Multiculturalism and the Dynamics of Modern
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Understanding the Value of Arts & Culture | the AHRC Cultural Value
Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska 2 Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska THE AHRC CULTURAL VALUE PROJECT CONTENTS Foreword 3 4. The engaged citizen: civic agency 58 & civic engagement Executive summary 6 Preconditions for political engagement 59 Civic space and civic engagement: three case studies 61 Part 1 Introduction Creative challenge: cultural industries, digging 63 and climate change 1. Rethinking the terms of the cultural 12 Culture, conflict and post-conflict: 66 value debate a double-edged sword? The Cultural Value Project 12 Culture and art: a brief intellectual history 14 5. Communities, Regeneration and Space 71 Cultural policy and the many lives of cultural value 16 Place, identity and public art 71 Beyond dichotomies: the view from 19 Urban regeneration 74 Cultural Value Project awards Creative places, creative quarters 77 Prioritising experience and methodological diversity 21 Community arts 81 Coda: arts, culture and rural communities 83 2. Cross-cutting themes 25 Modes of cultural engagement 25 6. Economy: impact, innovation and ecology 86 Arts and culture in an unequal society 29 The economic benefits of what? 87 Digital transformations 34 Ways of counting 89 Wellbeing and capabilities 37 Agglomeration and attractiveness 91 The innovation economy 92 Part 2 Components of Cultural Value Ecologies of culture 95 3. The reflective individual 42 7. Health, ageing and wellbeing 100 Cultural engagement and the self 43 Therapeutic, clinical and environmental 101 Case study: arts, culture and the criminal 47 interventions justice system Community-based arts and health 104 Cultural engagement and the other 49 Longer-term health benefits and subjective 106 Case study: professional and informal carers 51 wellbeing Culture and international influence 54 Ageing and dementia 108 Two cultures? 110 8. -
Sustainable Development and Cultural Policy: Do They Make a Happy Marriage?
ENCATC JOURNAL OF CULTURAL MANAGEMENT AND POLICY Sustainable Development and Cultural Policy: Do They Make A Happy Marriage? Géraldine Dallaire HEC Montréal, Canada François Colbert HEC Montréal, Canada Keywords: ABSTRACT Cultural Policy The aim of this article is to foster debate within the academic community on the notion of Agenda 21 culture as the fourth pillar of sustainable development. Is Agenda 21 for Culture not just another way of making the case for increased funding of the arts by the different Sustainable governments? Are the goals of this fourth pillar not the same as those traditionally found in development cultural policies? This article looks at the origins of Agenda 21 and raises questions about its relationship with the challenges facing cultural and arts organizations, the different definitions Market Issues of the term “culture,” and the distinction between high and popular culture. It explores the links between these questions and the economic and market issues confronting stakeholders High art / popular in the cultural sector as well as public policy makers. art 6 ENCATC JOURNAL OF CULTURAL MANAGEMENT AND POLICY Introduction The issue of cultural democratization is a recurring theme that was once again pushed to the Cultural actors in all developed countries are fore on the occasion of the anniversaries of the struggling with a serious lack of funding. The cultural ministries of France and Quebec, notably, in economic crisis of 2008 has had a devastating impact 2009 and 2011. Indeed, one of the founding missions on government budgets, leading to severely limited of the French Ministry of Culture upon its creation in access to public funding. -
'Resistance,' 'Cultural Radicalism,' and 'Self-Formation'
Popular Culture, ‘Resistance,’ ‘Cultural Radicalism,’ and ‘Self-Formation’ Comments on the Development of a Theory Kaspar Maase 1. PRELIMINARY COMMENTS This article follows up on the debate over the resistance potential of popular culture. The first part traces the historical constellation of ideas in which the question arose and remains to this day. The second part attempts to systematize different dimensions of ‘resistance.’ The third part examines the development and criticism of this approach in the field of Cultural Studies. This leads to the fourth part, which investigates the role “cultural radicalism” (Fluck, “Die Wissenschaft” 115) has played in this discussion. The fifth part introduces the concept of self-formation. The sixth discusses the ways in which the political relevance of popular culture has been evaluated, and how the ‘resistance’ approach can be further developed. ‘Resistance’ in a specific sense, namely that established in British Cultural Studies, forms the point of reference, framing the topic of this article in three ways. Firstly, the analysis will take place within the supposed context of a clash of interests between ‘the people’ and ‘the power bloc’; secondly, it will focus on the cultural dimension; and thirdly, it will investigate the cultural exercise of power and oppositional practices from the perspective of ‘the people’ with the intention of facilitating their empowerment. The thoughts of political and academic actors as to what exactly constitutes ‘resistance’ are as varied and contradictory as the concerns articulated by ‘the people.’ Nonetheless, there is a widespread expectation that research from the perspective of ‘the people’ has to promote 46 Kaspar Maase oppositional feelings, thoughts, and actions. -
