Suchergebnisse

International audience ; Il faut se souvenir que le fait de confier à la puissance publique des responsabilités en matière de culture ne tombe pas sous le sens. Cette idée est le fruit d'un long travail politique, qui remonte au début du XX ème siècle en France, mais qui n'est partagée ni dans les mêmes termes ni selon les mêmes formes dans d'autres pays, occidentaux ou non. Cette idée est installée au point qu'aucun discours officiel ne se donne pour objectif de faire reculer les dépenses de culture, comme on l'entrevoit ici ou là pour la défense ou la santé, par exemple. Paradoxalement, la culture bénéficie aussi d'une légitimité limitée, de deux points de vue. Du point de vue sectoriel, la justification de la dépense culturelle publique s'appuie, depuis Keynes,sur l'incapacité de l'initiative privée à rendre un service ou faire naître des biens culturels dans des conditions satisfaisantes d'équité et de qualité. C'est donc une légitimité «par défaut». Du point de vue territorial, la pertinence à agir repose sur la volonté des représentants, plus que sur une sorte de quadrillage de services publics, à l'instar de l'Éducation nationale par exemple. Il en ressort que la culture -qui a beau être un domaine au périmètre mouvant –n'est que très partiellement une affaire publique. Sur la totalité de la production culturelle de référence telle qu'elle est recensée par le Département des études, de la prospective et des Statistiques du ministère de la Culture1, on estime à 18% la part de la production non-marchande (c'est à dire dont le prix représente moins de 50% du coût de production par un important niveau de financement public) et à 82% celle de la production marchande2. Mais si le secteur non marchand pèse d'un poids relativement limité, il occupe une place considérablement plus importante en termes d'orientation globale du domaine culturel.

International audience ; Il faut se souvenir que le fait de confier à la puissance publique des responsabilités en matière de culture ne tombe pas sous le sens. Cette idée est le fruit d'un long travail politique, qui remonte au début du XX ème siècle en France, mais qui n'est partagée ni dans les mêmes termes ni selon les mêmes formes dans d'autres pays, occidentaux ou non. Cette idée est installée au point qu'aucun discours officiel ne se donne pour objectif de faire reculer les dépenses de culture, comme on l'entrevoit ici ou là pour la défense ou la santé, par exemple. Paradoxalement, la culture bénéficie aussi d'une légitimité limitée, de deux points de vue. Du point de vue sectoriel, la justification de la dépense culturelle publique s'appuie, depuis Keynes,sur l'incapacité de l'initiative privée à rendre un service ou faire naître des biens culturels dans des conditions satisfaisantes d'équité et de qualité. C'est donc une légitimité «par défaut». Du point de vue territorial, la pertinence à agir repose sur la volonté des représentants, plus que sur une sorte de quadrillage de services publics, à l'instar de l'Éducation nationale par exemple. Il en ressort que la culture -qui a beau être un domaine au périmètre mouvant –n'est que très partiellement une affaire publique. Sur la totalité de la production culturelle de référence telle qu'elle est recensée par le Département des études, de la prospective et des Statistiques du ministère de la Culture1, on estime à 18% la part de la production non-marchande (c'est à dire dont le prix représente moins de 50% du coût de production par un important niveau de financement public) et à 82% celle de la production marchande2. Mais si le secteur non marchand pèse d'un poids relativement limité, il occupe une place considérablement plus importante en termes d'orientation globale du domaine culturel.

The political culture, according to scholar Kavanagh is part of the overall societal culture, and represents a set of basic values, emotions, knowledge, attitudes and convictions, within which the political system operates, shaping and feeding political processes. Culture came as a sequence to efforts to factor the spiritual world of people in explicating policy. Political culture brings to surface some kind of independence of culture from economic factors, and the role of culture in political order and economic development.This paper provides the theoretical aspects of political culture and political systems, within which its reflection is analysed on several aspects of interethnic relations in a democracy. Also, it accentuates the preferred paths of Western Balkan countries, including Macedonia, towards integration with the European Union, which is spiked with many challenges. In the political culture of multi-ethnic societies, ethnic divisions may have an influence. The ethnic principles are still present in the political arena of Macedonia, where although there is some "interethnic reconciliation", the failure in implementing the Ohrid Framework Agreement, signed in 2001, between Albanians and Macedonians, there are often political contractions, affecting national interests, which is in contradiction to all values of the European Union, mainly with human rights, but also ethnic rights.The object of the analysis of this paper is specifically related to:extended transition of Macedonia,political consensus,role of political parties, andinterethnic relations after the Ohrid Framework Agreement.Political culture in South-Eastern European countries has been analysed in different views, especially in the reform process, where it has an important role.Conclusions of this paper are that Macedonia must fulfil the conditions set forth, both political and institutional, based on the political culture for EU integration, since political culture, according to scholar L. Pye represents a "set of basic values, emotions and knowledge shaping and feeding political processes".

