ». Face à ces conditions, les participants manifestent leur volonté de contrôler leur image et de s'emparer des dispositifs pour communiquer leur propre « sens » de la participation. Autant de conditions s'inscrivent dans des modes d'engagement qui interviennent dans une situation d'épreuve de la confiance envers les structures. La réflexion sur les conditions de mise en scène des dispositifs participatifs, les modes d'engagement des participants, leur scénarisation et leur dramatisation de la participation en lien avec les acteurs de la participations, politiques et administratifs, ainsi que sur les spécificités des stratégies de mise en visibilité de l'activité de participant, permettent de poursuivre l'analyse de l'espace dramaturgique de la participation et de ses enjeux politiques The cultural and local institutions are trying to renew the public debates forms. The participatory devices components are getting immersive and multimodal, making the participants physically and bodily involved. However, some factors as « sociability » and « creativity », which are increasingly introduced in the participatory devices, would change the participant stratus into audience status. We analyzed strategies used by the participation's actors to set up the participatory devices and make the participant as « co-producer ». We analyzed the participants appropriation. The participant's body engagement gives a visual image of his activity : it makes it observable for the institution. Therefore, the body's image is taking importance in the aesthetic experience of public debate as reaching a social network experience. The network experience would redefine the expressiveness and the articulation between individual identity and « community ». In order to analyse the communication issues it raises, we focused on differents process of the participatory devices : the exhibition's participant, the narrative construction of the engagements and the scenarisation of the participation

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Bottallo, Marilucia. "A mediação cultural e a construção de uma vanguarda institucional: o caso da arte construtiva brasileira." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27151/tde-09092011-114050/.

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O presente trabalho levanta questões sobre algumas formas particulares de estruturação de um sistema profissional de produção cultural para as artes plásticas no eixo Rio de Janeiro São Paulo no período que coincide com um momento de florescimento político e econômico e se fortalece a partir da segunda metade dos anos 1940 e ao longo das décadas de 1950/1960. No que concerne especialmente aos museus de arte moderna, observou-se um fortalecimento institucional em torno do qual o sistema artístico brasileiro se estruturou. Para se chegar a essa conclusão foram analisados os aspectos estruturais (econômicos e políticos) centrados no eixo Rio de Janeiro São Paulo, e conjunturais, a partir das particularidades do fenômeno da arte da vanguarda construtiva brasileira. Foram consideradas as visões dos artistas nacionais em relação tanto à questão da arte de vanguarda como na sua relação com o museu. Consideramos, também, a Bienal como instituição, seu vínculo com os artistas e com o próprio MAM/SP no processo de divulgação da arte. Avaliamos a ação artística, peculiar pela presença das vanguardas construtivas, que envolvia grande participação dos artistas no cotidiano museológico. Além disso, consideramos o estreito diálogo que havia com os críticos que atuavam em veículos de comunicação. Como parte fundamental do estabelecimento de um sistema profissional de produção cultural, avaliamos a consolidação de um mercado de arte com base na atuação de marchands e na criação de galerias privadas em uma ação ainda não muito distinta daquela dos museus. Os movimentos concreto e neoconcreto, na medida em que se caracterizam como vanguardas artísticas e sua atuação permitiu a mobilização do suposto sistema em torno das discussões sobre suas novas propostas éticas e estéticas, foram considerados pontualmente. This thesis raises issues on some specific ways of structuring a professional system of cultural production for the arts in the circuit Rio de Janeiro São Paulo coincident to a moment of political and economical emergence that gets stronger from the middle of the 1940s and during the 1950/1960 decades. Regarding in special the museums of modern art, it was observed an institutional strengthening around which the Brazilian artistic system was structured. To reach that conclusion structural aspects the economics and politics in the circuit Rio de Janeiro São Paulo as well as situational ones were considered on the specificities of the phenomenon of the Brazilian constructive vanguard art. We also considered the vision of the national artists on the art of vanguard and its relation to the museum. Also, we considered the Bienal and its relation with the artists and with the Museum of Modern Art of São Paulo itself in the process of divulging the art. We evaluate the artistic action, peculiar because of the presence of the constructive vanguards, and that involved a great participation of the artists on the museum day-to-day. Besides that we consider as well the close dialogue with the critics who worked on the vehicles of mass communication. As a fundamental part of the establishing of a professional system of cultural production, we evaluate the consolidation of an art market based on the activities of the dealers and the creation of private galleries in one action not yet very much distinct from that of the museums. The concrete and neoconcrete movements were specially considered because as artistic vanguard, their performances enabled the mobilization of the supposed system around the discussions on its new ethical and aesthetic proposals.

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Aguiar, Amanda Ruth Dafoe de. "Lina Bo Bardi e a atualidade do cavalete de cristal." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-07032016-143624/.

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Este projeto busca analisar o Cavalete de Cristal, aparato expositivo criado no fim da década de 1950 pela arquiteta ítalo-brasileira Lina Bo Bardi para ser a peça central da composição da expografia do Museu de Arte de São Paulo, o MASP. A pesquisa evidenciará que o design dessa peça - a partir da solução espacial para a qual foi planejada e do discurso curatorial nela embutido - criou uma gramática expográfica singular que, mesmo após sua extinção em 1996, ainda reverbera de maneira potente em discussões internacionais sobre os desafios da apresentação da arte em museus na atualidade. Esta pesquisa reflete a necessidade de se voltar o olhar para a proposta de Lina Bo Bardi, evidenciando a validade de uma retomada do projeto original desse museu como forma de recuperar um espaço de vivência cultural fundamental da cidade de São Paulo - que, como poucos, nasceu de um profundo entendimento das especificidades da cultura brasileira. This project undertakes an analysis of the Crystal Easel, exhibition apparatus created in the late 1950s by the Italian-Brazilian architect Lina Bo Bardi as the central element in the expographic composition of the Museu de Arte de São Paulo, MASP. Taking the spatial solution for which the apparatus was planned and the curatorial discourse embedded in it as starting point, the study will show that the design of this object created a singular expographic grammar that, even after its extinction in 1996, continues to reverberate forcefully in international discussions about the challenges of displaying art in museums today. This research relects the need to turn our attention to Lina Bo Bardi\'s proposal, evidencing the validity of resuming the museum\'s original proposal as a way to recover a fundamental space for cultural experience in the city of São Paulo - a museum which, like few others, was born of a deep understanding of the particularities of Brazilian culture.

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Loir, Christophe. "Les transformations artistiques en Belgique entre 1773 et 1835: institutions, hommes et oeuvres." Doctoral thesis, Universite Libre de Bruxelles, 2001. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211521.

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Serova, Nina. "Building an institution with emotional labour: Analysis of a post-industrial art centre, beyond the creative industries." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16731.

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Once established, institutions become systems that imply the naturalness of their political and cultural dynamics. But how are institutions produced? This thesis presents an analysis of the Sydney post-industrial art centre Carriageworks. I argue that Carriageworks’ institutionalisation is enabled by social investment – specifically, the emotional labour of those separately involved in establishing, managing and working at the centre, as well as its publics. Given its location in a former industrial railway workshop adjacent to Redfern, a suburb famed for its Indigenous political activism, the establishment of Carriageworks would typically be read either as a welcome answer to urban decline, tied into place competition; or critically, as displacement in the name of cultural regeneration. However, I shift the focus from these creative industries formulations to argue that the establishment of Carriageworks was by no means a historical given. Ethnographic detail of this centre’s formation reveals the crucial role of emotional labour (a term I adapt from its beginnings in Arlie Hochschild’s work), in allowing this institution to exist and subsequently thrive. In presenting diverse instances of Carriageworks’ development, from instantiation to policy formulation, I also emphasise the affective power of its building in not only establishing the centre as an institution, but broadening the terms on which places like it can be valued. In the process, I explore how we can ‘deal with’ middle-class success, without immediately slapping it down with all analysis suspended, to consequently question the complex ways in which people relate to creative place.

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Zannato, Mette <1996&gt. "The museum of Køn in Aarhus and the Museum of World Culture in Gothenburg as activist and inclusive institutions." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21026.

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Museums have for centuries allowed a Western centric and sexist narrative, which has left many voices unheard and unrepresented. As a consequence, still today, many people do not feel interested in visiting museums, as they believe that they are not being represented. However, from the second half of the twentieth century both artists and museologists have started removing themselves from these ideals, in order to create exhibitions that could be more inclusive and representative of a larger part of the population. This has among others been reached through more participatory museological practices, that invite visitors to engage in activities inside and outside the museum’s space. Another practice adopted to reach broader inclusivity and representation is curatorial activism, which through the inclusion of less heard voices tries to escape the traditional art historical canon. KØN - Gender Museum Denmark and the Museum of World Culture can be considered examples of institutions able to include less heard voices through a development of curatorial activism, which adopts a participatory approach, able to involve the communities in which they are located. KØN is located in Aarhus, Denmark, and focuses its work on establishing dialogues on gender roles, gender identity and gender fluidity in a contemporary and historical perspective. The museum was born as a women’s museum, but has recently expanded its area of interest to the cultural history of gender at large, proving to be a dynamic institution adaptable to society’s interests. Through its narrative it is able to represent people with different sexual orientations and non-binary people while at the same time opening visitors eyes up to these topics. The second museum I am going to analyze is the Museum of World Culture, located in Gothenburg. The museum was able to transform its ethnographic collection into exhibitions dedicated to global issues, celebrating cultures worldwide equally and escaping Western-centrism. This museum therefore works on including cultural minorities inside the museum and increasing visitors’ knowledge on global contemporary issues. Some museologists are against the increasing social role museums have undertaken, as they prefer museums to show artifacts neutrally. They are not interested in museums reaching a broader public and they are attached to the ‘traditional’ functions of museums. However, I will argue that for museums to stay relevant in the twenty-first century it is necessary to attract a more various audience and provide critical exhibitions, that can illustrate contemporary issues. For this purpose curatorial activism is necessary, as it will invite less heard voices inside the museum and therewith make a larger part of the community feel represented.

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Abney, Allison L. "The New Orleans Museum of Art: A Case Study Demonstrating the Weakened Vision of New Orleans' Most Established Cultural Institution." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/aa_rpts/130.

