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In the Hong Kong Chief Executive's 2020 Policy Address, the Hong Kong Special Administrative Region (HKSAR) Government implemented strategies to integrate arts and technology as a new trend in cultural development. With the co-existence of a governmental initiative in 'arts and technology' ('arts tech') development and the rapid advancement of new technologies, it is frequently seen that new technologies (e.g., virtual reality [VR] and augmented reality) have been widely adopted in interactive media art productions in Hong Kong. Drawing on ethnographic research on a commercial virtual event, and a VR theatre performance produced by a Hong Kong cross-media creative studio, this study unveils discrepancies existing between government officials, commercial marketers, and art creators, ranging from objectives to practices in applying technologies to virtual art production. The juxtaposition of a market-driven commercial virtual campaign and the Chinese nationalist agenda embodied in the government-funded arts tech project reflects how the socio-historical background and changing political situation in Hong Kong extends its postcolonial neoliberal nationalism (PNN) to the arts tech arena. The contribution of this paper is two-fold: first, by adopting 'China as method' as epistemological analysis, the mediation of PNN by arts tech explains a 'southbound imaginary' in Hong Kong's arts and cultural practices through a changing relationship between Hong Kong and mainland China. Second, in contrast to the current scholarship focusing on human governance in the formation of neoliberal nationalism, this paper underscores the 'power' of techno-cultural material in mediating the neoliberal nationalism of Hong Kong, after its reversion to China, through arts tech development. [ABSTRACT FROM AUTHOR]

Since the beginning of the twenty-first century, in alignment with globalization and the megatrend within the international socio-cultural sphere, China has initiated a large-scale "intangible cultural heritage (ICH) protection movement" through its proactive leadership and management of cultural heritage administration. As a significant component of Chinese cultural politics, this movement has profoundly influenced the cultural lives of Chinese society and its citizens and is poised to continue doing so. Some Chinese anthropologists have also participated in and significantly contributed to this movement in various ways. This paper comprehensively and meticulously examines these fundamental ways. Building upon this analysis, this paper further provides an overview and assessment of the research outcomes of anthropological research on Chinese cultural heritage, both domestically and internationally. The author posits that the paramount contribution of anthropologists, both domestically and internationally, to Chinese cultural heritages and the related protection endeavors lies in their academic research outcomes being predominantly based on their respective fieldwork practices. These outcomes, shaped and realized through on-the-ground fieldwork, hold exceptional value for cultural heritage administration and national cultural policies, as they effectively provide cultural criticism and dissenting perspectives. [ABSTRACT FROM AUTHOR]

Copyright of EMPIRIA: Revista de Metodología de Ciencias Sociales is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista FSA is the property of Revista FSA (Faculdade Santo Agostinho) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Navigating the complexities of nowadays cultural and political landscapes requires acknowledging the significant role emotions play in shaping cultural policy processes. This paper addresses this crucial issue by conducting a thorough examination of two distinct case studies: the EU Creative Europe programme, focusing on cultural participatory practices within the Audience Development (AD) priority, and the city context of Naples, during its "Season of the Commons" from 2012 to 2021. Through these case studies, this research delves into the intricate interplay between emotions, cultural policy, and political dynamics. Drawing from a multidisciplinary framework encompassing sociology, political science, and cultural studies, the analysis offers both theoretical insights and empirical evidence to define the concept of emotional clusters. These clusters represent a form of social adaptation in times of organic crisis, forming the foundation of novel and often unrecognized spaces of resistance that operate within the spectrum between hegemonic and counter-hegemonic realms. This work aims to critically reflect on the role of emotions in the tension between top-down cultural policymaking and bottomup cultural practices by scrutinizing the connection between emotional clusters and the empirical evolution of cultural policy processes. In doing so, it aspires to provide empirical analysis of emotions as a means to comprehend contemporary decision-making procedures in cultural and policy/political dynamics, while suggesting coordinates for viewing cultural policies as a lively political matter. [ABSTRACT FROM AUTHOR]