Megachurches and Popular Culture: on Enclaving and Encroaching
Chapter 4 Megachurches and Popular Culture: On Enclaving and Encroaching Simon Coleman and Saliha Chattoo 1 Introduction: Performing the ‘Mega’ Christians have always built large churches. Imposing cathedrals dominated the architectural profiles and often the economies of cities in medieval Eu- rope, and spread into the New World along with colonisation and missionisa- tion (Coleman and Bowman 2018). Yet, while such churches are often huge, we do not think of them as mega. Their size – expressive of ecclesiastical authority – has a different quality to the dynamic, ostensibly more democratic forms of expansion that we associate with today’s megachurches.1 If many Gothic and neo-Gothic cathedrals expanded upwards towards the heavens while ostentatiously occupying urban centres, contemporary megachurches have tended to expand sideways, taking up large swathes of land in suburban areas, or repurposing large-scale facilities such as sports arenas. Furthermore, these differences in models of growth go beyond the spatial or the architec- tural. Cathedrals have tended to represent ‘high culture’, embodying national identity, craftsmanship, education, and patronage. Megachurches inhabit a very different cultural realm, relying on an ability to attract people to their ser- vices and consumers to their products. An empty cathedral (and there are many) still provides an important symbolic and civic function. An empty megachurch serves no purpose at all. This chapter demonstrates the importance of popular culture to the devel- opment of megachurches, showing its intimate connection with such church- es’ performances of what is often made to seem like ineluctable expansion. Our use of the word performance here is very deliberate, since it is meant to convey the sense of both producing growth and displaying it through a variety of media (see also Goh 2008; Maddox 2012). -
Quality Culture: Understandings, Boundaries and Linkages
Quality culture: understandings, boundaries and linkages Lee Harvey & Bjørn Stensaker Presented at EAIR Forum Innsbruck, September 2007. Submitted to European Journal of Education 24th November, 2007 Published as Harvey, L. and Stensaker, B., 2008, ‘Quality culture: understandings, boundaries and linkages’, European Journal of Education 43(4), pp. 427–42. ABSTRACT As part of the process of enhancing quality, quality culture has become a taken-for- granted concept intended to support development and improvement processes in higher education. By taking a theoretical approach to examining quality culture, starting with a scholarly examination of the concept of culture, and exploring how it is related to quality, quality improvement and quality assurance, the aim of this paper is to create a better understanding of how one can make sense of quality culture, its boundaries but also its links to the fundamental processes of teaching and learning. Keywords: quality, culture, quality culture, learning and teaching, academic engagement 1. Introduction Quality assurance is no longer a novelty to higher education. National and institutional systems for evaluation, assessment, accreditation and audit are now a routine in the majority of European countries (Schwarz & Westerheijden 2004). However, this does not mean that quality work and quality improvement is an integrated part of the sector. Available evidence rather suggests that while systems, procedures and rules are being laid down, creating much data, many reports and much attention (Stensaker 2003), there is still a lack of staff and student attachment and active involvement in these processes (Newton 2000; Vidal, 2003). When trying to describe the ideal involvement of student and staff in such processes, the concept of quality culture has in the latter years often been highlighted as a description of the social processes intended to characterise well-functioning quality systems and quality work processes (Ba˘stová et al., 2004; Rozsnyai, 2003). -
Philosophy Emerging from Culture
Cultural Heritage and Contemporary Change Series I. Culture and Values, Volume 42 General Editor: George F. McLean Associate General Editor: William Sweet Philosophy Emerging from Culture Edited by William Sweet George F. McLean Oliva Blanchette Wonbin Park The Council for Research in Values and Philosophy Copyright © 2013 by The Council for Research in Values and Philosophy Box 261 Cardinal Station Washington, D.C. 20064 All rights reserved Printed in the United States of America Library of Congress Cataloging-in-Publication Philosophy emerging from culture / edited by William Sweet, George F. McLean, Oliva Blanchette. -- 1st [edition]. pages cm. -- (Cultural heritage and contemporary change. Series I, Culture and values ; Volume 42) 1. Philosophy and civilization. 2. Philosophy. 3. Culture. I. Sweet, William, editor of compilation. B59.P57 2013 2013015164 100--dc23 CIP ISBN 978-1-56518-285-1 (pbk.) TABLE OF CONTENTS Introduction: Philosophy Emerging From Culture 1 William Sweet and George F. McLean Part I: The Dynamics of Change Chapter I. What Remains of Modernity? Philosophy and 25 Culture in the Transition to a Global Era William Sweet Chapter II. Principles of Western Bioethics and 43 the HIV/AIDS Epidemic in Africa Workineh Kelbessa Chapter III. Rationality in Islamic Peripatetic and 71 Enlightenment Philosophies Sayyed Hassan Houssaini Chapter IV. Theanthropy and Culture According to Karol Wojtyla 87 Andrew N. Woznicki Chapter V. Al-Fārābī’s Approach to Aristotle’s Eudaimonia 99 Mostafa Younesie Part II: The Nature of Culture and its Potential as a Philosophical Source Chapter VI. A Realistic Interpretation of Culture 121 Jeu-Jenq Yuann Chapter VII. Rehabilitating Value: Questions of 145 Meaning and Adequacy Karim Crow Chapter VIII. -