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The New Orleans Museum of Art (NOMA) is widely believed to be the most established cultural institution of its kind in New Orleans. The museum building is an extension of its landscape, designed and established as a gift that has been enjoyed by the city for more than a century. The term of my internship with the Museum coincided with its Centennial Celebration year of 2011. In possession of one of the Gulf South's most prized permanent collections, NOMA has demonstrated its continued sustainability through the longevity of its establishment in addition to its rapid recovery following the Hurricane Katrina disaster. As with many long-established institutions, the years have made their mark on the New Orleans Museum of Art and there are cracks in its foundation. This point is made most clear in terms of a lax adherence to its stated mission and goals, in addition to a weakened bond with its served community. The following report serves as a case study of the Museum; it addresses organizational issues revealed through situational analyses and personal observations. The report concludes with recommendations prescribed for the future success and sustainability of NOMA in the furtherance of its mission.

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Meek, Philippa Juliet. "Growth, and Development of Care for Leprosy Sufferers Provided by Religious Institutions from the First Century AD to the Middle Ages." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6321.

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This thesis aims to outline the causes, symptoms, and treatments related to leprosy, and how it can be diagnosed in patients and identified in human remains. The thesis also aims to demonstrate the ways in which care for leprosy sufferers developed as the disease became more prevalent and more commonly, and correctly identified. It analyses the social stigmas inflicted upon sufferers, and the medical care and attention provided for them by religious institutions when other groups or organisations shunned those suffering from leprosy. The rationale for this study is to identify trends surrounding the social stigmas attached to leprosy and care from the first identifiable case of strain three of Mycobacterium leprae in the 1st century AD to the late Middle Ages when the number of cases of leprosy appears to begin to decline. Using archaeological evidence, historical records, and the published research of experts in the field, this thesis demonstrates that as leprosy spread throughout the Middle East and Europe, religious organisations often took on the role as care givers for leprosy sufferers through the ideal of religious, often Christian, charity; to look after the poor, sick, and needy. As the trends presented in this study have yet to be published elsewhere in this way, this thesis aims to contribute via an interdisciplinary approach to the fields of religious archaeology, anthropology and bioarchaeology.

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Cerezales, Nathalie. "Exposer le patrimoine culturel d'origine religieuse en Espagne : de la muséologie à la muséographie." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H057.

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Cette thèse traite de l’exposition du patrimoine d’origine catholique dans l’Espagne contemporaine. Elle a pour ambition d’étudier et de circonscrire les différents modes d’exposition de ce patrimoine — musée public, collection privée, musée d’art religieux, musée de confrérie, exposition temporaire etc. — et leur histoire. Les objets d’origine catholique semblent être dans les pays de tradition latine à la racine de la conception de patrimoine culturel. Pourtant, en Espagne, leur intégration dans l’héritage culturel national ne s’est pas déroulé sans heurts. Il est alors question dans cette thèse de retracer les deux trajectoires parallèles de patrimonialisation et de muséification et d’étudier dans quelle mesure elles se nourrissent et contribuent à définir l’objet religieux en patrimoine culturel national. Il est ainsi question de revenir sur les conditions de création des institutions par leurs différents acteurs : les pouvoirs publics, le clergé, ou encore les associations religieuses de laïcs. Enfin, il est question de voir comment politiques culturelle, d’évangélisation et touristique s’entremêlent, dans un pays où aujourd’hui encore les célébrations religieuses rythment le temps. Cette thèse s’articule autour de trois périodes chronologiques qui permettent de retracer les évolutions majeures de ces projets : une première période caractérisée par la confrontation entre le clergé et une classe intellectuelle et politique, à l’origine d’une politique sécularisatrice ; les années 1939-1970, temps de l’alliance entre l’Église et le régime franquiste ; et enfin la période 1970-2007, pendant laquelle on assiste à une politique conjointe de mise en valeur culturelle et touristique This thesis deals with the exhibition of catholic heritage in contemporary Spain. Its goal is to study and delineate the different ways in which this patrimony is exposed – public museum, private collections, religious art museums, guilds museums, temporary exhibition, etc. – and their history. Artifacts of catholic origin seem to be, in countries of Latin tradition, at the root of the conception of cultural heritage. Yet, in Spain, their integration into the national culturalheritage has not been entirely smooth. Therefore this thesis aims to chart the two parallel trajectories of patrimonialization and museumization and to study how they both take form and contribute to the definition of religious artifacts as part of the national cultural heritage. This thesis also tracks the conditions of creation of the institutions by their stakeholders: public authorities, clergy, as well as religious and secular associations. Finally, this thesis explores how cultural, evangelization and touristic policies intertwine in a country where religious celebrations still rhythm daily life. This study is based on three chronological periods to trace the main changes of these projects: the first period characterized by the confrontation between the clergy and the intellectual and political classes; the period between 1939 and 1970 when the Church and Franco’s regime allied; finally the period between 1970 and 2007 during which there is a joint policy to emphasize the cultural and touristic value of the religious heritage

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Alemneh, Daniel Gelaw. "An Examination of the Adoption of Preservation Metadata in Cultural Heritage Institutions: An Exploratory Study Using Diffusion of Innovations Theory." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc9937/.

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Digital preservation is a significant challenge for cultural heritage institutions and other repositories of digital information resources. Recognizing the critical role of metadata in any successful digital preservation strategy, the Preservation Metadata Implementation Strategies (PREMIS) has been extremely influential on providing a "core" set of preservation metadata elements that support the digital preservation process. However, there is no evidence, in the form of previous research, as to what factors explain and predict the level of adoption of PREMIS. This research focused on identifying factors that affect the adoption of PREMIS in cultural heritage institutions. This study employed a web-based survey to collect data from 123 participants in 20 country as well as a semi-structured, follow-up telephone interview with a smaller sample of the survey respondents. Roger's diffusion of innovation theory was used as a theoretical framework. The main constructs considered for the study were relative advantage, compatibility, complexity, trialability, observability, and institution readiness. The study yielded both qualitative and quantitative data, and analysis showed that all six factors influence the adoption of PREMIS in varying degrees. Results of a regression analysis of adoption level on the six factors showed a statistically significant relationship. The R2 value for the model was .528, which means that 52.8% of the variance in PREMIS adoption was explained by a combination of the six factors. Considering the complexity of issue, this study has important implications for future research on preservation metadata and provides recommendations for researchers and stakeholders engaged in metadata standards development efforts.

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Trankvillitskaïa, Tatiana. "Sous l'oeil des instances officielles : la coopération entre peintres français et soviétiques dans l'entre-deux-guerres." Thesis, Lille 3, 2014. http://www.theses.fr/2014LIL30056.

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Cette thèse analyse les échanges artistiques entre la France et l’URSS durant l’entre-deux-guerres, leurs rouages et les avantages mutuels qu’ils présentent. Cette période connaît quatre phases successives, ce qui permet de découper la recherche en autant de parties. La première étudie la période d’avant la reconnaissance de l’URSS par la France et la mise en place des relations diplomatiques (avant 1924) ; la deuxième se penche sur les premiers liens officiels qui suivent ladite reconnaissance (1925-1928) ; la troisième s’intéresse aux années 1928-1934, période du « Grand Tournant » dans l’économie soviétique, et enfin la quatrième englobe les années qui suivent l’instauration du réalisme socialiste en 1934 et se termine avec la guerre. Notre projet tente d’évaluer la pertinence de l’approche stéréotypée portant sur le lien entre art et idéologie, de voir si la peinture soviétique, telle que présentée lors des expositions en France, était similaire à celle exposée en URSS et constituait un outil de propagande à part entière. Sous quelle forme l’art soviétique est-il présenté en France et quel est le rôle des instances dans la mise en place de ces manifestations ? Il s’agit d’étudier le rôle des acteurs de ces échanges : instances étatiques, associations, galeries, spécialistes d’art, intellectuels, collectionneurs ou enfin les artistes eux-mêmes. Nous nous intéressons également aux expositions d’artistes français et à l’organisation de leurs voyages en URSS. Ce travail montre que les maillons de la chaîne « politique-idéologie-finances » sont intimement liés entre eux et que l’argent a souvent un rôle décisif pour les instances soviétiques This dissertation focuses on artistic exchange between France and the USSR in the interwar period, its mechanisms and the benefits it presented. This period can be divided into four successive phases, accounting for the four parts this research falls into. The first part studies the years leading up to the recognition of the USSR by France and the setting up of diplomatic relations (prior to 1924); the second part deals with the first official links following the recognition (1925-1928); the third part focuses on the years 1928-1934, a period of economic change also known as « the Great Turn » in Soviet economy and the fourth and final part spans the years after socialist realism was established from 1934 on up to the outbreak of the war. This research questions the stereotypical approach to the link between art and ideology and asks whether Soviet painting, as shown during exhibitions in France, was similar to that shown in the USSR and whether it was, or not, a sheer tool for propaganda. Under what form was Soviet art presented in France and what role did authorities play in organizing artistic events? The role played by the actors of this exchange is studied: state authorities, associations, art galleries, art specialists, intellectuals, collectors, intellectuals, and last but not least the artists themselves. Also studied are the exhibitions of French artists and how their trips to the USSR were organized. This research shows that politics, ideology and money are tightly linked together and that money played a decisive role for Soviet authorities

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Spaziani, Luis Fernando. "O artista contemporâneo e o site specific numa instituição cultural: Tunga e Regina Silveira no Centro Cultural Banco do Brasil de São Paulo." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-13052012-180834/.

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Esta dissertação tem por objetivo analisar artística e historicamente as exposições dos artistas Tunga e Regina Silveira concebidas especialmente para o Centro Cultural Banco do Brasil (CCBB) de São Paulo. Buscamos confrontar/comparar duas obras de Tunga e de Regina Silveira analisando-as criticamente a partir de documentos e projetos pertencentes aos arquivos do CCBB, que permitiram uma avaliação dos resultados pretendidos e alcançados pelos artistas. De maneira mais ampla, buscamos contribuir para o debate e a reflexão acerca da produção artística atual nas artes visuais brasileiras, especialmente no caso do Centro Cultural Banco do Brasil de São Paulo com as exposições de Tunga e Regina Silveira, de forma a provocar a discussão do papel do artista e da atuação das instituições culturais na sociedade contemporânea. This dissertation aims to examine artistically and historically the exhibitions of artists Tunga and Regina Silveira designed specifically for the Centro Cultural Banco do Brasil (CCBB) in São Paulo. We seek to confront/compare two art works of Tunga and Regina Silveira critically analyzing them from project documents and files belonging to the CCBB, which allowed an evaluation of the results intended and achieved by the artists. More broadly, we seek to contribute to the debate and reflection on the current artistic production in the visual arts in Brazil, especially in the case of Centro Cultural Banco do Brasil in Sao Paulo with the exhibitions of Tunga and Regina Silveira, in order to provoke discussions about the artists role and the activities of cultural institutions in contemporary society.