As both artificial intelligence (AI) and creativity are being foregrounded in UK policy agendas, this paper identifies a striking underrepresentation of artists and artistic practice in cultural policy discussing creative innovation. This is despite increasing academic literature, arts-led research, and case studies evidencing a close and dialogic relationship between art and AI. To illustrate this, we first call attention to the impact artistic practice has on AI, against the more common discourse of AI's impact on the arts. We then review UK policy addressing the intersection of the cultural sector, creative industries, and digital sector. Taking this context into account, we argue that artists and artistic practice are currently underrepresented in cultural policy advocating for investment in creative innovation. We suggest this under-acknowledgement is embedded as foundationally as the policy language used to articulate the intersection of arts and technologies, foregrounded by the semantic separation of "Visual arts" and "Artistic creation" from the "Digital Sector" in UK Standard Industrial Classifications. This separation reveals a misalignment of policy and practice that risks underrepresenting the important contribution artists make to the development of AI, and discourse around its role in society. Addressing this misalignment requires a review of policy language used to articulate the intersection of the cultural sector, creative industries, and digital sector in order to more closely align artistic practice with the development of AI. This is an important first step in establishing cultural policy that recognises, prioritises, and invests in artists as the agents of creative innovation that literature and practice evidence them to be. [ABSTRACT FROM AUTHOR]

This paper examines the influence of the Heritage Transfer of Development Rights (HTDR) among heritage property owners and explores how its successful implementation has been hampered based on the study of two indicators—policy awareness and implementation efficiency—which are vital for generating initial interest among stakeholders and leading them to use the policy. The HTDR policy at Ahmedabad, introduced in 2015 as an incentive program supporting the conservation of privately owned properties within the old city of Ahmedabad, has failed to generate much interest among the local community. As per the documents available online on the website of Ahmedabad Municipal Corporation, in the last 9 years, only 81 properties with TDR certificates. It is thus very pertinent to identify the reasons for its lack of influence and acceptance. In this study, a mixed method was adopted involving a closed-ended survey and semi structured interviews. The inferences are based on the responses gathered from heritage property owners currently living in heritage properties and those living elsewhere. The heritage properties were identified based on a random sampling method from the listed heritage properties spread across the 13 wards of the walled city. Based on the research findings, although most property owners are aware of the HTDR policy and find it an essential tool for conserving heritage in Ahmedabad, awareness of the whole mechanism and application process is significantly limited. The implementation of the HTDR policy is highly inefficient, and more awareness must be generated among owners. Moreover, more training or technical assistance needs to be provided to them to help them access the incentive program. The lack of a proper and comprehensible policy brief or document further hinders the situation. Overall, property owners are not completely satisfied with the HTDR policy and suggest critical revisions, such as reducing the file clearance time, calculating a new TDR amount, and modifying the stages of fund disbursement. [ABSTRACT FROM AUTHOR]

Copyright of Annals for Istrian & Mediterranean Studies / Annales: Series Historia et Sociologia is the property of Historical Society of Southern Primorska of Koper and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Canadian Journal of Economics is the property of Wiley-Blackwell and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The steady growth of international trade in the post-pandemic era has brought about significant challenges for the publishing industry, particularly with the trend towards regionalization. The decentralization, regionalization and localization of global supply chains have resulted in new changes in the global trade landscape. This paper aims to deepen our understanding of the regional publishing trade between China and ASEAN countries by analyzing its spatio-temporal patterns and internal dynamical mechanisms. We use ArcGIS software to visualize the spatial distribution of the publishing trade between the two regions and employ a Geodetector model to explore the influence of various factors on this trade. Our findings indicate that a set of factors significantly impact the evolution of spatio-temporal patterns in the publishing trade between China and ASEAN, and there is a pronounced disparity in the spatial distribution of the trade across different ASEAN countries. To optimize the industrial and supply chain, China's publishing industry must strive to achieve a better spatial arrangement of its trading activities, promote resource allocation efficiency, and meanwhile expand cultural initiatives at the policy level to promote mutual understanding and exchange with those inactive trading partners. [ABSTRACT FROM AUTHOR]

