Search

In today's fluid culture, fluid economy and fluid tourism, arts festivals fulfil various and sometimes conflicting functions, but surprisingly little scholarly attention has been paid to this issue. The concern of this note is consequently to fill in this void by specifically providing, exploring and critically examining the multifaceted culture of festivalisation in the urban context. In so doing, the current study draws on two case studies namely Mawazine Festival Rhythms of the World (MFRW) and Marrakech International Film Festival (MIFF). Accordingly, while this research note brings into focus how the concept of polysystem is useful for understanding the complex interactions between different cultural systems, it also argues that a polysystemic approach can help shed light on the complex dynamic interactions between systems and subsystems; and identify the various actors and forces that shape the production and reception of cultural events in the urban milieu. [ABSTRACT FROM AUTHOR]

Cultural events and collections, as curated assemblies of artists and artwork attended by live audiences, are recognised as a large and growing source of added value in contemporary accounts of 'creative', 'enrichment' and 'experience' economies. We analyse these, and empirical festival studies, to assess the impact on cultural production when the COVID-19 pandemic forces events to cancel or move online. Contrasting the relative optimism of 'enrichment' (Boltanski & Esquerre 2020) with pre-pandemic developments, we argue 'festivalisation' is best understood as a defensive reaction to mediated alternatives. These increasingly offer experientially comparable, lower-cost substitutes for the premium-priced immersive performance on which cultural workers have come to rely, for creative ideas, skills and career openings as well as income. Online channels weaken the eventisation defence and curatorial quests for 'singularity', while remote participation limits audiences' size and mode of engagement, risking permanent damage to vital components of cultural production and valorisation. [ABSTRACT FROM AUTHOR]

Founded in 1922 after an agreement between the French and Bulgarian governments, the French Institute in Sofia, opened the same year by the Minister of Public Instruction at the time, Mr. Omarcevski, introduced a new element of political support to the French culture and its institutions in Bulgaria compared to the first French Institutes, created at the beginning of the century. On the other hand, this Institute has established itself as the almost essential intermediary between the University of Sofia and the French universities at that time, with a significant contribution to the development of the Francophonie in Bulgaria, which brings it closer to its predecessors in Florence and Athens. The Sofia Institute has continued to develop. It is far from being a simple instrument for disseminating French culture in Bulgaria. In view of its organization and its historical operation, this institution seems to be, since 1937 and still today, a good example, in the spirit and according to the conception of perspective of the contemporary French Institute. [ABSTRACT FROM AUTHOR]

In this paper I propose to question the way in which coloniality and Western hegemony affect Francophone theatrical creation as an example of issues which, historically constructed through the prism of a Eurocentric ideology, go beyond the artistic dimension. This focus makes it possible to frame the analysis on aspects of representation, and thus to question the political and cultural aspects of the artistic practices taking place within the dynamics of Franco-African relations. I will show these issues starting with Baâda, le malade imaginaire by the Burkinabe company Marbayassa, a cooperative adaptation with an intercultural vocation. By turning to the theatre to rethink the whole range of cultural products from the point of view of performance and forms of domination, the analysis shows the relationships between theatrical creation, cultural institutions, and economic and political logics. The analysis highlights the ways in which artistic productions convey representations that can favour the fabrication of an aestheticization of difference and the risks of ethnocentric representation, notably in the forms of exoticism of the body and of the imagination. In the conflict between hybridisation and cultural homogenisation that interculturality brings about, this allows to keep in mind the imposition of a knowledge/power that is both marginalising and phagocytising. [ABSTRACT FROM AUTHOR]