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Jung, Chang Sung. "Agencification and quangocratisation of cultural organisations in the U.K. and South Korea : theory and policy." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15930.

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This research focuses on agencification and quangocratisation (AQ) through a comparison of the experiences of South Korea and the UK. Although a number of studies of AQ have been produced recently, these reforms remain inadequately understood. Since AQ involves the structural disaggregation of administrative units from existing departments, executive agencies and quangos have distinct characteristics which are quite different from ordinary core departments. There are a number of factors which influence these changes; and this thesis explores nine existing theories which are available to explain these phenomena. Case studies are presented of Tate Modern in the UK and the National Museum of Modern and Contemporary Art (MMCA), which are carefully analysed to examine the validity of those nine arguments. Although cultural agencies, which show some unique features, have become increasingly an essential part of the national economy, they have scarcely been researched from the viewpoint of public policy. This thesis endeavours to explore distinctive characteristics of this policy area; and moreover, it examines the diverse variables which have an impact on policy formation and its results through the process of comparison of arguments. The major tasks of this thesis are to investigate the applicability of the nine arguments and to weigh their merits. As a corollary of this comprehensiveness, it examines the whole public sectors of both countries, in order to show the broader picture and to understand the processes of changes and their backgrounds. More profoundly, similarities and differences between both countries are compared from both macro and micro perspectives. At the same time, the results of AQ are analysed through the comparison of outputs or outcomes before and after these changes, with a view to exploring whether their rationales are appropriate. Furthermore, it also examines the institutional constraints which influence not only the change of agencies but also their performances. Besides which, it seeks to find strategies for overcoming these constraints. This thesis adopts systematic and comprehensive approaches regarding basic concepts and data. It draws on theories of comparative research, the scope of the public sector, the classification and analysis of agencies and quangos, and theories underlying the detailed components of each argument and epistemological assumptions. Therefore, it suggests various aspects which enable us to broaden our understanding of the changes within the public sector; and to generate practical understanding to inform real world reform.

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Kottová, Kristýna. "Výtvarné umění jako nástroj české kulturní diplomacie." Master's thesis, Vysoká škola ekonomická v Praze, 2014. http://www.nusl.cz/ntk/nusl-201961.

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For centuries, art has played an important role as a tool of cultural diplomacy and even now represents an integral part of foreign cultural policy of different countries. Modern and contemporary fine art often reflects the current social and political issues, at both national and international levels. This thesis aims to prove that art, as a means of expression, has its place in international relations, in the context of cultural diplomacy. The intention of this thesis is to explore the many ways that fine art is applied as an instrument of cultural diplomacy and how the use of visual arts contributes to positive relations between nations and to the process of building a positive image of the state abroad. In the context of Czech cultural-diplomatic practice, the art and its employment is analysed on two levels - historical, that examines the use of art in the process of building the Czechoslovak state, and institutional, that introduces both state and private actors, who contribute greatly to the cultural diplomacy of the Czech Republic via the promotion of Czech fine arts. The final chapter focuses on the environment of New York as a world cultural and art center, and engages in representative Czech projects, activities, organizations and individuals who are successful advocates of Czech visual arts in the international context. The main contribution of this thesis is its aim to address an uncommonly debated topic - a specific area of artistic creation, its role and position in international relations and cultural diplomacy of the Czech Republic.

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Čepukienė, Danguolė. "Miesto gyventojų požiūris į kultūros institucijų veiklą." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2005. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2005~D_20050607_144509-62406.

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Nowadays Lithuanian society is dynamic and rapidly developing. Culture is like the system of values created by a human being. It integrates a public process of political, social, economical development and is able to accelerate social and economical development of the country. Institutions forming cultural processes find themselves in the crossing of the above-mentioned processes. The sociological survey on culture needs are needed not only to describe the state of culture but also to determine the changes, the tendency of public needs to be developed, the peculiarities of activities of culture institutions in the community of a city, useful contacts and culture perspectives. In improving the activities of culture institutions, it is very important to pay attention to a subjective aspect- the possibilities of human development. In order to determine the public needs for culture, the attitude towards the activities of culture and art institutions, the status of city culture, to determine the negative and positive evaluations of cultural activities, the research was implemented. During the survey, 200 inhabitants of Panevėžys City of 16-61 years old were interviewed. The hypothesis was raised- if the attention is paid to the opinion of inhabitants to the activities of culture and art institutions, the status of city culture, the peculiarities of activities of culture and art institutions in the community of the city, useful contacts and the perspectives of culture could be... [to full text]

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Delzant, Jean-Baptiste. "Magnificus dominus. Pouvoir, art et culture dans les seigneuries d’Italie centrale à la fin du Moyen Âge." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040178.

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Aux XIVe et XVe siècles, la plupart des villes d’Italie centrale expérimente des gouvernements seigneuriaux. Camerino passe sous la domination des da Varano, Fabriano des Chiavelli et Foligno des Trinci. Ces familles obtiennent de la commune la reconnaissance de leur pouvoir et du pape d’importantes délégations d’autorité. À côté de ces piliers de leur légitimité, elles en construisent un troisième ne dépendant que d’elles-mêmes. Le pouvoir devient dynastique, il repose sur des qualités individuelles et familiales. Les seigneuries développent une véritable politique de communication. L’urbanisme, l’architecture, la peinture mais aussi la littérature sont les médias principaux qu’elles utilisent pour élaborer l’image de bons dirigeants. Cette dernière est d’abord étudiée, ici, à partir des peintures murales des résidences familiales. De telles réalisations ne sont pas le reflet déformé d’une domination, elles sont des actes de gouvernement qui contribuent au bien commun et à l’honneur de la ville. Elles sont encore un instrument de renommée et l’expression de vertus singulières, telle la magnificence, qui justifient le pouvoir personnel. La commande artistique place la famille dominante au cœur de l’histoire de la ville. Elle la situe dans la continuité des institutions communales dont elle reste dépendante. En ville et dans le contado, les images présentent également une hégémonie de plus en plus enracinée dans la succession dynastique et appuyée par une cour restreinte. Elles parviennent ainsi à faire cohabiter les légitimations contradictoires d’un pouvoir patrimonialisé mais présenté comme conforme aux traditions et aux intérêts de la communauté In the 14th and 15th centuries, most cities in Central Italy fell under the rule of powerful families. Camerino saw the rise of the Varanos, Fabriano of the Chiavellis, and Foligno of the Trincis. As communal authorities ended up acknowledging their power, the Popes also agreed to handing out to them significant delegations of their authority. While the two most important foundational aspects of their legitimacy laid there, these families were able to build on a third one that depended on themselves and on themselves alone. Their power became dynastic.Urban lords developed genuine communication policies. Town planning, architecture, commission of paintings as well as of literary works where the most useful tools in the building up of their image as good leaders. This study first explores this achievement by examining wall-paintings in family residences. Such works should be regarded as acts of government perceived as contributions to honor of the city. As instruments of fame, they also manifested singular virtues and thus justified the exercise of a personal power.Artistic commissions situated leading families at the heart of their city’s history. They created a sense of continuity with the urban authorities upon which the new rulers still depended. Images were meant to display an hegemony that came to be more and more deeply grounded in dynastic succession and that was supported by the gathering of a select court. While the different sources of legitimacy of such patrimonialised power may have been contradictory, images managed to accommodate these contradictions. They made new styles of ruling suitable to the claims of customs and to the communities’ self-interests

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Debade, Nicolas. "Les musiques expérimentales à l'épreuve de l'innovation : l'exemple du GRIM à Marseille." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0444/document.

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Depuis les premières expériences de John Cage et de Pierre Schaeffer jusqu’aux hybridations bruitistes de la noise, les musiques expérimentales ont suivi une reconfiguration de leurs pratiques au contact d’une évolution technologique constante. Cette thèse propose de présenter ces musiques dans leur constitution en tant que scène artistique à l’ère du régime numérique à travers une démarche historique, esthétique et sociologique.Cette recherche sera mise en perspective par une monographie du GRIM (Groupe de Recherche et d’Improvisation Musicales), un lieu marseillais dédié aux musiques expérimentales et improvisées.Par l’étude de cette scène territoriale emblématique de la multitude des pratiques chez les artistes et les publics, nous présenterons les différentes interactions qui alimentent ce contexte créatif émergent. C’est en cela qu’il convient également d’étudier à la fois l’incertitude des carrières chez les musiciens professionnels et l’expertise des amateurs de ces musiques. De plus, cette scène artistique se retrouve dans une économie en mutation face aux innovations technologiques d’un côté et aux enjeux institutionnels de l’autre.Dans ce contexte pluriel, nous proposons de définir les codes et conventions régissant les musiques expérimentales pour caractériser cette scène spécifique au sein des mondes de l’art Since the first experiments by John Cage and Pierre Schaeffer up to the loud hybridations of noise music, experimental music has followed a reconfiguration of its practices in contact with a constant technological evolution.This thesis aims to present experimental music as a singular and radical scene in the digital era through a historic, aesthetic and sociological procedure.This research is seen through the context of the GRIM, a venue located in Marseilles dedicated to experimental and impovised music.Through the study of this local scene, emblematic of practices by artists and audiences, we will present the different interactions that feed this emancipatory and emergent creative context. This will lead us to assess incertitudes in professional musicians’ careers and the expertise of amateurs of this music scene.Furthermore, faced with technological innovations on one hand and institutional issues on the other, this artistic scene finds itself in a changing economy.In this pluralistic context, we shall define the codes and conventions that rule experimental music to model the characteristics of this specific scene inside the art worlds

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Mehadji, Meriem. "Les politiques culturelles et le processus de développement dans le monde arabe : analyse d’une série d’indicateurs." Thesis, Paris 5, 2014. http://www.theses.fr/2014PA05D005/document.