The paper examines the influence of (neo)liberal elites on the etatization, i.e. deetatization of cultural policy in Serbia, starting from the definition of public policies as a relatively stable, purposeful course of action of state bodies, public officials, governmental and legislative bodies in dealing with certain problems or issues that affect a significant number of people. The aim of the paper is to analyze the interrelationship between the ideas of (neo)liberal elites about the role of the state in conducting cultural policy, the practical activities of the legislative and executive authorities and the achieved results. The focus is on the achieved results of transitional cultural policies in Serbia after the 2000 elections, but also on the comparison with previous transitional milestones that were influenced by (neo)liberal elites, such as liberal patriots to the St. Andrew's National Assembly (19th century) and Yugoslav liberal dissidents to self-management in culture (20th century). Observed from the point of view of the role of the state in conducting cultural policy in Serbia, from the 19th century until today, we see that the phases of etatization and deetatization alternated depending on the geopolitical attitudes of those actors who had the most influence on decision-making in the field of culture. In this sense, the role of liberal elites in the cultural and political history of Serbia is significantly different, since one group advocates for the restoration of statehood and the strengthening of the role of the political, scientific and cultural institution of the state, while the other group contributes to the corruption of the state and the collapse of state power by building the double state model of public policies. Thus, "liberal patriots" strengthen the role of a free and sovereign state based on right of the people, while the post-Yugoslav political, intellectual, cultural and artistic left-liberal Eurocentric civic elite bases its policy on deetatization which means the reduction of the role of the state and increasing the role of the cosmopolitan highly educated intellectual elite. The key difference is that the liberal patriots laid permanent foundations of democratic political, scientific, cultural and educational institutions, the post-Yugoslav neoliberal elite dismantles those foundations and weakens cultural institutions

Copyright of Sociologia, Problemas e Práticas is the property of Centro de Investigacao e Estudos de Sociologia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study investigates the complex historical narrative surrounding the practice of finger severing (danji 斷指) in early Joseon Korea, focusing on its unique origins and widespread dissemination, and the multifaceted discourse it generated among the ruling elite. By tracing finger severing from its emergence during the reign of King Taejong to its proliferation in the 16th century, this research illuminates the interplay between institutional factors, societal customs, and cultural perceptions that shaped its evolution. This study deviates from the conventional approach of explaining Joseon’s cultural edification solely through the intentions and actions of the government and the royal court. Instead, it explores how folk customs were discovered and then intentionally spread by the government, thereby providing a more comprehensive understanding of the dynamics of Confucianization in Joseon Korea. The dissemination of finger severing highlights the success of the early Joseon ruling class’s proactive policies aimed at cultivating and standardizing ethical practices. However, this study also explores the contradictions within the ruling elite’s discourse surrounding finger severing, as well as the discrepancy between the ruling class’s intentions and the actual motivations driving the civilian populace’s engagement in the practice. The proliferation of finger severing in early Joseon Korea represents both the triumph of the state’s cultural cultivation policies and the unexpected outcomes of the complex interplay of institutional efforts, societal customs, and divergent perceptions. [ABSTRACT FROM AUTHOR]

