Suchergebnisse

Origins of an Aesthetic. Marx and Engels on Art ; Clarifying the Aesthetic : Engels and Plekhanov -- Socialist Realism and the Social Command. Culture and Art in Lenin ; Proletcult, Formalism and Trotsky ; The Leftists and the Social Command ; Party Policies and the Emergence of Socialist Realism ; The Evolution of Socialist Realism -- The German Debates. Lukacs' Realism ; Brecht against Lukacs ; Benjamin, Adorno and Critical Realism -- Socialist Realism in China. Lu Hsun and the Garrets of Shanghai ; Mao and the Revolutionary Bases ; Cultural Struggle within Socialism -- Post-War Developments. Writing and Commitment ; Goldmann's Genetic Structuralism ; Althusser and Gramsci : the importance of ideology ; Barthes, Myth and Signifier ; Tel Quel and the "Unreadable" -- Marxism and Popular Culture. The Culture Industry ; Television and Film ; Popular Music -- British and American Developments. Romanticism and Marxism ; Caudwell and the Thirties ; Some American Themes ; New Directions in British Marxism

'Somewhere right now, in this country, a young person is scribbling on a scrap of paper or tapping on a keyboard, composing a song that will resonate far beyond the page. The industry may change, but that simple act of creativity remains, and will always remain, immortal and timeless' (Feargal Sharkey, Chief Executive, UK Music, 2010) The quotation above from Feargal Sharkey, former lead singer of the Undertones, appears in the Foreword to UK Music's Liberating Creativity policy statement. The document captures a familiar dilemma. On the one hand, Sharkey-the-romantic holds dear to the belief that there is something magical or mystical about the act of creativity, a moment in which an individual, or small group of individuals, are inspired to create. On the other hand, there is Sharkey-the-lobbyist arguing for the need for government intervention and investment for the purpose of 'liberating creativity'. Sharkey is by no means alone in wanting to combine these two thoughts. But can they be? What contribution does public policy intervention make to creativity? Does it liberate it, or stifle it? This is a familiar question, to which there are many answers. We discuss some of these below, but our main concern is with the contribution to creativity of a particular institution – the Collective Management Organisation (CMO)1, and the public policy designed to regulate its performance. We also concentrate on a single sector of the creative industries: the music industry. In doing this, we examine the European Union's attempt to reform the CMO in the name of creativity (among other goals), and we compare the performance of CMOs in different national settings. Our argument is that, by these two routes, we can contribute to an understanding of the part played by public policy and institutional intermediaries in fostering creativity. This narrowing of the focus is necessary for any reasonable answer to the question as to what a particular policy regime and its component intermediaries contribute to creative culture. Key to ...