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.

Examining the artistic, intellectual, and social life of performance, this book interrogates Theatre and Performance Studies through the lens of display and modern visual art. Moving beyond the exhibition of immaterial art and its documents, as well as re-enactment in gallery contexts, Guy's book articulates an emerging field of arts practice distinct from but related to increasing curatorial provision for 'live' performance. Drawing on a recent proliferation of object-centric events of display that interconnect with theatre, the book approaches artworks in terms of their curation together and re-theorizes the exhibition as a dynamic context in which established traditions of display and performance interact. By examining the current traffic of ideas and aesthetics moving between theatricality and curatorial practice, the study reveals how the reception of a specific form is often mediated via the ontological expectations of another. It asks how contemporary visual arts and exhibition practices display performance and what it means to generalize the 'theatrical' as the optic or directive of a curatorial concept. Proposing a symbiotic relation between theatricality and display, Guy presents cases from international arts institutions which are both displayed and performed, including Tate Modern and the Guggenheim, and assesses their significance to the enduring relation between theatre and the visual arts. The book progresses from the conventional alignment of theatricality and ephemerality within performance research and teases out a new temporality for performance with which contemporary exhibitions implicitly experiment, thereby identifying supplementary modes of performance which other discourses exclude. This important study joins the fields of Theatre and Performance Studies with exciting new directions in curation, aesthetics, sociology of the arts, visual arts, the creative industries, the digital humanities, cultural heritage, and reception and audience theories.

Celebrating a "golden age" of travel, this new book retraces the steps of a Grand Tour of South East Asia from the turn of the 20th century to the present day. The Romance of the Grand Tour explores the living heritage of 12 exotic port cities: from Rangoon (Yangon), through the Straits Settlements of Penang, Malacca and Singapore and the old Dutch East Indies cities of Batavia (Jakarta) and Surabaya, via Bangkok to former Indochina at Saigon (Ho Chi Minh City), Phnom Penh and Hanoi, through Manila to Hong Kong. Drawing on archival images and accounts as well as present-day photographs and illustrations, the book captures the romance and excitement of these early Grand Tourists, while presenting contemporary scenes and experiences for 21st-century travellers determined to seek out the legacy of a bygone era.

This title was first published in 1988: In this book the author has translated five postwar experimental Japanese plays and recreated the artistic, social and spiritual milieu in which they were created. He describes the turning point in Japanese thinking about the nature and limitations of a Western-oriented modern culture, and the creation of "underground" theatres which in which evolved a new mythology of history. Professor Goodman sees these developments as an interplay between personal and political (ie revolutionary) salvation.

This title was first published in 2001. The essays in this highly cosmopolitan collection were selected from over 250 contributions presented at the 19th World Congress in Philosophy of Law and Social Philosophy (IVR) held in New York in 1999. They represent a cross-section of contemporary work on human rights derived from eleven different countries.

First published in 2004, this volume recognises that there is much more to museums than the documenting, monumentalizing, or theme-parking of identity, history and heritage. This landmark anthology aims to make strange the very existence of museums and to plot a critical, historical and ethical understanding of their origins and history. A radical selection of key texts introduces the reader to the intense investigation of the modern European idea of the museum that has taken place over the last fifty years. Texts first published in journals and books are brought together in one volume with up-to-the-minute and specially commissioned pieces by leading administrators, curators and art historians. The selections are organized by key themes that map the evolution of the debate and introduced by Donald Preziosi and Claire Farago, two considerable critics, who write with the edge and enthusiasm of art historians who have spent their lives working with museums. Grasping the World is an invaluable resource for students and teachers of art history and museum studies.

The history of health care is complex, confusing, and contested. It involves more than just the creation of hospitals and dispensaries, infirmaries, and health centers. There are also royal colleges, trades unions, medical schools, nurses homes, coroners courts, nursing sisterhoods, ambulance stations, patients organizations, and medical missions.

Usually, to enhance our understanding we sit and read books, or, nowadays, surf the Internet. But it s more fun to go out, visit the buildings where events unfolded and transport yourself back in time. The story of how health care has developed from medieval times to the present day is told through seven walks in central London, each with a key theme, such as:

• Competition between the church, crown, and city for control
• Changing fortunes of particular districts
• Radical reform between 1840 and 1880
• Individual creativity and entrepreneurship
• Hospitals unavoidable choice between merger or migration
• Transformation of health care trades into professions
• Development of primary care

The book takes as much interest in one of the six ambulance stations build in 1915 by the London County Council as it does in the grandest teaching hospital. Although some important buildings have been destroyed, and others are threatened, many remain. The walks aim to help preserve our legacy as, increasingly, former health care buildings are converted into hotels, offices, homes, and shops. Awareness of their original functions is in danger of being lost. The book also aims to increase our understanding of the current challenges we face in trying to improve health care. For there are many lessons to be learnt from the past.