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En 2010, le bilan sur les objectifs du millénaire pour le développement (OMD) a révélé que l’ensemble des pays ainsi que les différents acteurs impliqués dans ce processus devaient redoubler leurs efforts afin de mettre en place des projets adaptés à la nature des diverses sociétés. À cet effet, la question de la « culture » s’est imposée comme un facteur évident et inhérent à l’accomplissement de ces objectifs. C’est dans ce cadre que se pose notre problématique de recherche à travers une zone géostratégique qui subit de grands bouleversements au niveau politique, économique et social. De cette manière, la culture peut-elle constituer un élément de base dans les programmes de développement entrepris dans les États arabes ? Cette présente thèse s’achemine à travers trois principales étapes. D’abord l’intégration de la culture dans ce processus en tant que secteur à part entière. Ensuite, les moyens et les méthodes utilisés par les différents acteurs engagés et concernés par le domaine de la culture dans les pays arabes. Enfin, les indicateurs spécifiques à la région à travers lesquels apparaissent les limites, mais également le potentiel des États arabes. Pour finir, cette démarche fait office de défrichement, car le développement à travers le secteur culturel reste peu exploité dans le monde arabe. Toutefois, les changements qui s’opèrent depuis quelques années dans la région peuvent conduire à une véritable reconsidération du secteur culturel et de sa relation avec le processus de développement In 2010, the appraisal of the Millennium Development Goals (MDGs) indicated that all the countries and the different actors involved in this process should underlay their efforts to implement projects adapted to the nature of the various societies. To this end, the issue of "culture" has emerged as an obvious and inherent factor in achieving these goals.Our research issue raises in this context through a geostrategic area which undergoes great changes in the political, economic and social level. Thus, can the culture constitute a basic element in the development programs undertaken in the Arab States? The present thesis is developed through three main stages. First, the integration of culture in this process as a real sector. Then, the means and methods used by the different actors involved and concerned with the field of culture in the Arab countries. Finally, specific indicators related to the region which could show the limits, but also the potential of Arab States.This approach acts as clearing, insofar as the development through cultural sector remains largely untapped in the Arab world. However, the changes occurring in recent years in the region can lead to a genuine reconsideration of the cultural sector and its relationship with the development process

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Tremblay, Johanne. "Aux pieds du grand escalier : ce que donne à voir l’attribution par le ministère de la Culture et de la Communication d’un label de «qualité» sur les opéras (nationaux) de région en France." Thesis, Avignon, 2011. http://www.theses.fr/2011AVIG1101/document.

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Cette thèse concerne la labellisation de cinq opéras de région, en France, entre 1996 et 2006 : l’Opéra National de Lorraine, l’Opéra National de Montpellier, l’Opéra National de Lyon, l’Opéra National de Bordeaux, et l’Opéra National du Rhin. L’étude porte sur une forme qui englobe obligatoirement d’autres formes artistiques quasi autonomes et professionnalisées (orchestre, ballet, choeur) et sur les changements en cours dans l’économie de ces organisations traditionnellement sous tutelle municipale repositionnées au coeur d’une gouvernance multiscalaire et mises au défi de faire croître leur visibilité et celle de leur activité. Nous nous intéressons dans ce cadre à ce sur quoi reposent les stratégies de renouvellement développées par ces organisations culturelles, sédimentées et conventionnelles, prises entre le politique et le marché, dans un cadre particulier à la France où l'État se reconnaît comme garant de la qualité. Pour conduire l’étude, nous utilisons la labellisation comme marqueur de ces changements et comme dispositif participant à l’instrumentation de ces opéras dans un marché restreint. Ce qui se voit, c'est une ouverture organisée, selon un mode de fonctionnement par projets et selon un mode de diversification réfléchie de leur activité à un niveau de complexité jamais égalé, sous la pression de l'envahissement de la sphère culturelle par les logiques marchandes et médiatiques. Cette instrumentation est réalisée par le déploiement de dispositifs de jugement dans une économie des singularités dans laquelle le théâtre d’opéra est amené à chercher lui-même à asseoir sa continuité. Sont discutées les stratégies développées quant à l’incertitude inhérente à la création artistique et à la dépendance financière et les effets du dispositif opéra national qui donne lieu à un « remplissement » stratégique perpétuel (Michel Foucault), du fait de la remobilisation du dispositif dans la gestion des effets secondaires qu’il a lui-même induit, et dans la dynamique duquel le pouvoir, la visibilité et la légitimité occupent une place centrale. Notre démarche inductive et pluridisciplinaire et la posture critique adoptée conduisent à l’élaboration d’une étude donnant une grande place à l’indétermination des rapports et des humains, dans une ontologie constructiviste modérée. Le sujet singulier qu’est l’organisation d’un théâtre d’opéra en France, les raisons de ces choix et la méthodologie appliquée sont présentés pour éclairer le lecteur dans sa rencontre avec un milieu d’ordinaire fermé. Enfin, la conclusion retrace certains liens et pointe des aspects à creuser dans une recherche ultérieure afin de comprendre ce que donne à voir, sur le présent et l'avenir des Opéras de région en France, l'attribution par le ministère de la Culture et de la Communication d'un label de « qualité » Our thesis discusses the process and consequences of the attribution, by the State, of a national label to five regional opera houses in France between 1996 and 2006. Through this event, we look closely at the current changes in the opera house as an organization which has traditionally been under municipal governance and is with this label repositioned under a governing body which includes the Region and the central State and its demands for greater visibility. Our objective is to understand the strategic renewal of opera houses outside Paris in a centralized political system where the State is said to guaranty cultural access and artistic quality. We do so by using the attribution of the national label as a marker and as a device that participates in the instrumentation of opera houses in a restricted market and a changing normative frame within which opera houses are brought to secure their own continuity. With a brief overlook at how opera houses have been transformed into a venue meant to entertain citizens and magnify cities, we give the reader an understanding of opera houses as conventional and regimented organizations forever bond to politics and the market. The particular organization of an opera house in France, the reasons behind the choices made and the applied methodology are then presented. Our inductive and multidisciplinary approach, supported by the critical posture adopted, leads us to the elaboration of a study where undetermined connections and human beings evolve within moderate constructivist ontology. We then suggest that the label, which gives rise to a perpetual strategic “remplissement” (Foucault), is inevitably remobilized to manage the side effects brought by its very existence. Power and legitimacy occupy in this dynamic a central place that we exemplify and discuss thoroughly. Our research presents an original way to understand the recent transformation of the French regional operas houses as expressed, and apprehended, by the attribution by the ministry of Culture and Communication of a “quality” label that enables them to gradually enter the growing mediated spheres already endorsed by cultural industries

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Sjöberg, Mikaela. "Kronobergsgatan 35 : Från brandvägg till utställningsrum." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-165525.

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Utställningsrummet för gatukonst växte fram långsamt på Kronobergsgatan 35. Genom att följa utvecklingsprocessen, platsen och verken som visats undersöker jag hur väggen växer fram till en hybrid som inte bara är ett utställningsrum. Det är även centrum för urban konst i Stockholms offentliga rum. Utställningsrummet är ett ovanligt inslag i en stad som fortsatt är präglad från en långvarig nolltolerans. Curering av väggen återspeglar ett utbildningssyfte för att visa att graffiti är mer än klotter. Jag undersöker vilka aktörer som är inblandade och deras mål med väggen utifrån curating teori. Väggen har flera intressenter. Kollektivet Livet som curerar väggen har en bakgrund inom graffiti och i sitt arbete att etablera konstformen kommer de även närmare att institutionalisera den, något som går emot dess historiska roll som subkultur. I mitt arbete studerar jag var utställningsrummet placerar sig i förhållande till graffitikulturen kontra konstinstitutionen. Fastighetsägaren står för resurserna och ser mot förmodan en slags vinst i sin investering, jag har döpt denne till konsthandlaren som förmedlar konsten till betraktaren. Att konsthandlaren associerar företaget till kulturella åtaganden gynnar företagsprofilen i ansamlande av kulturellt kapital. Utställningsrummet är även starkt påverkat av dess position i Stockholms centrala offentliga rum. Det skapar debatt om vem som får ta plats i stadsrummet och vilken konst som bör finnas, en debatt som curatorn välkomnar. Det är en debatt som potentiellt involverar hela staden, där alla är potentiella konstkritiker. Görandet av plats skapas i samverkan mellan tjänstemännen som formar stadsrummet och aktörerna som verkar i det. Jag undersöker denna samverkan och hur de förhåller sig till sina motsättningar. I have followed the process of development of Kronobergsgatan 35 as an exhibition room for street art and graffiti in Stockholms public space. By interviewing the curators and analyzing with referens to institutional- and curating theory my aim has been to investigate the surrounding circumstances for said exhibition. Stockholm has a history of zero tolerance which makes this exhibition room a rare sight. The curators has, with an educational agenda, wanted to normalize graffiti as an artform but in so doing places the exhibition somewhere between it's subcultural history and the established art institution. The wall is made possible by the contribution of the property owner. I investigate the possible purposes of this investment and how association with culture affiliations could have positive effect on a business profile by obtaining cultural capital. As an exhibition room in public space it works with and in contrast to the official public art of the city. I investigate this relationship between official and unofficial public art and the discussion of a democratic public space.

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Astier, Aude. "Observatoire, conservatoire, laboratoire : l’institution théâtrale publique en France et en Italie à l’heure du néo-libéralisme et du postmodernisme : le TNS durant l'exercice de Stéphane Braunschweig, le TNP sous la direction de Christian Schiaretti et le Piccolo Teatro dirigé par Luca Ronconi et Sergio Escobar (1999-2014)." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100127.

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Issue d’une volonté démocratique d’émancipation du citoyen et d’élaboration d’une société nouvelle, l’institution théâtrale publique, en France comme en Italie, apparaît à nouveau, depuis le tournant des années 2000, comme en proie à une triple crise (politique, structurelle et artistique) qui permet d’interroger les rapports politiques et symboliques qui se jouent entre l’art et la société à l’intérieur d’un cadre institutionnel aiguillé par une mission de service public. À travers les exemples du Théâtre National de Strasbourg, du Théâtre National Populaire et du Piccolo Teatro de Milan, il s’agit donc d’envisager l’institution théâtrale publique dans l’ensemble de ses acteurs et de ses composantes (esthétiques, politiques, économiques, symboliques, architecturales et sociales) via le prisme des processus et stratégies de justification de leurs directeurs respectifs afin de déterminer et d’interpréter l’évolution des institutions et la transformation des fonctions qu’elles revendiquent et mettent en œuvre. En distinguant les différentes stratégies élaborées par les directeurs, se dessinent les postures adoptées par les artistes et les pouvoirs publics vis-à-vis de la société néo-libérale et des enjeux institutionnels, postures qui s’articulent et répondent à une contamination de la sphère culturelle par la sphère économique. Elles révèlent une scission, accentuée par le rôle donné au spectateur, entre les institutions qui cherchent à compenser cette contamination par la recherche d’interactions et d’expérimentations avec la société et celles qui la déplorent et y répondent par une mise à distance du réel et une concentration sur leur conception de l’art théâtral Stemmed from a democratic will of emancipation of the citizen and of working out of a new society, the public Theater, in France as well as in Italy, seems again to be a prey to a triple crisis (political, structural and artistic), since the turning point of 2000. This allows to question the political and symbolic connections which are at stake between art and society within institutional limits led by a public service mission. Through the examples of the “Théâtre National de Strasbourg” (TNS), Villeurbanne’s “Théâtre National Populaire” (TNP) and Milano’s “Piccolo Teatro”, the point is to consider the public Theater with the whole of its participants and constituents (esthetic, political, economic, symbolic, architectural and social) via the prism of their respective managers’ process and strategies of justification, in order to determine and explain the evolution of the institutions and the transformation of the duties they assume and implement. By distinguishing between the various strategies elaborated by the managers, we can give shape to the positions, held by the artists and the authorities towards the neo-liberal society and the institutional issues. These positions are linked and answer a contamination of the cultural sphere by the economic sphere. They reveal a division, increased by the role given to the audience, between the institutions, which try to compensate this contamination by ways of interactions and experimentations with the society, and those, which deplore this situation and answer it by standing aloof from reality and focusing on their conception of dramatic art

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Mushibwe, Christine P. "What are the effects of cultural traditions on the education of women? : the study of the Tumbuka people of Zambia)." Thesis, University of Huddersfield, 2009. http://eprints.hud.ac.uk/id/eprint/9090/.