Abstract: This paper explores recent attempts to re-imagine and re-brand northern British cities through processes of economic and (mainly) cultural regeneration. It analyses the creation of new contemporary urban images and presentations and compares these with the economic, social and cultural life experiences of people living in the areas. It examines the process of recharacterising former industrial conurbations as being at the cutting edge of contemporary, postmodern culture. A range of features is identified here within similar political, economic and policy contexts: deindustrialisation and regeneration driven by local business and political elites; emphasis on culture as spectacle to the exclusion of other cultural configurations; reliance on tourism and advertising, hyper consumption and leisure as determining aspects of the local economy; and the reorganisation of city populations. Keywords: Visual culture; city; Britain; cultural policy; cultural regeneration Résumé: Cet article explore les tentatives récentes de ré-imaginer et de « re-brander » les villes du nord de la Grande-Bretagne par le biais de stratégies de régénération urbaine mettant principalement l'accent sur les interventions de nature culturelle. Cet article met en relief la recomposition du paysage visuel urbain des villes du nord pour les contraster avec les conditions économiques, sociales et culturelles qui caractérisent l'existence et l'expérience des citadins qui y vivent. En particulier, il s'agit notamment d'examiner les pratiques et le processus de redéfinition des espaces industriels en lieux qui incarnent le contemporain et l'avant-garde de la culture postmoderne. De ces observations, on constate des similitudes dans les moyens utilisés par les autorités dans des contextes qui partagent les mêmes conditions politiques et économiques, à savoir : la régénération entendue comme un projet porté par les élites politiques et économiques locales; un accent mis sur la culture « spectacle » au détriment d'une compréhension et d'un usage plus inclusif de cette dernière; un accent marqué sur les activités de promotion touristique; l'hyperconsommation et le loisir en tant que moyens de développement local; et la réorganisation et la recomposition de la population urbaine comme conséquence de ces mobilisations de la culture. Mots clé : Culture visuelle, ville; Grande-Bretagne; politiques culturelles; régénération urbaine

« Comic books for adults have become one of the most novel and colourful forms of cultural expression in the Arab world today. During the last ten years, young Arabs have crafted stories explaining issues such as authoritarianism, resistance, war, sex, gender relations and youth culture. These are distributed through informal channels as well as independent bookstores and websites. Events like the annual Cairocomix festival in Egypt and the Mahmoud Kahil Award in Lebanon evidence the importance of this cultural phenomenon. 'Comics in Contemporary Arab Culture' focuses on the production of these comics in Egypt and Lebanon, countries at the forefront of the development of the genre for adults. Jacob Hoigilt guides the reader through the emergence of independent comics, explores their social and political critique, and analyses their visual and verbal rhetoric. Analysing more than 50 illustrations, included here, he shows that Arab comics are revealing of the changing attitudes towards politics, social relations and even language. While political analysts often paint a bleak picture of the Arab world after 2011, this book suggests that art and storytelling continue to nourish a spirit of liberty and freedom despite political setbacks. Comics in Contemporary Arab Culture provides a fresh and original insight into the politics of the Middle East and cultural expression in the Arab World. « (Verlagsbeschreibung)

Psychiatric diagnoses are increasingly used by people around the world as a filter through which they experience their sufferings, unhappiness, and eccentricities. In what can be called the diagnostic cultures of our times, more and more people receive a psychiatric diagnosis, something that is often criticized as unwarranted medicalization and pathologization of human problems. Psychiatric diagnoses also appear in popular media, and this paper seeks to unfold some paradoxes of our diagnostic cultures by using a Danish TV show called "Mad or normal?" as an instance that can inform us of larger cultural issues about how psychiatric problems are understood and addressed in public media today. The show had the ambition of combating stigmatization of psychiatric illness and disorder, but can be seen as reinforcing exactly that. The manifest messages of the show were that mental disorder is just like physical illness, that people can in fact recover, and that the mentally ill are "just like us", but the set-up of the show latently worked against these messages, which is likely a more general problem in today's diagnostic cultures. The question is asked whether such a show can be considered as a vehicle through which non-contagious psychiatric diagnoses can nonetheless become contagious in a way that involves the paradoxical logics that are pointed out.

