Intellectuals and policy analysts might appear to inhabit two different worlds. Intellectuals aspire to articulate issues of universal concern; policy analysts attend to the detail of specific measures and programmes. How far do these common assumptions match up to reality? What happens when intellectuals engage with cultural institutions and the m
DIVAn ethnography of inellectual property, discussing the uses made of items of inellectual property by various cultural groups -- for purposes of identity, solidaritiy, resistance and so forth. /div
Cultural policy intersects with political, economic, and socio-cultural dynamics at all levels of society, placing high and often contradictory expectations on the capabilities and capacities of the media, the fine, performing, and folk arts, and cultural heritage. These expectations are articulated, mobilised and contested at – and across – a global scale. As a result, the study of cultural policy has firmly established itself as a field that cuts across a range of academic disciplines, including sociology, cultural and media studies, economics, anthropology, area studies, languages, geography, and law. This Routledge Handbook of Global Cultural Policy sets out to broaden the field’s consideration to recognise the necessity for international and global perspectives. The book explores how cultural policy has become a global phenomenon. It brings together a diverse range of researchers whose work reveals how cultural policy expresses and realises common global concerns, dominant narratives, and geopolitical economic and social inequalities. The sections of the book address cultural policy’s relation to core academic disciplines and core questions, of regulations, rights, development, practice, and global issues. With a cross-section of country-by-country case studies, this comprehensive volume is a map for academics and students seeking to become more globally orientated cultural policy scholars.
To study this transition from universalism to cultural particularism, Richard King focuses on the arguments of major thinkers, movements, and traditions of thought, attempting to construct a map of the ideological positions that were staked out and an intellectual history of this transition.
French intellectuals have always defined themselves in political terms, typically as opponents to a corrupt government—but challenging state authority is not the only way intellectuals in France have exerted political influence. Jeremy Aherne invokes a neglected dimension of French intellectuals’ practice, where instead of denouncing the worlds of government and public policy, French intellectuals become voluntarily entangled within them The book consists of a series of case studies exploring policy domains from religion and secularization to educational reform and the media. It explores the political engagement of intellectuals such as Pierre Bourdieu, Michel de Certeau, and André Malraux, and will be required reading for scholars of French political and social history.
This book offers a sustained and vigorous defence of free expression and objective enquiry situated in the context of the current culture wars. In the spirit of J. S. Mill, Benn investigates objections to the ideal of free expression in relation to harm and offence, reaching broadly liberal conclusions with reference to recent examples of attempts to curb free speech on university campuses. Accepting that some expressions can cause non-physical harm, Benn also considers objections to free speech based on certain understandings of power and privilege. In its exploration and rejection of arguments against the possibility of obtaining objective truth, the book navigates hotly contested fields of contemporary debate, including feminism and identity politics. It challenges the dogma of social constructionism and examines current notions of identity, arguing that a case for fairness can be made without appealing to them. Offering a qualified endorsement of friendship between ideological opponents, Benn highlights common obstacles to civil and rational discussions, concluding with a rational, moral, and broadly spiritual solution to the cultural combat that monopolises present-day society.
Publishing tycoon Henry Luce famously championed many conservative causes, and his views as a capitalist and cold warrior were reflected in his glossy publications. Republican Luce aimed squarely for the Middle American masses, yet his magazines attracted intellectually and politically ambitious minds who were moved by the democratic aspirations of the New Deal and the left. Much of the best work of intellectuals such as James Agee, Archibald MacLeish, Daniel Bell, John Hersey, and Walker Evans owes a great debt to their experiences writing for Luce and his publications. Intellectuals Incorporated tells the story of the serious writers and artists who worked for Henry Luce and his magazines Time, Fortune, and Life between 1923 and 1960, the period when the relationship between intellectuals, the culture industry, and corporate capitalism assumed its modern form. Countering the notions that working for corporations means selling out and that the true life of the mind must be free from institutional ties, historian Robert Vanderlan explains how being embedded in the corporate culture industries was vital to the creative efforts of mid-century thinkers. Illuminating their struggles through careful research and biographical vignettes, Vanderlan shows how their contributions to literary journalism and the wider political culture would have been impossible outside Luce's media empire. By paying attention to how these writers and photographers balanced intellectual aspiration with journalistic perspiration, Intellectuals Incorporated advances the idea of the intellectual as a connected public figure who can engage and criticize organizations from within.
This book focuses on the fraught relationship between cultural heritage and intellectual property, in their common concern with the creative arts. The competing discourses in international legal instruments around copyright and intangible cultural heritage are the most obvious manifestation of this troubled encounter. However, this characterization of the relationship between intellectual and cultural property is in itself problematic, not least because it reflects a fossilized concept of heritage, divided between things that are fixed and moveable, tangible and intangible. Instead the book maintains that heritage should be conceived as part of a dynamic and mutually constitutive process of community formation. It argues, therefore, for a critically important distinction between the fundamentally different concepts of not only intellectual and cultural heritage/property, but also of the market and the community. For while copyright as a private property right locates all relationships in the context of the market, the context of cultural heritage relationships is the community, of which the market forms a part but does not – and, indeed, should not – control the whole. The concept of cultural property/heritage, then, is a way of resisting the reduction of everything to its value in the market, a way of resisting the commodification, and creeping propertization, of everything. And, as such, the book proposes an alternative basis for expressing and controlling value according to the norms and identity of a community, and not according to the market value of private property rights. An important and original intervention, this book will appeal to academics and practitioners in both intellectual property and the arts, as well as legal and cultural theorists with interests in this area.