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This study is an investigation of how cultural traditions can militate against the education of women in Zambia with a focus on the Tumbuka tribe. Ethnographic methods were employed over a period of three months in a village in the Eastern Province of the country. Data were collected through participant observation, focus group and in-depth interviews, narratives, and documents. A total of 47 participants comprised the sample. This research cuts through multidisciplinary fields such as social sciences, education and anthropology. Through thematic analysis data were analysed. Evidence in this research demonstrates that patrilineal groupings are strongholds of the patriarchal predisposition and that patriarchal attitudes and cultural traditions do not recognize women as equal partners with men. The Tumbuka women‟s experiences and beliefs reflect socio-cultural traditional norms that tend to limit gender equality, and compel women to accept and justify male domination at the expense of their own status and to regard consequent inequalities as normal. Evidence demonstrates that the initiation rites, an active institution for girls of pubescent age, interfere more with the school-based education of girls. The women are active social agents as well as passive learners who will not allow the girls they are coaching to question the reason or purpose for some traditional practices that are oppressive and directly cause them to fail to complete their schooling successfully. The strong hold that the cultural traditions has on the locals has further resulted in conflicts with modern schooling, which is viewed as disseminating „white‟ man‟s culture and values. Established in this research is the fear and suspicion that the locals have on the outcome of their children learning these values that they see as alien to their own. The modern education provided in school is perceived as a force that undermines cultural values. It is viewed as presenting an inherent challenge to the cultural traditional control measures that are in place. Arguably, while ethnic traditions should be respected and sustained because they define one's identity, aspects of culture which are discriminatory, restrictive and tend to devalue women‟s physical, emotional and psychological development should be eliminated because they are retrogressive. Therefore the argument that deep seated socio-cultural traditions play a significant role in encumbering female education is proven.

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Karakostaki, Charitini. "Les fêtes nouvelles. Enquête sur les idéaux de la société ouverte et leur mise en scène : Paris 1981-2014." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH030.

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La présente thèse porte sur la mise en place des nouvelles manifestations festives en France, et plus particulièrement à Paris, depuis les années 80. Ces fêtes marquent un déplacement par rapport aux fêtes « traditionnelles » qui étaient en grande partie organisées autour des concepts de sacré et de nation. Nourri par une observation ethnographique de plusieurs années, ce travail met en évidence une multiplicité de facettes des fêtes nouvelles: les processus de conceptualisation et de création par les autorités publiques ; leur gestion et mise en œuvre par des managers culturels ou par des associations et des collectifs ; l’invention de nouvelles formes rituelles ou l’adaptation de plus anciennes ; les mises en scène urbaines et l’emploi des codes distinctifs ; l’appropriation de ces fêtes par la société et les différents débats qu’elles ont soulevés. Chacune des trois parties de la thèse est consacrée à une fête. Une place majeure est réservée à la Fête de la musique, la Marche des fiertés et la Nuit blanche, sans pour autant passer sous silence d’autres fêtes résolument nouvelles et d’envergure, telles que la Capitale européenne de la culture et les Allumées de Nantes, permettant de mieux saisir les mutations qui s’opèrent au niveau européen. Enfin, s’appuyant sur la thèse classique de Durkheim, ce travail propose d’envisager ces fêtes comme points d’entrée pour appréhender les idéaux de la société ouverte. L’intention affirmée des organisateurs de mettre en place une nouvelle conception du vivre ensemble et du lien social, est à bien des égards l’occasion de célébrer une société française et européenne, pacifique, réconciliée et tolérante The present thesis examines the installation of new festive events in France, and more particularly in Paris, since the 80s. These celebrations mark a shift in regard to "traditional" celebrations which mostly revolve around the concepts of the sacred and the nation. Nourished by an ethnographic observation of several years, this work highlights a variety of aspects: the process of their invention and their creation and by the public authorities; the supervision of the events by cultural managers or associations and collectives; the invention of new ritual forms and the adaptation of older ones; the design of the urban scenery and the use of distinctive codes; the appropriation of these events fro, the society and the various debates to which they gave rise. Each part of the thesis deals with a celebration in an independent way. The Fête de la musique, the Gay Pride and the Nuit blanche are analyzed here in priority. However, next to them parade also other events, entirely new and ambitious, such as the European Capital of Culture and the Allumées of Nantes which offer a better insight into changes that took place on a European level. Finally, based on Durkheim's classic thesis, this work proposes to consider these festive events as an entry point into a greater inquiry about the ideals of the open society. The asserted intention of the organizers to put in place a new conception of living together and the social bond is in many ways the occasion to celebrate a French and European society, that is peaceful, reconciled and tolerant

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Gündogan, Göknur. "Santralistanbul : une usine en déclin, une friche culturelle en évolution : la reconversion de la friche industrielle de Silahtarağa en Santralistanbul; un espace culturel pluridisciplinaire et campus." Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30066/document.

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La reconversion des friches industrielles constitue depuis les années 1950 un phénomène important en Europe. Bien qu’elle soit connue comme un mouvement de réaménagement urbain, elle porte aussi un sens particulier en ce qui concerne les pratiques culturelles et artistiques d’aujourd’hui. Ces vastes espaces abandonnés par la science et les industries de l’époque moderne deviennent de plus en plus des lieux d’expression alternatifs qui sont propices aux échanges entre l’art, l’industrie et la science de l’époque contemporaine. Ainsi, ces lieux de mémoires incarnent par leurs caractéristiques particulières l’entité des sociétés occidentales contemporaines. A commencer par leurs infrastructures, le modèle d’organisation de travail, et l’approche de production industrielle qu’ils reflètent ; ces usines, laboratoires et centrales sont au croisement de plusieurs questionnements artistiques. L’objectif principal de la présente thèse est d’analyser la possibilité d’une interaction entre l’art, la science, l’industrie mais aussi avec l’ institution académique au sein d’un projet de friche culturelle particulier réalisé à Istanbul en Turquie en mettant l’accent sur les retombées socio‐économiques d’une telle reconversion au niveau urbain. En partant de l’exemple unique de Santralistanbul ‐une initiative de l’université de Bilgi Istanbul qui a redonné vie à l’ancienne centrale électrique de Silahtarağa‐, il s’agit de mettreen lumière les particularités du projet et de se focaliser principalement sur ce qui concerne le domaine des arts du spectacle Since the 1950’s, the conversion of industrial wastelands constitute an important phenomenon in Europe. Even if it is more known as a movement of urban redevelopment, it also holds a particular meaning for today’s cultural and artistic practices. These huge (vast) spaces that were abandoned by science and industries of the modern era start to become the places of alternative expressions which are convenient for exchanges between art, industry and science of contemporary times. Thus, these memorial places‐ through their particular characteristics incarnate the entity of the western contemporary societies. Starting by their facilities, the model of organization of work, and the industrial production approach that they reflect; their factories, laboratories and centers are at the crossroads of several artistic questions. The major objective of this thesis is to analyze the possibility of an interaction between art, science, and industry but also academia within the project of a particular cultural wasteland realized in Istanbul in Turkey by putting the emphasis on social –economicalechoes of such a conversion at urban level. Observing the unique example of Santralistanbul – an initiative of Bilgi University that gave life again to the ancient electricity power station of Silahtaraga‐, the point is to highlight theparticularities of the project and to focus principally on the activities concerning the domain of performing arts

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Holmström, Josefin. "Den psykiatriska vårdens svåra kulturarv : En undersökning om hur en före detta institutionsbyggnad med byggår 1757 - idag Vadstena Hospitalsmuseet - representeras och påverkar dagens förståelse av psykisk ohälsa." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-448825.

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What values does a state notable building express when it not only represents prosperity values but also carries burdensome memories from people's lives? In what ways does the preservation of a former madhouse/mental hospital affect our understanding of the field of mental illness? This essay intends to research a former mental hospital, located in the city of Vadstena in Sweden, which today operates as a hospital museum. In this study the old mental hospital has been defined as a difficult cultural heritage. Through an architectural analysis of the building together with literature studies from previous work within cultural heritage the study aims to understand how the site today contributes and affects our understanding of mental illness and care. By examining our past from a distinctive perspective the study shows how Vadstena Hospital Museum today plays a significant role in how the psychiatric historical representation is treated and experienced today. Through difficult and complex cultural heritage humans' less desirable actions and events have the opportunity to be seen, heard, felt and discussed from a different perspective.

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Bargenda, Angela. "Communication esthétique et construction identitaire dans le secteur financier européen." Paris, EHESS, 2011. http://www.theses.fr/2011EHES0138.