Civilizations As Networks: Trade, War, Diplomacy, Command-Control
Civilizations as Networks: Trade, War, Diplomacy, Command-Control Wilkinson, D. UCLA Political Science Department Los Angeles, CA 90024 Email: [email protected] Abstract Civilizational studies have been advanced by using network concepts for defining and bounding units of analysis, and for examining and comparing command-control networks. Several future applications of network concepts can be identified. Highly contextualized, "natural-historical" approaches will likely be most fruitful. Introduction Complex physical systems exist simultaneously as an interacting combination of atomisms and as a coherent field, itself an atomism on another level of interaction (Wilkinson and Iberall, 1986:37-38). "Complex systems have embedded interiors with many interacting parts, networks, and fields. From a mechanical point of view, emergent field processes often lead to 'surprising' results that are not reducible to a mechanical or deterministic account" (White and Johansen, 8/8/2002, xxiii). Indeed, "complexity" is informational: complex systems surprise and educate their observers by their unpredicted, and therefore informative, behavior. Complex systems are complex in spatial structure: they are wholes whose identity is more than the collection of their parts. They are also complex in temporal structure: the timescales of the whole are not those of the parts. "[A]ll complex physical systems display 'long' cycles...." (Wilkinson and Iberall, 1986:38). Complex systems are objects of study for many disciplines, and similar principles and research strategies seem to apply across many scales, and across "social," "biological," and "physical" sciences. Of particular importance is the determination of their process timescales, their "spectroscopy" (Wilkinson and Iberall, 1986; Iberall and Wilkinson, 1987, 1991; Iberall et al., 2000). -
The Death of Christian Culture
Memoriœ piœ patris carrissimi quoque et matris dulcissimœ hunc libellum filius indignus dedicat in cordibus Jesu et Mariœ. The Death of Christian Culture. Copyright © 2008 IHS Press. First published in 1978 by Arlington House in New Rochelle, New York. Preface, footnotes, typesetting, layout, and cover design copyright 2008 IHS Press. Content of the work is copyright Senior Family Ink. All rights reserved. Portions of chapter 2 originally appeared in University of Wyoming Publications 25(3), 1961; chapter 6 in Gary Tate, ed., Reflections on High School English (Tulsa, Okla.: University of Tulsa Press, 1966); and chapter 7 in the Journal of the Kansas Bar Association 39, Winter 1970. No portion of this work may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review, or except in cases where rights to content reproduced herein is retained by its original author or other rights holder, and further reproduction is subject to permission otherwise granted thereby according to applicable agreements and laws. ISBN-13 (eBook): 978-1-932528-51-0 ISBN-10 (eBook): 1-932528-51-2 Library of Congress Cataloging-in-Publication Data Senior, John, 1923– The death of Christian culture / John Senior; foreword by Andrew Senior; introduction by David Allen White. p. cm. Originally published: New Rochelle, N.Y. : Arlington House, c1978. ISBN-13: 978-1-932528-51-0 1. Civilization, Christian. 2. Christianity–20th century. I. Title. BR115.C5S46 2008 261.5–dc22 2007039625 IHS Press is the only publisher dedicated exclusively to the social teachings of the Catholic Church. -
Pragmatism and Popular Culture: Shusterman, Popular Art, and the Challenge of Visuality
Pragmatism and Popular Culture: Shusterman, Popular Art, and the Challenge of Visuality STEFÁN SNAEVARR I In this article I will discuss Richard Shusterman’s defense of popular cul- ture. I intend to show that while his arguments are highly interesting, the entertainment industry has a dark side, which he tends to ignore. Actually, I fear that higher culture and even civilization itself might be endangered by the predominance of popular culture. I am especially skeptical of visual entertainment. Its triumph in the last decades seems to have had a nega- tive impact on linguistic skills, lead to the decline of reading, and caused an increase in attentional deficiency among children. The relevance for educational matters should be obvious. Let us now take a look at Shusterman’s theories. It is not by chance that he defends popular culture; after all, he is one of the few aestheticians today who enjoys some popularity. As a result, his work is widely read outside of the philosophical community. The reason is simple: we all love rebels and the American philosopher is a rebel with a cause. He wants to promote art as an integral part of the ever-changing stream of life, believing that popular culture provides ways of giving art a place in everyday existence. This is an important part of Shusterman’s pragmatist aesthetics. Just like his prede- cessor John Dewey, Shusterman stresses our active involvement with art.1 When it all comes down to dust, it is the art of living that matters most. Shusterman maintains that the entertainment industry speaks on behalf of the common man. -