"The book explores the demise of the grand narrative of European modernity. That once commanding narrative located the meaning of the past in the present and the meaning of the present in an ever-receding future. Today, instead, the present defines both the past and the future. The 'contemporary' has replaced 'modern' and 'post-modern' self-understandings. The times of the past and the future have been transformed into versions of 'now' while the present has acquired its own history. History of the Present describes the emergence of this 'contemporary' historical consciousness across a wide spectrum of cultural phenomena ranging from historiography to heritage and museum studies, and from the globalization of the novel to the rise of science fiction. The culture of the 'contemporary' appears particularly clearly in the merging of high and low culture along with art and fashion. The book will appeal to scholars of sociology, cultural and social theory, museum and heritage studies, and literary history and criticism"--

Drawing from decades of research, Genes, Climate, and Consumption Culture: Connecting the Dots demonstrates how climate dictates culture and consumption. The author shows that human genes are climatic adaptations over thousands of years of evolution, which has resulted in the dramatic differences between people's food, clothing, and shelter choices. Most importantly, the book discusses how many of the fundamental differences between cultures, with respect to time, space, friendship, and technology, are responses to their particular climate. Readers will learn how to challenge their assumptions about what types of products and services foreign markets want. They will learn how to examine local markets vis-a-vis climate and culture, either changing their products accordingly or delivering entirely new offerings

Drawing from decades of research, Genes, Climate, and Consumption Culture: Connecting the Dots demonstrates how climate dictates culture and consumption. The author shows that human genes are climatic adaptations over thousands of years of evolution, which has resulted in the dramatic differences between people's food, clothing, and shelter choices. Most importantly, the book discusses how many of the fundamental differences between cultures, with respect to time, space, friendship, and technology, are responses to their particular climate. Readers will learn how to challenge their assumptions about what types of products and services foreign markets want. They will learn how to examine local markets vis-a-vis climate and culture, either changing their products accordingly or delivering entirely new offerings.

Black Women and Popular Culture: The Conversation Continues provides cutting-edge research in its analysis of the representation of Black women in popular culture and the potential implications of those images and messages. This compilation inspires critical thought and adds to the discussion on the various roles of Black women in popular culture.

The images of the clown and the freak and representations of the grotesque body are recurrent motifs in modern Jewish literature, film, art, theatre and dance. Kafka's novella Metamorphosis is an early prototype of the changeling who leaves conventional human appearance behind and is gradually transformed into an insect-like creature. The story served as a prototype for Woody Allen's film Zelig, in which the main protagonist adopts a variety of different personas, amongst them a Nazi in the Third Reich. The theme of morphing into a freak, clown, or grotesque body reappears in various forms in contemporary Jewish culture and art: The American Jewish writer Philip Roth declared in the 1960s that he was not a Jewish sage but a Jewish freak. Freakishness, clowns, and the circus have a subversive potential: they constitute a digression from what is considered normal appearance and behaviour and play with presumptions, expectations, and social values. A study of this subject reveals the constant dialogue between religion and culture as far as Judaism is concerned.

In this important book, well known Comparativist, Howard J. Wiarda, traces the long and controversial history of culture studies, and the relations of political culture and identity politics to political science. Under attack from structuralists, institutionalists, Marxists, and dependency writers, Wiarda examines and assesses the reasons for these attacks and why political culture went into decline only to have a new and transcendent renaissance and revival in the writings of Inglehart, Fukuyama, Putnam, Huntington and many others.

The Anthropology of Economy: Community, Market, and Culture. Stephen Gudeman. Williston, VT: Blackwell Publishers, 2001.189 pp.

Marton reviews 'China's Provinces in Reform: Class, Community, and Political Culture' edited by David S. G. Goodman.

Cultural attitudes operate unconsciously, affecting our own self-perception as well as the way we perceive others. In Phantom Narratives: The Unseen Contributions of Culture to Psyche, Samuel Kimbles argues that it is imperative for a society to question its cultural complexes in order to fully engage its problems.