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L'étude porte sur la genèse et les modalités de l'identité institutionnelle par la mise en valeur du patrimoine esthétique dans le secteur financier. Les diverses expressions visuelles, telles que le geste architectural, la pratique artistique, la rhétorique publicitaire et l'iconographie de la charte graphique, concourent à créer une matrice sémiotique idiosyncratique. En partant du constat que les institutions financières saisissent stratégiquement la culture comme moyen d'expression dans la nouvelle communication institutionnelle, l'appareil critique proposé est de nature éclectique et interdisciplinaire. Les outils méthodologiques de l'esthétique, de la sémiologie, de la communication marketing et de la sociologie contribuent essentiellement à relever les paramètres complexes de la conduite esthétique des banques. L'investigation empirique est basée sur un corpus composé de quatre banques : Banca Monte dei Paschi di Siena, UBS, Deutsche Bank et Société Générale. L'analyse de la Corporate Architecture (CA) comme moyen d'expression identitaire constitue l'objet du premier volet de l'étude. Une partie centrale est consacrée à la gestion de l'art, en mettant l'accent sur les traits caractéristiques des collections d'art en fonction de leur potentialité communicationnelle. La troisième partie propose de montrer comment les diverses pratiques culturelles des banques sont exploitées dans le discours publicitaire, aussi bien sur le plan iconographique que discursif. Cet examen est complété dans l'ultime volet par une approche herméneutique du logo, dans le but de relever des éléments de convergence et de divergence du paradigme esthétique The purpose of this study is to examine the communicational relevance of aesthetic resources in identity-building strategies in the finance sector. In particular, the visual management of architectural features art collections advertising rhetoric and logo design is investigated in terms of its strategic impact on the generation of an idiosyncratic semiotic matrix. Given the fact that financial institutions increasingly adopt visual culture as a means of expression of their corporate identity, the study marshals multiple disciplinary perspectives, including aesthetics, semiotics, marketing communications and sociology. This broad-based methodological reference seeks to capture the complexity of aesthetic articulation as practiced in the finance sector. Empirically grounded in an intercultural framework of representative banks, a comparative approach of four European institutions, Banca Monte dei Paschi di Siena, UBS, Deutsche Bank and Société Générale, seeks to afford a differentiated analysis of their respective communication strategies in the area of Corporate Visualldentity (CVl). Firstly, the iconographic rhetoric of Corporate Architecture (CA), discussed both as a paradigmatic and a syntagmatic phenomenon, establishes a preliminary taxonomy of expressive forms. The second segment stresses the pervasive presence of art collections in the finance sector, emphasizing their central communicational potential. The third chapter outlines the status of advertising, both in terms of iconographic mechanisms and textual discourse. Finally, as the formaI definition of an organization's visual template, the logo significantly impacts on the generation of a visual paradigm

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Ryan, Joe. "Art, institutions and social control." Thesis, University of East London, 2016. http://roar.uel.ac.uk/5303/.

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This document charts my development as an artist over the last five years on the Professional Doctorate in Fine Art at the University of East London. It begins with a reflection on the work done on B.A and M.A. in Fine Art, at Middlesex University and the University of East London respectively. The origin of my work lies in traumatic and painful life experiences that at the time of their occurrence almost effectively ended my practice. In hindsight it is clear that these experiences have provided the continuing motivation for my research and art practice, as well as its content. The report presents in chronological order of my engagement with theories of the mechanisms of societal power and control, and describes the assimilation of these ideas into my developing visual projects. The report begins with the autobiographical background to my practice, followed by the Creative Practice and Theory section which contextualizes the different strands of my research, and concludes with my Professional Practice which outlines the artistic activities I embarked on during the five years of the doctorate programme.

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Frot, Emmanuel. "Cultural transmission, public goods, and institutions." Thesis, London School of Economics and Political Science (University of London), 2007. http://etheses.lse.ac.uk/1975/.

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This thesis discusses the consequences of different institutional forms in various settings, with a particular focus on the interactions between institutions, cultural transmission, and public goods. Chapter 1 introduces the main ideas, motivation, and results of the subsequent chapters. It provides a detailed summary of the thesis. Chapter 2 considers how institutions that modify behaviors affect the transmission of cultural traits. It argues that they create an environment that crowds out the behavior they were trying to promote. When applied to a model of public good provisions it illustrates how institutions that reduce free riding may decrease the level of public good in the long run. Chapter 3 extends this framework to make institutions endogenous. Individuals vote for their preferred institutional arrangement and the outcome is determined by majority voting. The crowding out of behaviors imply that agents have an incentive to affect strategically the transmission of preferences through collective socialization. Institutions can induce the formation of additional institutions such as schools in order to guarantee their sustainability. Chapter 4 considers that children acquire preferences through the choice of friends in the population, and that parents try to influence this choice. It shows how this creates a game between parents where their efforts to socialize their children to a particular cultural trait constitutes a public good. It studies the consequences for cultural groups of being intolerant and how they can survive cultural transmission. Chapter 5 uses the important example of commons as an institutional failure. It examines the case for privatization in an environment with different resources that may not be all privatized. It shows that labor reallocation reduces the gains of privatization, potentially to the point of reducing welfare. First best institutions may fail in a second best environment.

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Isman, Marta <1996&gt. "Ethnic minorities in Italian cultural institutions." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21290.

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In summer 2020, after the protests for George Floyd’s killing, the activism movement Black Lives Matter gained international attention spreading from the US to other countries including Italy. The protests questioned the dominant Western gaze and put the accent on the way we represent the world in our Western museums. These events, along with a growing attention on matters such as decolonisation of culture and inclusion, had a significant influence on the analysis of the roles of ethnic minorities inside the art world both as producers (artists, story-tellers, curators) and consumers (visitors). This dissertation aims to understand how, in the context of decoloniality and under the influence of Black Lives Matter activism, ethnic minorities find a place and are represented as producers and consumers in the contemporary art system and specifically in museums. The purpose is to analyse more in detail the Italian context, focusing on three different Italian cultural institutions that at different levels had tried in the last years to find disparate ways to include and represent people coming from minority groups and living in Italy The present dissertation is based on a review of the literature on post-coloniality and decoloniality and on the decolonisation of cultural institutions, on articles about the Black Lives Matter movement and on the analysis of some case studies of museums that put in place experiments aiming at including and representing cultural minorities inside the art system. The results of this thesis demonstrate that while in the US and in UK the dialogue, the studies and the statistics around this theme are quite developed, in Europe and, specifically in Italy, we are still at the beginning, but many cultural institutions, from bigger and public ones such as the Uffizi Gallery to smaller and private ones such as the Fondazione Sandretto Re Rebaudengo, are trying to face these issues and to include people with foreign origins in their project both as producers and consumers.

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Alfredsson, Josefine, and Rebecca Farrensteiner. "Framtiden är självorganiserad? : Så ett frö och få det att växa." Thesis, Södertörns högskola, Institutionen för samhällsvetenskaper, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-41582.

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Background: Since the 1980s, society has been hit hard by economization and deprofessionalization through neoliberal abstract forms of governance. Control is achieved by measuring efficiency through simplified models. The demand for measurability has also hit the art field where administration and paperwork have increased. As an effect, a large part of cultural funding goes to non-artistic activities. Values other than those of art are focused on and art institutions are having to adapt to the logic of the market and meet commercial interests. In addition, the conditions of artistic production have deteriorated: there are no resources, space or time yet, which threatens art production. The situation is, to say the least, strained for many artists, who are more or less forced into their own corporate activities by the field's surrounding organizations and institutions. However, there are those who work against this development and act for change. Artists have collectively organized themselves outside the city that no longer meets the condition for artistic production. They are about 40 organisations spread across Sweden. Through networks, they have united under one designation; the self-organized. They could be said to constitute a micro-resistance to the current order. Purpose: The purpose of this study is to investigate what the self-organized means. Which ideas and practices make sense and distinction concerning the self-organised? We want to understand and highlight how the self-organised are motivated and how they go about trying to alter and expand the artistic field and the society at large. Methodology: Using a qualitative approach, the study has been a case study of a central actor in the self-organized fields; Art Lab Gnesta. Materials have been collected through a group interview, participant observation and through written sources produced by the study object itself. This is to better understand underlying ideas and what it is that makes sense for self-organized arts organizations. Conclusions: This study is about a possible institutionalisation process in its future. The self-organised is a kind of avant-garde of the 20th century. In this study, we conclude that the self-organised should be understood as a concept that provides alternative frameworks in a world characterized by an unsustainable order. The self-organised opens up opportunities and shows other ways to go. If many join the concept, changes can possibly be achieved. We have seen that they succeed in reaching out and are legitimized by both the authorities, the art world and the local population. When enough people act on similar ideas, they can constitute institutional pressure and possibly create change. We understand the self-organised as a predestination and a strategy for a potential future. It is about change, nothing else can be determined since we are in the initial stage of the course of event. They are a grassroots movement. Bakgrund: Samhället har allt sedan 1980-talet drabbats av en hårt driven ekonomisering och avprofessionalisering via nyliberala abstrakta styrformer. Kontroll uppnås genom att via förenklade modeller mäta effektivitet. Kravet på mätbarhet har även drabbat konstfältet där administrationen har ökat. Således går en stor del av kulturfinansieringen åt till icke-konstnärlig verksamhet. Andra värden än den av konsten fokuseras och konstinstitutioner har i större utsträckning marknadsanpassas och möter kommersiella intressen. Utöver detta har konstnärers produktionsförhållandena försämrats: det finns inte rum, tid och resurser nog, varvid konsten hotas. Situationen är minst sagt ansträngd för många konstnärer, som mer eller mindre tvingats in i egen företagsverksamhet av fältets omgivande organisationer och institutioner. Det finns dock dem som tar spjärn mot denna utveckling och verkar för en förändring. Konstnärer har kollektivt organiserat sig utanför staden som inte längre erbjuder. De är ett fyrtiotal verksamheter spridda över Sverige. Genom nätverk har de förenat sig under en beteckning; de självorganiserade. De skulle kunna sägas utgöra ett mikro-motstånd mot rådande ordning. Syfte: Syftet med denna studie är att undersöka vad de självorganiserade betyder. Vilka idéer och vad för praktiker ger mening och distinktion gällande de självorganiserade? Vi vill förstå och belysa hur de självorganiserade motiveras och hur de går tillväga för att försöka uppnå förändring av den ordning som de tar spjärn emot på det konstnärliga fältet och i samhället i stort. Metod: Utifrån en kvalitativ ansats har studien utgjorts av en fallstudie på en central aktör på de självorganiserades fält; Art Lab Gnesta. Material har samlats in genom en gruppintervju, en deltagande observation samt genom skriftliga källor producerade av studieobjektet själv. Detta för att bättre förstå bakomliggande idéer och vad det är som ger mening för självorganiserade konstorganisationer. Slutsatser: Denna studie handlar om en eventuell institutionaliseringsprocess i sitt blivande. De självorganiserade är ett slags 2020-talets avantgarde. I studien kommer vi fram till att de självorganiserade ska förstås som ett koncept som ger alternativa ramverk i en värld präglad av ohållbar ordning. De självorganiserade öppnar upp för möjligheter och visar på andra vägar. Ansluter många till konceptet kan eventuellt förändringar uppnås. Vi har sett att de lyckas nå ut och legitimeras av både makthavare, konstvärld och lokalbefolkning. När tillräckligt många handlar utifrån liknande koncept kan de utgöra ett institutionellt tryck och eventuellt skapa förändring på fältet. Vi förstår de självorganiserade som en predistination och en strategi för en potentiell framtid. Det handlar om förändring, inget annat kan slås fast då vi är i skeendets initiala stadie. De är en gräsrotsrörelse.