This article innovatively combines the analysis of both cultural and outdoor activities in Canada, activities that have been mostly studied separately until now. This study thus feeds into the debate between the distinction framework (focusing on the highbrow/lowbrow opposition) and the omnivorism thesis (distinguishing between omnivorous and univorous groups) in cultural sociology. From Latent Class Analysis (LCA), this study identifies five clusters, which differentiate people practicing either or both cultural and outdoor activities. The clusters are labelled as follow: "tele‐univore," "digital indoor," "conventional indoor," "outdoor univore," and "omnivore." Binary logistic regressions reveal that education, age and rural/urban identity are the key factors in identifying who practices which activities. The findings are threefold. First, while confirming the omnivore theory, our results show that cultural capital matters more than economic capital in explaining who participates in which activities. Second, rural people tend to be slightly more engaged than urban people in consumptive and motorized outdoor activities and less in all cultural activities. Third, the shift to digitization and the increase in outdoor activities appears to have exacerbated the divide between older and younger generations. [ABSTRACT FROM AUTHOR]

Copyright of Recherches Sociographiques is the property of Recherches Sociographiques 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 Cultural Work of Artist Gertie Fröhlich: (In)visibility in Viennese Post-war Histories. This article brings visibility to the life and exploits of Viennese artist Gertie Fröhlich. Her story illustrates the obstacles women cultural workers encountered during the post-war period. The contribution reveals how Fröhlich, to side-step these gendered obstacles, exerted influence through her relationships with male post-war cultural actors. Later in life, she finally achieved artistic success in her own right, both locally and abroad. Despite her many accomplishments, Fröhlich remains nearly invisible in prevailing post-war cultural histories. This article speaks to her relative obscurity while exploring the reasons behind it. [ABSTRACT FROM AUTHOR]

From the ashes of the creative city paradigm, there is a growing awareness of the urban creative economy as an adaptive complex system of intertwined actors and institutions. Yet, especially in the European context, little attention has been given to understanding informal and alternative art spaces and venues that contribute to the vibrancy of the urban cultural scene. Drawing on the emerging creative and cultural ecology literature, the article proposes a conceptual and empirical framework to analyze alternative cultural production as an ecological community. After providing a conceptualization of distinct types of alternative cultural organizations, we investigate the economic, spatial, and relational structure of more than 50 art spaces in Turin, Italy, an industrial city that has experienced a radical urban transformation based on culture-led development strategies. Using both a quantitative and qualitative approach, our findings unveil a distinction between centers pursuing artistic specialization and those more oriented toward aggregating diversified cultural activities. The two types of organizations coexist within the community, but the difference in their mission and operation influences the organizational structure, the involvement in neighborhood revitalization, and features of the local network of collaborations. From a spatial perspective, while the centers tend to cluster in the main peripheral areas of social and urban transformation, the analysis points out possible different locational choices and spatial dynamics for the two types of organizations in distinct areas of commercial and real-estate-led transformation. [ABSTRACT FROM AUTHOR]

The article discusses the configuration of the field of studies around popular music in Brazil, with emphasis on the inclusion of the state of Piauí in this context. The author presents his research on modern popular songs from Piauí, addressing topics such as musical polyphony in Teresina and the influence of figures like Torquato Neto. The book analyzes the musical scene of the time, using sources such as local newspapers and interviews with artists. The work is divided into three chapters that explore the beginnings of popular songs in Piauí, the organization of musical events, and the conflicts of styles and identities of the artists involved. The text highlights the foundation of the Federal University of Piauí as a catalyst for cultural events and concludes by emphasizing the contribution of the book to the understanding of Piauí's cultural production and its connection with other artists and aesthetic movements in contemporary Brazil. [Extracted from the article]