Abstract This paper examines the influence of the Heritage Transfer of Development Rights (HTDR) among heritage property owners and explores how its successful implementation has been hampered based on the study of two indicators—policy awareness and implementation efficiency—which are vital for generating initial interest among stakeholders and leading them to use the policy. The HTDR policy at Ahmedabad, introduced in 2015 as an incentive program supporting the conservation of privately owned properties within the old city of Ahmedabad, has failed to generate much interest among the local community. As per the documents available online on the website of Ahmedabad Municipal Corporation, in the last 9 years, only 81 properties with TDR certificates. It is thus very pertinent to identify the reasons for its lack of influence and acceptance. In this study, a mixed method was adopted involving a closed-ended survey and semi structured interviews. The inferences are based on the responses gathered from heritage property owners currently living in heritage properties and those living elsewhere. The heritage properties were identified based on a random sampling method from the listed heritage properties spread across the 13 wards of the walled city. Based on the research findings, although most property owners are aware of the HTDR policy and find it an essential tool for conserving heritage in Ahmedabad, awareness of the whole mechanism and application process is significantly limited. The implementation of the HTDR policy is highly inefficient, and more awareness must be generated among owners. Moreover, more training or technical assistance needs to be provided to them to help them access the incentive program. The lack of a proper and comprehensible policy brief or document further hinders the situation. Overall, property owners are not completely satisfied with the HTDR policy and suggest critical revisions, such as reducing the file clearance time, calculating a new TDR amount, and modifying the stages of fund disbursement.

Background: Multiple sclerosis (MS) is a debilitating, non-traumatic disease that is common among young adults. Cultural factors, as background factors, can affect how patients adapt and their quality of life. This study aimed to explain the burden of cultural factors on Multiple sclerosis. Methods: This study was conducted with a qualitative approach and conventional content analysis among women with Multiple sclerosis in Mashhad. The data were collected through semi-structured interviews with women with MS. Fifteen patients with Multiple sclerosis were selected using purposeful sampling. The Graneheim and Lundman method was used to analyze the collected data. The transferability of the study was evaluated using the Guba and Lincoln criteria. MAXQADA 10 software was used to manage and analyze the data. Results: In explanation of the cultural factors of patients with Multiple sclerosis, one category (cultural tensions) and five subcategories (forced communication with spouse's family, definition of women's role in society, people's behavior, social beliefs and isolation of the patient) were extracted. Conclusion: The results obtained in this study show that female MS patients face various concerns. Overcoming these challenges require a change in the attitude of people in the society towards women with MS, which is important in the context of formulating practical policies to create a suitable culture. Adopted policies should aim to internalize the culture of changing society's views of female MS patients. Therefore, the authors argue that there is a need for cultural policies, followed by the systems implementing these policies to consider the challenges mentioned in this study as a priority for MS patients. [ABSTRACT FROM AUTHOR]

In this article, the writer considers the current state of the cultural and linguistic rights of the Sámi, how they are supported by cultural policy and how decolonising cultural policy could contribute to the ongoing struggles of realising the self-determination and cultural rights of the Sámi. The article stipulates that concrete steps need to be taken for decolonising cultural policy in Finland specifically concerning the cultural and human rights of the Sámi. Cultural policy should be based on cultural rights, thus introducing decolonial practices in support of the Sámi culture and languages and into the culture policy and funding is imperative. The article suggests creating decolonial practices of research and policymaking rooted in intersectional and participatory methods that recognise the many forms of discrimination, not only the current-day colonialism or the effects of assimilation but also the intersections of an indigenous identity with other forms of discrimination. Furthermore, contributing to decolonisation should include research on the effects of colonisation on cultural rights, cultural policy and the distribution of funds for promoting the Sámi culture and languages in the Sámi communities and Finland. [ABSTRACT FROM AUTHOR]