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Davies, Veronica. "A comparative study of state art policies : institutional practices and exhibition organisation in Britain and Germany c.1945-51 with particular attention to the cultural policies of the British-occupied zone of North West Germany during these years." Thesis, University of East London, 2005. http://roar.uel.ac.uk/1300/.

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This thesis is a comparative study of state policies and institutional practices relating to art in Britain and Germany in the period from 1945-5 1. This study examines the context for the production of visual art and considers its dissemination through art exhibitions and criticism in this important transitional period. It also assesses the contribution of the visual arts towards the process of cultural reconstruction and to the re-negotiation of national identities in both countries. Significantly, the cultural history of this period has been relatively under-examined and has not been the subject of extensive nor detailed research. Until now, mainstream art-historical accounts have tended to focus on the Paris-New York axis during these years, rendering Anglo-German art developments relatively peripheral. It is this marginalisation that this thesis seeks to counter. This study is divided into two main sections. The first focuses on the British Zone of occupation in postwar Germany. My research draws on a wide range of British and German archival and other sources to compare the experiences and perceptions of the British occupying forces with the different approaches adopted by German artists and arts administrators involved in reconstruction. The second section offers a detailed comparative case study of two regional art museums, Leeds City Art Gallery and the Kaiser Wilhelm Museum in Krefeld. A particular feature of this comparison is the detailed investigation of these museums' exhibition and acquisition policies, and how these relate to the wider political issues and cultural imperatives identified in the first section. My conclusion reinforces the broader view that the years 1945-51 form a turbulent transitional period in the cultural histories of both Germany and Britain. What is underlined is the often provisional and contingent nature of arts policies as they were aligned with and incorporated into wider aims of cultural reconstruction. What also emerges are the complex ways in which the visual arts contributed towards, and were subject to, the fluctuating and evolving political and cultural circumstances of both countries in the years leading up to the Cold War.

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Maletkovic, Maja. "Cultural institutions: Digital Interfaces and Virtual Presence." Thesis, Stockholms konstnärliga högskola, Institutionen för film och media, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-744.

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This essay deals with the relationship of cultural institutions and the digital age. With the COVID-19 crises serving as a backdrop to this research paper, the not-often-questioned ideas on what cultural institutions are are reassessed. With the backbone of cultural life being presented by the almost fifty percent of cultural workers who are self – employed, we first address a more accurate definition of what a cultural institution is, judging by the state of the industry. Following this, a clear and novel differentiation between digital interfaces and virtual presence that is possible in the realm of culture is made.These terms are coined in this paper due to the need to make these two both important and valid strategies more understandable. Making these distinctions clear in practice, numerous opportunities in the digital realm for cultural institutions are presented.

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Lu, Sipei. "Socially engaged art in China and their entanglements with art institutions." Thesis, University of Leicester, 2018. http://hdl.handle.net/2381/43052.

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This thesis focuses on a specific area in the life-cycle of socially engaged art in mainland China - the point at which socially engaged art that takes place outside of art institution enters into the institutional arena. While many socially engaged art practices in China started out of a critique towards the art system, the relationship between socially engaged art and art space cannot be defined as an antagonistic one. Many artists have used institution resources to facilitate their work and/or artistic career, and identify the revision of art institutions as part and parcel of their practices. At the same time, curators do not take a 'neutral' position or step back at all times; instead, they often actively take part in researching, conceptualising implementing, intervening in and exhibiting artists' projects, the strategies of which depend on various factors, including but not limited to personal interest, artistic judgement and institutional agenda. The author argues that scrutinising the relationship between socially engaged art and art institutions can reveal, critique and develop an understanding of the process and efficacy of socially engaged art and the curation of such practices. Furthermore, it encourages the acknowledgement of the complexities involved in presenting and curating socially engaged art and asks the question: When art institutional professionals are not the initiators of artists' projects, what responsibilities should they take in exhibition-making activities and beyond? Through case studies, in particular the author's observation and participation in artists' collaborations with art institutions, this research identifies and contextualises the diverse modes of and the complexities in socially engaged art and the curation of it, and promotes reflexive thinking among various practitioners, such as artists, curators, and researchers.

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Baudin, Antoine Heller Leonid. "Les arts plastiques et leurs institutions : étude descriptive /." Bern ; New York ; Paris : P. Lang, 1997. http://catalogue.bnf.fr/ark:/12148/cb375423141.

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Th.--Lettres--Lausanne--Université de Lausanne, 1995. S'inscrit dans l'enquête pluridisciplinaire financée par le Fonds national suisse de la recherche scientifique : "Le réalisme socialiste de la période jdavonienne : usages à l'intérieur, image à exporter", menée sous la dir. de Leonid Heller à partir de 1987, et comptant trois volumes. Bibliogr. p. 349-370. Index.

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Philippou, Pavlos. "Cultivating urbanism : the architecture of contemporary cultural institutions." Thesis, Open University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542457.

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Jones, Tod. "Indonesian cultural policy, 1950-2003: culture, institutions, government." Thesis, Curtin University, 2005. http://hdl.handle.net/20.500.11937/403.

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This thesis examines official cultural policy in Indonesia, focussing on the cultural policy of the national governments from 1950 until 2003. Drawing on Michel Foucault’s writings about government and debates about cultural policy in Cultural Studies, the study proposes that the features of cultural policy in Indonesia are primarily determined by the changing ways that the state has put culture to work in its versions of modern governance. Part I of the thesis provides a history of official cultural policy, including a background chapter on the late colonial era and the Japanese occupation. Although contemporary cultural policy was first articulated within Western liberal democracies to shape self-governing national citizens, the Dutch colonial cultural policy differed in that it assumed indigenous subjects had reduced capacities and focussed on managing ethnic populations. The cultural policies of subsequent governments maintained the twin imperatives of ‘improving’ individuals and managing populations, but with different understandings of both imperatives. While a more autonomous subject was assumed during Constitutional Democracy, Guided Democracy exercised greater state guidance as part of Sukarno’s mobilisation of the population behind his political program. Cultural policy during the New Order era rejected Sukarno’s ‘politicisation’ of culture, replaced ‘improvement’ with ‘development’ and further strengthened the role of the state in providing cultural guidance, a move justified by designating Indonesians backward by modern standards.The Japanese administration was the first government to address a national population. Relations among indigenous ethnic populations and between ethnicity and the nation were addressed in cultural policy from 1956 and were central to cultural policy throughout the New Order era. Part II of the thesis consists of two case studies of cultural programs in the New Order and Reform eras: (1) the arts councils and cultural parks and (2) a cultural research project. It explores New Order centralism, demonstrating the heterogeneity between different levels of the state and how governmental goals imbued particular practices and objects with special significance and meaning by constructing them as culture. Cultural policy in the post-Suharto period is addressed in both Parts I and II. While the practices of the New Order era are generally continuing, decentralisation created the possibility of a plurality of cultural policies across Indonesia, as lower levels of government are responsible for administering cultural policy. Decentralisation could result in a more participatory cultural policy as more cultural practices are addressed or a narrowing of cultural policy if conservative ethnic identity politics drives changes.

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Jones, Tod. "Indonesian Cultural policy, 1950-2003 : culture, institutions, government /." Curtin University of Technology, Department of Media and Information, 2005. http://espace.library.curtin.edu.au:80/R/?func=dbin-jump-full&object_id=16663.

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This thesis examines official cultural policy in Indonesia, focussing on the cultural policy of the national governments from 1950 until 2003. Drawing on Michel Foucault’s writings about government and debates about cultural policy in Cultural Studies, the study proposes that the features of cultural policy in Indonesia are primarily determined by the changing ways that the state has put culture to work in its versions of modern governance. Part I of the thesis provides a history of official cultural policy, including a background chapter on the late colonial era and the Japanese occupation. Although contemporary cultural policy was first articulated within Western liberal democracies to shape self-governing national citizens, the Dutch colonial cultural policy differed in that it assumed indigenous subjects had reduced capacities and focussed on managing ethnic populations. The cultural policies of subsequent governments maintained the twin imperatives of ‘improving’ individuals and managing populations, but with different understandings of both imperatives. While a more autonomous subject was assumed during Constitutional Democracy, Guided Democracy exercised greater state guidance as part of Sukarno’s mobilisation of the population behind his political program. Cultural policy during the New Order era rejected Sukarno’s ‘politicisation’ of culture, replaced ‘improvement’ with ‘development’ and further strengthened the role of the state in providing cultural guidance, a move justified by designating Indonesians backward by modern standards. The Japanese administration was the first government to address a national population. Relations among indigenous ethnic populations and between ethnicity and the nation were addressed in cultural policy from 1956 and were central to cultural policy throughout the New Order era. Part II of the thesis consists of two case studies of cultural programs in the New Order and Reform eras: (1) the arts councils and cultural parks and (2) a cultural research project. It explores New Order centralism, demonstrating the heterogeneity between different levels of the state and how governmental goals imbued particular practices and objects with special significance and meaning by constructing them as culture. Cultural policy in the post-Suharto period is addressed in both Parts I and II. While the practices of the New Order era are generally continuing, decentralisation created the possibility of a plurality of cultural policies across Indonesia, as lower levels of government are responsible for administering cultural policy. Decentralisation could result in a more participatory cultural policy as more cultural practices are addressed or a narrowing of cultural policy if conservative ethnic identity politics drives changes.

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Benqasim, Lhoussaine. "Les Ait Sidi Ali Amhawch : structures anthropologiques et construction du pouvoir au Maroc central (1715-1932)." Electronic Thesis or Diss., Paris, EHESS, 2025. http://www.theses.fr/2025EHES0019.