Copyright of Muiraquitã: Revista de Letras e Humanidades is the property of Muiraquita 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 present article intends to identify the process of “choosing the legacy”, understood from the “receiving” moment of the gift cycle in Mauss theory, in people who are dedicated to the creation and maintenance of cultural institutions in a city in the interior of Minas Gerais. Interviews were conducted with three subjects, seeking to understand their life stories and their relationship with cultural processes. We identified that the choice process occurs from two moments: the first, from the act of “receiving” specific cultural activities in childhood, usually marked by figures of admiration and identification by the subject, and the second moment in early adulthood, in which the link with cultural processes is articulated with professional activities. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Poética Medieval is the property of Instituto Universitario de Investigacion en Estudios Medievales 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 de Historía da Sociedade e da Cultura is the property of Revista de Historia da Sociedade e da Cultura 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 article focuses on studies of a literary, historical, linguistic, artistic, geographic, sociological and bibliographic excluding in principle the "exact sciences", but "not theirs history, understood as moral and civil science. It mentions historical-juridical culture and from unconditional trust of Gian Savino Pene Vidari. It also mentions overall panorama of cultural activities taking place in the Region.

• We use a big data method to analyze the trans-border mobility of Chinese celebrities. • The trans-border mobility of celebrity workers creates a new Chinese media culture. • The geography of China's media and entertainment industry shows some unique features. • Remarkable divergences exist between sub-national media and entertainment markets. While the globalization of cultural and creative industries has attracted considerable academic attention, research on the trans-border production practices of cultural and creative industries in emerging economies is still rather thin on the ground. This paper presents the first systematic study of the geographical patterns of the global network of China's media and entertainment industry by tracing the trans-border mobility of Chinese media and entertainment celebrities. Instead of simply measuring the clustering of employment or enterprises, we focus on the specific activities performed by these leading media and entertainment workers in different locations. By looking into three major issues—the global mobility of celebrities, the connections between different activities and the characteristics of particular locations, and the divergences between sub-national media and entertainment markets—our study reveals a new Chinese media culture with its unique industrial structure, globalization trajectory, and geographical characteristics. It also demonstrates the significant impact of local market conditions, cultural background, and institutional context on the globalization of cultural economic activities. [ABSTRACT FROM AUTHOR]

This article examines the subtle variations and contradictions of artistic censorship at the hands of museum organizations and government authorities in contemporary Saudi Arabia. In 2018, the Saudi government established a new department, the General Authority for Culture, concerned with culture and visual arts. This government authority provides cultural policies that co-exist with the religious authority and avoid any conflict that may result in censorship. This approach to cultural development necessitates the existence of an appropriate production of cultural events that can be presented, regulated, and approved or permitted by the government on the one hand and the reactions of the society towards some of the exhibits on the other hand. Additionally, there is an absence of clear governmental policies that address controversy. The subtle variations and contradictions of artistic censorship through museum organizations and government authorities within Saudi Arabia are explored through this research. [ABSTRACT FROM AUTHOR]

This article presents a theoretical approach derived from a research project focused at a historical reconstruction of the record production in Medellín's discographic industry during the 1960s. Drawing from Diana Taylor's concept of archive and repertoire, the author coins a new concept, the "inapprehensible archive," which might be useful to analyze cultural practices of listening and of aesthetic enjoyment built around activities of collecting artifacts of massive cultural production. By defining a new concept, the article proposes a theoretical model that aims to contribute to study other similar cases, as well as to make explicit some principles that would guide the development of a line of research that explores in depth the historical evolution of the city's sound archive. [ABSTRACT FROM AUTHOR]

Copyright of Adult Education Discourses / Dyskursy Młodych Andragogów is the property of University of Zielona Gora 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 article offers an alternative innovative approach to tourism product (Intangible Cultural Heritage-based) development in Georgia. As the trends of global travel market assume, increasingly demanded products become the ones offering unique and profound cultural experience, deep emotions and feelings that derive from a participation in the authentic cultural activity. The study suggests to explore and further promote Georgian intangible cultural heritage for the purpose of supporting better representation of regions of Georgia in tourist offers, creating ,,Niche" products, raising awareness and increasing self-involvement in the process. [ABSTRACT FROM AUTHOR]