How is land management related to cultural policy and how do these two different scientific fields contribute to cultural heritage protection? How may archaeological sites, immovable monuments, and state property be recorded in a specific Land Administration System? What are the records of the system in numbers? These questions will be answered in this publication, and the example of the Hellenic Archaeological Cadastre (HAC) will be analyzed in detail. The HAC project is one of the most important projects that has been designed, implemented, and launched within the last decade by the Hellenic Ministry of Culture. The transition of the whole public sector in the digital era and the urgent need for reliable and updated geospatial documentation of public parcels of land and constructions, archaeological sites, and immovable monuments were the two main factors that led to the compilation and implementation of the specific LAS. This study presents the available tools, administrative procedures, records, qualitative and quantitative data, and prominent examples of public parcels of land accessible online in the open access web GIS platform. A SWOT analysis is also performed for its evaluation. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Historia is the property of Universidad de Chile, Facultad de Filosofia y Humanidades and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of this study is to highlight the influence of cultural policies carried out in communist Romania in constructing the concept of "literary generation" between 1948 and 1965. Firstly, we focus on the militantly Marxist-Leninist discourse of official legitimization regarding a so-called "contingent" of poets who graduated from the "Mihai Eminescu" School of Literature and Literary Criticism in Bucharest between 1950 and 1955. In the second part of the article, we turn our attention to the ideological necessity of reinterpreting the phrase "young generation" in the context of the proliferation of the idea that writers are "builders of socialism" (1956-1960). Here, we focus on the polemical interaction between the "generation of the fight against inertia", represented by Nicolae Labiș (1935-1956), and the generation promoted "under the sign of the Revolution", represented by Nichita Stănescu (1933-1983), Ilie Constantin (1939-2020), and Cezar Baltag (1939-1997). In the last section of our discussion, we underline the dialectic between propaganda and aesthetics from which emerged what Romanian literary history records as the "(19)60s generation", and its references the 9th Congress of the Romanian Communist Party (July 1965) and Ion Pop's synthesis work Poezia unei generaÈ›ii ["The Poetry of a Generation"] (1973), in which the literary critic also includes Nicolae Labiș. [ABSTRACT FROM AUTHOR]

Motivation: In recent years, the impact of cultural factors on the economic development has been analysed. This research concerns the impact of culture on the labour market, the growth of innovation and creativity, participation in creating added value of GDP, stimulating exports, although the cultural sector also affects the development of tourism, entertainment and improvement in the quality of life of residents. Currently, the cultural sector is treated as a long-term economic investment affecting the development of the country. Aim: The goal of the article is to evaluate the functioning of the cultural sector in Poland. This assessment has been made on a regional basis. Results: To achieve the purpose, data of the GUS (Central Statistical Office in Poland) were analysed. The data concerned expenses allocated to culture and national heritage -- they included individual types of cultural institutions and number of cultural sector entities in 2018-2021. The results of the analysis of the cultural sector have been presented in tables and diagrams. Using an agglomeration method, the Polish provinces were grouped according to values of the analysed categories of expenses allocated to culture and national heritage in the provinces in year 2021. It was noticed that the development of the cultural sector in Poland is uneven, concentrated in the country's capital, which is typical for less developed countries. Therefore, main barriers to the development of the cultural sector in Poland were identified. The most important obstacles were: underfunding, lack of systemic solutions to support the demand for cultural goods, unfavourable legal and financial conditions for creators of culture, lack of support for cooperation between public and private cultural sector, dependence of the development of the cultural sector on politics, as well as lack of social acceptance of the cultural policy. Culture is also negatively affected by the processes of globalization, commercialization and recently the Covid 19 pandemic. [ABSTRACT FROM AUTHOR]

Navigating the complexities of nowadays cultural and political landscapes requires acknowledging the significant role emotions play in shaping cultural policy processes. This paper addresses this crucial issue by conducting a thorough examination of two distinct case studies: the EU Creative Europe programme, focusing on cultural participatory practices within the Audience Development (AD) priority, and the city context of Naples, during its “Season of the Commons” from 2012 to 2021. Through these case studies, this research delves into the intricate interplay between emotions, cultural policy, and political dynamics. Drawing from a multidisciplinary framework encompassing sociology, political science, and cultural studies, the analysis offers both theoretical insights and empirical evidence to define the concept of emotional clusters. These clusters represent a form of social adaptation in times of organic crisis, forming the foundation of novel and often unrecognized spaces of resistance that operate within the spectrum between hegemonic and counter-hegemonic realms. This work aims to critically reflect on the role of emotions in the tension between top-down cultural policymaking and bottom-up cultural practices by scrutinizing the connection between emotional clusters and the empirical evolution of cultural policy processes. In doing so, it aspires to provide empirical analysis of emotions as a means to comprehend contemporary decision-making procedures in cultural and policy/political dynamics, while suggesting coordinates for viewing cultural policies as a lively political matter.