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À travers une généalogie, réelle ou symbolique, les Ait Sidi Ali Amhawch, descendants de Dadda Ali Ohsain, s'inscrivent assurément dans le champ religieux au milieu rural du Moyen Atlas central. Ainsi, prédisposés à assumer des rôles politiques, les Imhiwach ont construit un pouvoir spirituel et temporel qu’ils ont exercé pendant deux siècles (1715-1932). Forts de leur capital religieux et social, les Imhiwach deviennent des leaders charismatiques, producteurs d'actions et de paroles légitimes. À partir d’une étude ethnographique des expressions culturelles, des traditions orales et rituelles, cette thèse se propose d'apporter un éclairage sur le parcours de la famille Amhawch, en révélant les mouvements qui ont traversé la société du Moyen Atlas et leurs impacts sur les structures anthropologiques, ainsi que sur les perceptions et attitudes des individus. Trois périodes historiques sont mises en avant dans cette étude : la période précoloniale, durant laquelle les Ait Sidi Ali Amhawch ont construit des alliances tribales et se sont opposés au Makhzen (pouvoir traditionnel) ; la période coloniale, au cours de laquelle ils ont mené une résistance armée, qualifiée de guerre sainte, contre l’armée française ; et enfin, la période postcoloniale, marquée par des transformations profondes des institutions sociales et culturelles. Bien que les pratiques rituelles et la tradition orale expriment indubitablement l’ancrage de l’histoire des Imhiwach dans la mémoire collective de la population du Moyen Atlas, cette étude cherche à élucider la dimension sociale, politique et religieuse de la sainteté des Imhiwach au Moyen Atlas central Through their genealogy, whether real or symbolic, the Ait Sidi Ali Amhawch, descendants of Dadda Ali Ohsain, are certainly part of the religious field in the rural environment of the central Middle Atlas. Thus, predisposed to assume political roles, the Imhiwach built a spiritual and temporal power that they exercised for two centuries (1715-1932). Strengthened by their religious and social capital, the Imhiwach became charismatic leaders, producing legitimate actions and words. Based on an ethnographic study of cultural expressions, oral and ritual traditions, this thesis aims to shed light on the Amhawch family's journey, revealing the movements that have traversed Middle Atlas society and their impact on anthropological structures, as well as on individual perceptions and attitudes. Three historical periods are highlighted in this study: the pre-colonial period, during which the Ait Sidi Ali Amhawch built tribal alliances and opposed the Makhzen (traditional power); the colonial period, during which they led an armed resistance, described as a holy war, against the French army; and finally, the post-colonial period, marked by profound transformations in social and cultural institutions. Although ritual practices and oral tradition undoubtedly express the anchoring of the Imhiwach story in the collective memory of the Middle Atlas population, this study seeks to elucidate the social, political and religious dimension of Imhiwach’s sanctity in the central Middle Atlas

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Innocenti, Perla. "From cultural heritage to cultural heritage informatics : critically investigating institutions, processes and artefacts." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4658/.

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Background and rationale: Collecting is a basic human activity, a cultural phenomenon establishing cultural values, defining authenticity and creating new identities for collected objects and collectors. For more than a decade, I have studied cultural heritage collections from three key interwoven perspectives. These approaches are evident in the six publications selected for this submission: • Architectural and organisational perspective: at the Vatican Gallery (Innocenti 2001a), Uffizi (Innocenti 2003a) and Biblioteca Laurenziana (Innocenti 2002a) I investigated institutional collector and key stakeholder strategies for designing collection space and displays. I then applied this analysis to‘knowledge architecture’ for industrial design artefacts and processes (Innocenti 2004c). • Procedural and functional perspective: from Palladio drawings (Innocenti 2005a) to industrial design knowledge bases (Innocenti 2004a), I investigated how to digitize, archive, render and make accessible cultural heritage as an accurate iconic representation, interwoven with documentary and cultural contexts. The work further led me to study the authenticity of born-digital artworks (Innocenti 2012c). • Artefact perspective: I explored how artists and institutional collectors address the preservation of artworks, from the Renaissance desks of the Biblioteca Laurenziana (Innocenti 2002a) to digital artworks (Innocenti 2012c), and the historical and theoretical implications of their choices. In each of these areas, I contextualized the interrelations between cultural heritage discourse and the history of collecting cultural artefacts within given historical, social and cultural periods. My work began in Italy, where cultural heritage is deeply rooted and widespread, and moved on to encompass Europe and North America in tracing the evolution of cultural heritage collectors’ strategies. I adopted an interdisciplinary approach, engaging perspectives, methods and theoretical frameworks from art history, art theory, museography, museology, library and information science, information technology, social anthropology and engineering. Starting from this multi-focal vantage point my research has resulted in contributions to knowledge, methods and theory. These publications on one hand demonstrate the continuum of key issues in cultural heritage creation, preservation and access as manifested in the strategies of institutional collectors and artists. On the other hand, they highlight the new paradigms and transformations introduced by digital and communication technologies, the shaping of cultural heritage informatics to address these transformations and the theoretical and methodological implications underlying them. Through my scholarly research, I contributed to progressing the canonical historicisation of cultural heritage, museography and museology, and to exploring the new paradigms and transformations introduced by digital and communication technologies to the disruptive and exciting world of cultural heritage informatics. The portfolio: The portfolio is a selection from Perla Innocenti’s more than forty publications of research carried out since 2001 on cultural heritage and informatics with the Universitá degli Studi di Roma ‘La Sapienza’, Scuola Normale Superiore di Pisa, Istituto Nazionale di Archeologia e Storia dell’Arte in Rome, Pinacoteca Nazionale di Bologna, Italian Ministry of Cultural Heritage and Fondazione Andrea Palladio, Politecnico di Milano and EU-funded projects SHAMAN and MeLa. Six scientific publications are presented: two journal articles, a scholarly treatise, a published conference paper, key chapters from a monograph and one book chapter from an edited volume. The works have two key themes relevant to the critical analysis and understanding of heritage institutions’ evolution up to the digital age. The themes illustrate the contribution each publication has made to the literature and explain the relationship between the works submitted, including developments which have occurred between one piece and another. Theme I: Evolution of museography, museology and heritage studies Three publications are presented under this theme, each of these presenting the critical analysis of cultural heritage institutions and their artefacts within the historical evolution of museums and libraries. Publication I presents the critical analysis of the museographic principles applied by Luca Beltrami to the design of the Vatican Gallery, investigated and contextualised within its museographical and cultural history (Innocenti 2001a). Publication II presents the critical analysis and findings of the museological and museographical principles applied by Corrado Ricci to the Uffizi Gallery in the 19th Century, compared with the contemporary principles in the Uffizi applied by the former Superintendent and Italian Ministry Antonio Paolucci (Innocenti 2003a). Publication III presents the analysis and original findings of Michelangelo’s ergonomic design of the Biblioteca Laurenziana fittings, within the historical evolution of libraries (Innocenti 2002a). Theme II: Creating, managing, disseminating and preserving digital cultural heritage The publications presented in this theme relate to methodologies and processes characterising diverse typologies of analogue and digital cultural heritage and the emerging field of cultural informatics. Publication IV presents the novel methodological approach defined and applied within a relevant digitization project of Andrea Palladio manuscripts and maps (Innocenti 2005a). Publication V presents the outcomes of my investigation defining and implementing an online knowledge-based system supporting research and teaching of industrial design, which is formally considered part of Italian cultural heritage (Innocenti 2004a). Publication VI discusses the repositioning of traditional conservation concepts of historicity, authenticity and versioning in relation to born-digital artworks, based on findings from my research on preservation of computer-based artefacts by public collectors (Innocenti 2012a).

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Holberton, Edward. "Poetry and the Cromwellian protectorate : culture, politics, and institutions /." Oxford : Oxford university press, 2008. http://catalogue.bnf.fr/ark:/12148/cb41310920f.

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Baniotopolou, Evdoxia. "Century city : art and culture in the modern metropolis : a case-study of institutional curating of contemporary art in an urban context." Thesis, University of the Arts London, 2010. http://ualresearchonline.arts.ac.uk/5370/.

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My thesis is an interpretive case study of the exhibition Century City: Art and Culture in the Modern Metropolis (Tate Modern, 1 February – 29 April 2001). It examines a variety of issues pertaining to the making of institutional modern and contemporary art exhibitions in a Western urban context today. It is concerned with exhibition studies’ methodology, the reciprocity between the art institution and the city, and the relationship between the art institution and the independent curator. With regards to methodology, I propose various readings of an exhibition that fall under two types of knowledge, namely visible and invisible knowledge. The former refers to all aspects of the exhibition that are seen in the public domain, while the latter considers not immediately accessible information about the exhibition, such as archival material and oral history. I also examine the mutual relationship between the city and the institution through the instrumentalization of the exhibition by city politics, and the correlative micro and macro effects. I thus link the exhibition to a passage from an industrial to a post-industrial economy, New Labour politics and the competition of cities in a worldwide urban network. Within that framework I analyse associated issues, such as London’s urban regeneration and cultural tourism, city branding, changing city demographics, the link between the institution, the city and governmental agendas, and the ‘world city’ race. Finally, I question the changing relationship between the art institution and the independent curator. I reflect on the advantages and limitations of curatorial practice in the context of that relationship by considering the exhibition as a platform for the concurrent expression of both personal and collective curatorial interests, and the exploration of canonical versus contemporary approaches. I conclude that an in-depth study of a contemporary exhibition on these grounds allows for important insights to be gained that contribute to the fields of curatorial and exhibition studies, as well as to urban theory.

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Langen, Floris Antal Freek. "EU cultural policy 1974-2007." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/2149/.

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The development of EU cultural policy has been characterised by a high degree of continuity. The objectives underlying present-day policy actions can be traced back to historical roots that date back to the mid-1970s. Since the first cultural actions were taken, EU cultural policy has had multiple objectives. Involvement in the cultural field has been justified on the basis of economic, social, political and, to a certain extent, cultural arguments. Although there have been shifts in accents and priorities, these various justifications can be found to co-exist throughout the process. In more recent times, the contribution of cultural actions to the emergence of European citizenship has emerged as a more dominant theme. Although peaks in expansion can be seen, Community involvement in the cultural field has overall developed through a slow process of developments and adjustments through relatively small-scale actions. As the Member States have retained much of their control over this area, policy development has been restricted to a limited range of actions for which only a narrow budget has been available. Given the dominance of the subsidiarity principle in all Community actions in the cultural field, the main policy mode has by necessity been one of consensus-seeking between actors with at times conflicting interests. However, over time the main priorities of all actors have become more or less aligned, so that the continuity of policy appears to be safeguarded. Recent developments suggest that culture has gradually come to take up a more prominent role within EU policies. However, consensus will continue to dominate the general approach as far as the development of Community actions is concerned.

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Dissertations / Theses on the topic 'Cultural and art institutions'

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