This article explores how the political economy of the cultural industries changes through platformization: the penetration of economic and infrastructural extensions of online platforms into the web, affecting the production, distribution, and circulation of cultural content. It pursues this investigation in critical dialogue with current research in business studies, political economy, and software studies. Focusing on the production of news and games, the analysis shows that in economic terms platformization entails the replacement of two-sided market structures with complex multisided platform configurations, dominated by big platform corporations. Cultural content producers have to continuously grapple with seemingly serendipitous changes in platform governance, ranging from content curation to pricing strategies. Simultaneously, these producers are enticed by new platform services and infrastructural changes. In the process, cultural commodities become fundamentally “contingent,” that is increasingly modular in design and continuously reworked and repackaged, informed by datafied user feedback. [ABSTRACT FROM AUTHOR]

This paper examines the relationship between cultural participation and regional development with reference to the European Capital of Culture in 2017. From the bidding stage, Aarhus 2017 claimed it put “participation” at the heart of its strategic plans, through consultation at roadshows and exhibitions. In addition, it aspired to use culture as a catalyst for development not only in the city of Aarhus but across the region of Central Denmark. This paper, therefore, examines how participation is defined and implemented to address regional development in the Aarhus 2017 process through textual analysis of documentation from Aarhus 2017 and delivery partners as well as over 20 interviews with managers and participants involved in a range of 2017 projects. The paper argues against the common prioritisation of urban and professional cultural institutions and makes the case for decentralised cultural provision that supports both amateurs and professionals through a regional networked structure. [ABSTRACT FROM AUTHOR]

There is burgeoning literature on cities that host major cultural events. However, there is surprisingly very little empirical research focusing specifically on young people and cities of culture, so we have limited knowledge in terms of how young people actually experience and interpret cultural events. Given this, we offer an important and timely contribution to such debates. Our spatial focus is Derry/Londonderry (D/L) in Northern Ireland. During 2013 D/L was the UK’s inaugural City of Culture (CoC). The bid document and legacy plans for CoC stated that young people would be ‘cultural assets’ during 2013 and the ‘ultimate beneficiaries’ of the CoC legacy [Derry City Council 2010.Cracking the Code. City of Culture 2013. Derry: Derry City Council, 2013a.Our Legacy Promise. Building on the Success of 2013. Derry: Derry City Council, 2013b.Legacy Plan 2013–2023. Derry: Derry City Council]. This paper unpacks and analyses the extent to which young people in D/L related to and engaged with CoC and, arguably more importantly, how CoC affected their plans and aspirations for the future. Our research problematises the claim that young people were the ‘ultimate beneficiaries’ of CoC; most strikingly, it shows that young people, despite offering very positive views, both expect and desire to live in cities other than D/L. As such, the debilitating long-standing trend ofeconomic migrationof young people will continue raising important issues for local stakeholders. [ABSTRACT FROM PUBLISHER]

In 2016, the title of the European Capital of Culture was awarded to Wrocław. To celebrate the year of 2016 citizens could partake in many cultural initiatives prepared specially for this occasion. The proposals aimed at the people of Wrocław included the ECC 2016 Microgrants program, under which any citizen could realise and gain funding, as well as obtain administrative and promotional support for their designed cultural activity. Field studies conducted during the first two editions of the program served as the basis for a report, which includes conclusions regarding the perception of the urban space submitted by task performers. Low-budget cultural activities proved to be an excellent pretext for the citizens to reconsider the issues of public space in Wrocław, access to cultural events or the manner of constructing official discourses about the city and its space. This article focuses on the issue of space in the context of Microgrants 2016 and presents the outcomes of the fieldwork. [ABSTRACT FROM AUTHOR]

The article focuses on Raymond Williams's comments about cultural production as central to their attempt to focus on performance as process, Jones and Laine wrote of their intention to examine ‘the means by which performances happen at a variety of scales of cultural production and circulation. It includes Words with the example of another special issue that finds Williams indispensable to parsing the relations between theatre, performance, and cultural production more generally.