Inventing Opera As “High Culture”
For many people opera represents (whether this is understood posi- tively or negatively) the very embodiment of “high culture.”Yet lately there have been signs that its status is changing, as opera becomes more and more a feature of everyday cultural life.1 What I want to explore in this chapter is whether these changes have now made it possible to describe opera as popular culture. Inventing Opera as “High Culture” In order to fully understand what has been happening to opera in recent years, I think it is first necessary to examine something of the history of opera. Traditionally, opera is said to have been invented in the late sixteenth century by a group of Florentine intellectuals known as the Camerata.2 However, according to musicologist Susan McClary, Despite the humanistic red herrings proffered by Peri, Caccini [members of the Camerata], and others to the effect that they were reviving Greek performance practices, these gentlemen knew very well that they were basing their new reciting style on the improvisatory practices of con- temporary popular music. Thus the eagerness with which the humanist myth was constructed and elaborated sought both to conceal the vulgar origins of its techniques and to flatter the erudition of its cultivated patrons. (McClary, 1985: 154–5) Although there may be some dispute over the intellectual origins of opera, there is general agreement about its commercial beginnings. “Expecting Rain”: Opera as Popular Culture? 33 Significantly, the opera house was the “first musical institution to open its doors to the general public” (Zelochow, 1993: 261). The first opera house opened in Venice in 1637: it presented “commercial opera run for profit . -
Cultural Theory and Popular Culture by John Storey
CUL T CULTURAL FIFTH EDITION U FIFTH EDITION R THEORYAND JOHN STOREY AL POPULAR THEORY CULTURE AN INTRODUCTION AN CULTURAL D In this fifth edition of his successful Cultural Theory and Popular Culture: An Introduction, John Storey has extensively revised the text throughout. As before, the book presents a clear and critical survey P of competing theories of and various approaches to popular culture. O PULA Retaining the accessible approach of previous editions, and using relevant and appropriate examples from the texts and practices of popular culture, this new edition remains a key introduction to the area. AND R THEORY NEW TO THIS EDITION CUL • Extensively revised, rewritten and updated • Improved and expanded content throughout including: • New chapter on ‘Race’, racism and representation T U • New sections on the Panoptic Machine and Convergence Culture RE • Continued explicit links to the new edition companion reader Cultural Theory and Popular Culture: A Reader POPULAR • More illustrative diagrams and images AN INTRODUCTION • Fully revised, improved and updated companion website at www.pearsoned.co.uk/storey providing practice questions and extension activities, as well as annotated links to relevant sites on the web and further reading, and a glossary of key terms, to promote further understanding of the study of cultural theory and popular culture The new edition remains essential reading for undergraduate and postgraduate students of cultural studies, media studies, communication studies, the sociology of culture, popular culture and other related subjects. CULTURE JOHN STOREY is Professor of Cultural Studies and Director of the Centre for Research in Media and Cultural Studies at the University of Sunderland. -
Course Name: HIST 4 Title: History of Western Civilization Units
Course Name: HIST 4 Title: History of Western Civilization Units: 3 Course Description: This course is a survey of western civilization from the Renaissance to the present, emphasizing the interplay of social, political, economic, cultural, and intellectual forces in creating and shaping the modern world. The focus is on the process of modernization, stressing the secularization of western society and examining how war and revolution have served to create our world. Course Objectives: Upon completion of this course, the student will be able to: identify and correctly use basic historical terminology distinguish between primary and secondary sources as historical evidence compare and evaluate various interpretations used by historians to explain the development of western civilization since the Renaissance evaluate multiple causes and analyze why a historical event happened identify the major eras and relevant geography of western civilization since the Renaissance evaluate major economic, social, political, and cultural developments in western civilization since the Renaissance evaluate the experiences, conflicts, and connections of diverse groups of people in western civilization since the Renaissance draw historical generalizations about western civilization since the Renaissance based on understanding of the historical evidence describe and evaluate the major movements and historical forces that have contributed to the development of western civilization. Course Content: 4 hours: Introduction to the Study of Western Civilization, Historiography; Age of Transition: The Early Modern Period. 3 hours: The Nature and Structure of Medieval Society; those who work, those who pray, those who fight, the Great Chain of Being, manorialism; Decline of the Medieval Synthesis; The Renaissance and the Question of Modernity: humanism, individualism, secular spirit, Petrarch, Bruni, Pico, Castiglione, Machiavelli, etc., literature, art, and politics.