In this paper, we reflect on ‘new commons’ theory and elaborate on the ontology of memory institutions with the aim to develop a comprehensive conceptual framework for ‘commons-oriented’ GLAMs (Galleries, Libraries, Archives and Museums). In doing so, we propose an alternative for governing and managing cultural heritage against a backdrop of limited public funding and pressures for developing memory institutions into more inclusive, participatory and ‘entrepreneurial’ organisations. Our theoretical analysis is grounded in the review of the extant literature, including both the ‘Ostromian’ and ‘Autonomist’ schools of thought, drawing particularly on the new commons (urban, digital, cultural/heritage commons) to inform our framework. The conceptual schema we present here is adapted to fit with the idiosyncrasies of the sector, describing the functioning of commoning practices in GLAMs. Such a framework is critical for navigating future research and devising workable solutions to address current challenges for memory institutions in Europe.

Cultural policies of the past decades in Europe and especially in France, have placed the objective of diversity at the heart of their field of action. However, no cultural diversity indicator is published, which would make it possible to evaluate the results of a policy in favour of diversity in audiovisual or music industries. However, we find in the scientific literature works that provide such measurement indicators. This article details the construction of these indicators and shows how they could be usefully mobilised in the service of new regulations in favour of cultural diversity on cultural online services. [ABSTRACT FROM AUTHOR]

Copyright of Central European Political Studies / Środkowoeuropejskie Studia Polityczne is the property of Faculty of Political Science & Journalism, Adam Mickiewicz University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Muzikologija is the property of Serbian Academy of Sciences & Arts, Institute of Musicology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Políticas Culturais em Revista is the property of Politicas Culturais em Revista and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In pursuit of its mission to preserve traditional Japanese performing arts, the first National Theatre of Japan predominantly showcased Kabuki performances since its establishment in 1966. This article examines the proposed redevelopment concept for this theatre within the context of the current landscape of Kabuki productions. It sheds light on the Japanese government's inclination to diminish its role in the future National Theatre's construction scheduled to open in 2029, opting to realize it as a Private Partnership Project. This strategic shift underscores a focus on the tourist appeal of the rebuilt theatre while concurrently preserving its interdependent relationship with Shōchiku in Kabuki productions. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Sociología is the property of Universidad de Chile and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The current hegemonic understanding of culture and sustainability leans strongly on the conceptualization of ‘culture’ as profoundly anthropocentric. ‘Sustainability’ in cultural policies again means often the potential of creative industries in contributing to economic growth. This approach can be seen as very problematic in the era of extending the environmental crisis, which urgently calls for not only new kinds of policies on sustainability but also new thinking on the relationship between culture and nature. The main purpose of this article is to analyze how recent theories and concepts concerning the rethinking of nature–culture relationship and ecological citizen-subjectivity could challenge the hegemonic economist sustainability discourse of cultural policies. The article presents the results of discourse analysis on how the economic side of sustainability has recently become the mainstream signification in international cultural policies and what are the major documents and institutions maintaining and strengthening this approach. The discourse analysis focuses on the questions: how is cultural sustainability systematically signified, and what are the arguments and justifications for the main significations the documents make? The data consist of the conventions, declarations, and program papers of the G20, OECD, UN, UNCTAD, UNESCO, and WTO from “Brundtland report” (1987) until now. Theoretically, I go through the recent ideas of social theories on the ecologization of economy, society, culture, and citizenship/subjectivity as proposed by Tim Jackson, Bruno Latour, Andreas Malm, and the Planetary Wellbeing Research Group. I consider how the hegemony of economism and anthropocentrism in cultural policies could be changed with their help.