In its broadest sense, the Toilet Circuit comprises smaller and independent music venues in the UK that launched many now famous artists and bands, alongside supporting many that are locally known, igniting or sustaining all-important local music scenes and their cultural production. Fueled by alcohol, drugs and adrenalin, the turbulent atmosphere of Toilet Circuit venues offer escapism for disaffected youth within the seedy aesthetic environment evocative of a recalcitrant culture. These raucous grime-pits play a vital role in the ecology of Britain's music scene and broader cultural sector. Against a backdrop of closures, this paper seeks to explore the significance of these venues and their future, using three iconic examples in London, Leeds and Kent. [ABSTRACT FROM AUTHOR]

This article summarises recent work on the engagement between art and archaeology, but seeks to embed this in a longer history of archaeology as a metaphor for other cultural and social practices, and at the same time to compare the ways in which archaeologists and other practitioners operate within the field of cultural production. [ABSTRACT FROM PUBLISHER]

Background: Despite evidence of the numerous benefits of leisure to health and well-being appropriate tools to assess this construct are lacking. The purpose of this work was to analyse the psychometric properties of the Spanish version of the Leisure Time Satisfaction (LTS). Method: The sample was made up of 1048 primary family caregivers of dependent people. Scale structure was subjected to exploratory and confirmatory factor analysis. Concurrent and convergent validity were assessed by correlation with validated questionnaires for measuring burden (Zarit Burden Inventory - ZBI) and health (SF-36 Health Survey). Results: The results show a high level of internal consistency (Cronbach's alpha = .938) suitable fit of the dimensional model tested via confirmatory factor analysis (GFI = .925. BBNNFI= .996; IFI= .998, RMSEA= .043), and appropriate convergent validity with similar constructs (r = -.44 with ZBI; and r-values between .226 and .440 with SF-36 dimensions). Conclusion: Psychometric results obtained from the LTS are promising and the results enable us to draw the conclusion that it is a suitable tool for assessing caregivers' leisure time satisfaction. [ABSTRACT FROM AUTHOR]

In June 2013, a series of large demonstrations throughout Brazil started to shake its main cities and political landscape. In this article I juxtapose these protests, the social movements of the 1970s and 1980s that brought the poor peripheries of São Paulo to the center of the political scene, and the cultural production coming from these peripheries after the 1990s. This juxtaposition creates a perspective from which to look at the changes that have transformed cities, citizens, and the polity in Brazil during the last decades. One of my main arguments is that in São Paulo, as in many other metropolises shaped by peripheral urbanization, political agency is inseparable from the spatial configuration of the city and from its shifting patterns of spatial segregation and social inequality. I focus on the peripheries and argue that the quality of both poverty, the urban environment, and citizens' engagement have changed a great deal from the 1970s to the present. Poverty has different signifiers in a city of better infrastructure, mass communication, democracy, less violence, and broader access to consumption. Difficulty in moving around the city is one of these signifiers. Moreover, politics has other languages and tools in the context of intensified cultural production and circulation and of a democracy people can take for granted. [ABSTRACT FROM AUTHOR]

The article addresses the issue of innovative actions in the cultural sector as a key driver of change. This article examines how innovation can be defined and categorized in the cultural sector. It focuses on innovation typologies giving special attention to the existing statistical framework of cultural activities and guidelines for innovation data collection in their interconnection, and to the phenomena of 'soft' and 'hidden' innovation. An attempt is also made to extend the term 'innovation' beyond the traditional understanding in a way that it reflects the specificity of the cultural sector. [ABSTRACT FROM AUTHOR]

Drawing on Susan Leigh Star’s conceptualization of boundary objects as a corpus of actions through which an imaginary context for doing social work emerges, this article examines how two seemingly disparate sites of cultural production can be comparatively brought into conversation with one another. These sites include specific expert communities where actors within the fields of fashion design and livestock husbandry both evaluate and theorize new social possibilities. By attending to how these practices unfold through an experimental rendering of expertise this article employs the notion of a boundary object to comparatively analyzing the speculative practices of these two sites. [ABSTRACT FROM PUBLISHER]

This article announces the creation of a new section inSTPdedicated to the dissemination of Practice-as-Research (PaR) projects. The authors argue the need for a sustainable archive for PaR outcomes, which embraces a range of media formats and curational strategies. [ABSTRACT FROM PUBLISHER]

Drawing on a main tenet of attraction systems theory, the article describes and explains the importance of cultural activities for tourism development in the context of the urban-rural relationship. The impact of culture on regional and tourism development has been an important research focus in recent years. However, the role of cultural activity in tourism development and its impacts on the urban-rural relationship have received little attention from academics. This article contributes to research by identifying problems associated with tourism development and the potential of cultural activities to overcome such challenges. The study draws upon the theory of the tourist attraction system that was developed by Leiper in 1990. Qualitative inquiry was used to ensure depth and richness in our case analysis. The results show that cultural activities in the small town setting have substantial importance for tourism development in both the city and in surrounding areas. However, it was found that awareness of the offer is limited to the immediate region. It is proposed that tourism service providers should identify more closely with the available cultural activities in order to create a valuable tourist offer that has potential to reach new target groups. [ABSTRACT FROM AUTHOR]

In this paper we carry out a meta-analytic review of the literature on culture-led local development models. We identify and discuss three typical fallacies characterising mono-causal culture-led development schemes: instrumentalism, over-engineering, and parochialism. We then discuss their analytical background, and provide examples illustrating the consequences of each. Based upon this critical discussion, we make a case for a ‘new territorial thinking’ approach that takes into account the tangled hierarchy of global and local viewpoints that is connatural to spatially situated cultural production, and focuses upon a non-linear, multi-causal scheme as the only possible framework for the policy design of credible, socially accountable, culture-led development strategies. [ABSTRACT FROM PUBLISHER]

The article explores how Palestinian cultural production in the occupied territories is embedded within the context of performance-based politics. It focuses on "The Gaza Mono-Logue" theater project, which highlights the relationship between spectatorship and a politics of recognition. It argues that the notion of cultural resistance becomes a part of the underlying logic of performance-based politics.

One of the major forms of cultural tourism development undertaken throughout Europe has been the staging of a growing number of cultural events. The event of European Capitals of Culture (ECOC) is probably the best example of the new trends of cultural tourism in Europe, which is therefore used in this article to demonstrate some of the key issues surrounding the event-led strategy for cultural tourism development. Based on case study, historical approach and document analysis, this study reviewed systematically the cases, documents and literatures of ECOC over a 20-year period. The research findings point to a number of ways in which the ECOC constitutes a boost for the development of cultural tourism in terms of realizing experience economy, enhancing city image, facilitating urban regeneration, promoting cultural production and consumption, as well as establishing partnerships. [ABSTRACT FROM PUBLISHER]

Copyright of Canadian Journal of Film Studies is the property of University of Toronto Press 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 success stories from past years of many museums in the world have shown the need for a change in terms of management vision of this type of cultural organization, by addressing elements outside the organization as a driver for competitiveness. Thus, the opportunities generated by the relationship with customers or the positioning among competitors have become primordial. Taking into account the new trends, this study wanted to determine the propensity of the public towards museum cultural consumption and to identify the perception of visitors towards the National Military Museum. After administering the questionnaire and analysing the responses, we can say that the cultural organization that was analysed could become a viable option for recreation for residents of the capital. However, in order for this to happen, the museum should focus on using specific marketing tools of promotion, which can contribute to an aggressive popularization of cultural products and services of the museum. [ABSTRACT FROM AUTHOR]

In Lavapiés, Madrid, the Centro Social Autogestionado La Tabacalera (The Tobacco Factory Self-Managed Social Centre) recalls the prevalence of the cigarrera in the popular theatre of the nineteenth and early twentieth centuries while continuing the neighbourhood's contemporary tradition as one of the epicentres in Madrid for grass-roots activist politics. While these connections activate cultural circuits of meaning that simultaneously evoke local and national imaginaries, they have made La Tabacalera a site where the intersection of the scales of the local, the urban and even the national has been a key component of the convergence of culture and space that urban theorist Henri Lefebvre would call lived space. Through a close reading of a series of cultural events held at La Tabacalera in 2010 and an analysis of the discourses of scale found in the 'Dossier de Renovación del Convenio' ('Renewal Agreement Dossier') from 2011, the present article will demonstrate how cultural production at the scale of the urban has been employed as a means of resisting spatial and cultural commodification at a range of other scales. [ABSTRACT FROM AUTHOR]

O presente artigo discute a utilização da análise de redes sociais para o segmento cultural. Podese afirmar que as redes das atividades culturais são não arbitrárias e emergem de situações empíricas. Parte-se do pressuposto que os sistemas de produção dessa natureza, laços sociais e papéis desempenhados pelos atores parecem explicar a capacidade de mobilização dos recursos para a produção cultural. A principal conclusão deste artigo é que a análise de rede sociais permitiria visualizar melhor como se estabelecem as relações de atores para a geração do bem cultural, seja um filme, uma peça, um espetáculo de dança ou musical. [ABSTRACT FROM AUTHOR]

The paper investigates cultural activity in Latvia and evaluates the efficiency of cultural entrepreneurship management in scientific and on the basis of scientific research. According to Fleming (2010, p. 28), there are three types of logic for developing a balanced approach to cultural entrepreneurship management in the Baltic Region: commercial logic, professional logic, cultural logic. Managers of cultural activity identify the key factors that determine efficient work of cultural institutions: 1) Purpose of an institution (mission, vision, goals). 2) Audience (how to attract audience, make it loyal, arouse interest). 3) Artistic quality of cultural activity (reviews, awards, nomination for awards). 4) Artistic growth (potential to learn, develop, organizational culture). 5) Impact on society (artistic, social value). The paper investigates different aspects of cultural activity, its quality and efficiency, capacity of an institution. Case study and other methods were used to evaluate stakeholder engagement, the efficiency and potential of entrepreneurial management of cultural institutions in Latvia. Research results are based on over 10 in-depth semi- structured interviews of the managers and owners of art galleries, theatre managers, classical music organizers. The average index of significance of all groups of surveyed provide basic information about the significance of the activity of a particular group of respondents, stakeholder engagement, the quality of the activity of cultural institutions. Summarised opinions of the owners and managers of art galleries showed that the most important stakeholders are artists, consumers, critics, partners and financial supporters (donators, sponsors, etc.) The study showed that the activity of cultural institutions are artistically significant, of public interest; analysis of managers' personal goals showed that they are concerned about the quality of the activity of the institution, artistic criteria, the content of activity, link the development of the institution with stakeholder involvement. The topic is relevant because Research This is the first study that measures the stakeholder engagement in cultural entrepreneurship and defines the criteria of management efficiency assessment in this particular field. Aim of the article: to define the tools of the measurement of cultural entrepreneurship management, and to investigate the understanding of the stakeholder engagement in cultural enterprises in Latvia. [ABSTRACT FROM AUTHOR]

The development of cultural industry is unmistakably guided by the policies made in the 18th Congress of CPC. The policies are reviewed for the past congresses of CPC, and the present status of the development of China's cultural industry is analyzed, so that a conclusion has been made that China has to innovate its system, cultural production and talents training mode, and it should guide the development of cultural production by means of innovative methods. [ABSTRACT FROM AUTHOR]

Copyright of Dados - Revista de Ciências Sociais is the property of DADOS 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.)