Packed full of curious and surprising facts about medicine and beautifully illustrated with maps, photographs, and images, this is the perfect guide book for anyone with a passion for urban walks, the history of London, and, of course, medicine. "

Where, how, by whom and for what were the first museums of contemporary art created? These are the key questions addressed by J. Pedro Lorente in this new book. In it he explores the concept and history of museums of contemporary art, and the shifting ways in which they have been imagined and presented. Following an introduction that sets out the historiography and considering questions of terminology, the first part of the book then examines the paradigm of the Musee des Artistes Vivants in Paris and its equivalents in the rest of Europe during the nineteenth century. The second part takes the story forward from 1930 to the present, presenting New York's Museum of Modern Art as a new universal role model that found emulators or 'contramodels' in the rest of the Western world during the twentieth century. An epilogue, reviews recent museum developments in the last decades. Through its adoption of a long-term, worldwide perspective, the book not only provides a narrative of the development of museums of contemporary art, but also sets this into its international perspective. By assessing the extent to which the great museum-capitals - Paris, London and New York in particular - created their own models of museum provision, as well as acknowledging the influence of such models elsewhere, the book uncovers fascinating perspectives on the practice of museum provision, and reveals how present cultural planning initiatives have often been shaped by historical uses.

Blockbuster exhibitions are ubiquitous fixtures in the cultural calendars of major museums and galleries worldwide. The Rise of the Must-See Exhibition charts their ascent across a diverse array of museums and galleries. The book positions these exhibits in the Australian cultural context, demonstrating how policy developments and historical precedents have created a space for their current domination. Drawing on historical evidence, policy documents and contemporary debates, the book offers a complex analysis of the aims and motivations of blockbuster exhibitions. Its chronological approach reveals a genealogy of exhibits from the mid-nineteenth century onward to identify precursors to current practice. This provides a foundation upon which to examine the unprecedented growth of blockbusters in the latter half of the twentieth century. The examples discussed offer a unique opportunity to study how institutional growth, political support, individual champions and audience interest have influenced the development of large-scale temporary exhibitions. The Rise of the Must-See Exhibition considers blockbusters as an international phenomenon and, as such, is highly relevant to practitioners working across the cultural sector around the world. The book will also appeal to academics and students engaged in the study of museums and galleries, arts management and curating, as well as those interested in the history of exhibitions and cultural policy.

During much of the twentieth century, film was often assumed to be a 'flat' pictorial art, more often compared with painting and graphic media than with sculpture. In the last few decades, however, film has come to be more closely associated with sculpture, and in recent years, it has largely been through gallery installations not only that the sculptural aspect of film and video has been demonstrated, but also the extent to which filmic representation enlarges our understanding of sculptural space. This collection thus comprises the first rigorous exploration of the relationship between sculpture and film, charted over ten essays. The contributors explore some of the ways in which cinema reshaped the landscape of art and specifically sculpture and sculptural practice during the twentieth century. They also examine how film has functioned as a 'sculptural' medium at crucial moments in various stages of its evolution. In this way, it is a book about both sculpture and film, and sculpture as film.

There's more to the South of France than sun, beaches, palm trees and the azure blue sea. For over a hundred years, it has been the favourite destination of many artists, who find themselves drawn to the superb light and the pleasant climate. The South of France for Art Lovers will show you what the area between Collioure and Menton has to offer in terms of surprising and remarkable art and cultural treasures. Journalist and art connoisseur Eric Rinckhout (Knack Magazine a.o.) selected more than 350 exceptional places: from the chapel decorated by Louise Bourgeois to the studio of Matisse and the apartment of Nabokov, from Eileen Gray's modernist Villa E-1027 to architect Frank Gehry's most recent design, from the oldest cinema in the world to street art in Marseille. Discover the best and most unique spots in inspiring lists such as contemporary sculpture gardens on wine estates, in the footsteps of painters and writers, chansonniers and rock stars, sleeping inside art, gardens that are artistic gems and much more.

1. This interdisciplinary volume brings together scholars from across the world who have raised pertinent issues regarding the role of stand-up comedy in contemporary times especially with increased presence of OTT platforms and internet penetration that allows for easy access to this art form. 2. It looks at the theoretical understanding of the different aspects of the humour, aesthetics and politics of stand up comedy, as well as case studies of various forms of stand up comedy such as Finnish, Persian, Indonesian, Indian, etc. 3. It will be of interest to departments of media, popular culture, digital culture, sociology, digital sociology/anthropology, and English literature across the US and UK. IT will also appeal to proplr interested in performance and performance studies as it looks at the genre of stand-up comedy in the global context with chapters on Finnish, Australian, Persian and Indian stand-up comedy, to name a few.

This book investigates what happens to criminal evidence after the conclusion of legal proceedings. During the criminal trial, evidentiary material is tightly regulated; it is formally regarded as part of the court record, and subject to the rules of evidence and criminal procedure. However, these rules and procedures cannot govern or control this material after proceedings have ended. In its 'afterlife', criminal evidence continues to proliferate in cultural contexts. It might be photographic or video evidence, private diaries and correspondence, weapons, physical objects or forensic data, and it arouses the interest of journalists, scholars, curators, writers or artists. Building on a growing cultural interest in criminal archival materials, this book shows how in its afterlife, criminal evidence gives rise to new uses and interpretations, new concepts and questions, many of which are creative and transformative of crime and evidence, and some of which are transgressive, dangerous or insensitive. It takes the judicial principle of open justice - the assumption that justice must be seen to be done - and investigates instances in which we might see too much, too little or from a distorted angle. It centres upon a series of case studies, including those of Lindy Chamberlain and, more recently, Oscar Pistorius, in which criminal evidence has re-appeared outside of the criminal process. Traversing museums, libraries, galleries and other repositories, and drawing on extensive interviews with cultural practitioners and legal professionals, this book probes the legal, ethical, affective and aesthetic implications of the cultural afterlife of evidence.

The UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage came into force in 2006, framing the international and national practices and policies associated with intangible cultural heritage. This volume critically and reflexively examines these practices and policies, providing an accessible account of the different ways in which intangible cultural heritage has been defined and managed in both national and international contexts. As Safeguarding Intangible Heritage reveals, the concept and practices of safeguarding are complicated and often contested, and there is a need for international debate about the meaning, nature and value of heritage and what it means to 'safeguard' it. Safeguarding Intangible Heritage presents a significant cross section of ideas and practices from some of the key academics and practitioners working in the area, whose areas of expertise span anthropology, law, heritage studies, linguistics, archaeology, museum studies, folklore, architecture, Indigenous studies and history. The chapters in this volume give an overarching analysis of international policy and practice and critically frame case studies that analyze practices from a range of countries, including Australia, Canada, China, Indonesia, Japan, Korea, Kyrgyzstan, New Zealand, Taiwan, the UK and Zimbabwe. With a focus on conceptual and theoretical issues, this follow-up to Intangible Heritage, by the same editors, will be of great interest to students, scholars and professionals working in the fields of heritage and museum studies, heritage conservation, heritage tourism, global history, international relations, art and architectural history, and linguists.

Challenging distinctions between fine and decorative art, this book begins with a critique of the Rodin scholarship, to establish how the selective study of his oeuvre has limited our understanding of French nineteenth-century sculpture. The book's central argument is that we need to include the decorative in the study of sculpture, in order to present a more accurate and comprehensive account of the practice and profession of sculpture in this period. Drawing on new archival sources, sculptors and objects, this is the first sustained study of how and why French sculptors collaborated with state and private luxury goods manufacturers between 1848 and 1895. Organised chronologically, the book identifies three historically-situated frameworks, through which sculptors attempted to validate themselves and their work in relation to industry: industrial art, decorative art and objet d'art. Detailed readings are offered of sculptors who operated within and outside the Salon, including Sevin, Cheret, Carrier-Belleuse and Rodin; and of diverse objects and materials, from Sevres vases, to pewter plates by Desbois, and furniture by Barbedienne and Carabin. By contesting the false separation of art from industry, Claire Jones's study restores the importance of the sculptor-manufacturer relationship, and of the decorative, to the history of sculpture.

This book offers an interdisciplinary analysis of the social practice of taste in the wake of Pierre Bourdieu's sociology of taste. For the first time, this book unites sociologists and other social scientists with artists and curators, art theorists and art educators, and art, design and cultural historians who engage with the practice of taste as it relates to encounters with art, cultural institutions and the practices of everyday life, in national and transnational contexts. The volume is divided into four sections. The first section on 'Taste and art', shows how art practice was drawn into the sphere of 'good taste', contrasting this with a post-conceptualist critique that offers a challenge to the social functions of good taste through an encounter with art. The next section on 'Taste making and the museum' examines the challenges and changing social, political and organisational dynamics propelling museums beyond the terms of a supposedly universal institution and language of taste. The third section of the book, 'Taste after Bourdieu in Japan' offers a case study of the challenges to the cross-cultural transmission and local reproduction of 'good taste', exemplified by the complex cultural context of Japan. The final section on 'Taste, the home and everyday life' juxtaposes the analysis of the reproduction of inequality and alienation through taste, with arguments on how the legacy of ideas of 'good taste' have extended the possibilities of experience and sharpened our consciousness of identity. As the first book to bring together arts practitioners and theorists with sociologists and other social scientists to examine the legacy and continuing validity of Pierre Bourdieu's sociology of taste, this publication engages with the opportunities and problems involved in understanding the social value and the cultural dispositions of taste 'after Bourdieu'. It does so at a moment when the practice of taste is being radically changed by the global expansion of cultural choices, and the emergence of deploying impersonal algorithms as solutions to cultural and creative decision-making.

Hundreds of pirates traversed the waters of the Atlantic during America's colonial period, but few had a more adventurous tale than Stede Bonnet. Originally a wealthy plantation owner from Barbados, Bonnet abandoned his wife and children in 1717 to set sail on the pirate ship Revenge. He soon fell into company with Blackbeard in the Bahamas and headed for America. In May 1718, they arrived in Charleston and held the entire city hostage in a daring siege. Bonnet was eventually captured in North Carolina and transported back to Charleston, where he was brought to justice and executed on December 10, 1718. Join local pirate tour guide Captain Christopher Byrd Downey as he recounts the swashbuckling life of the most infamous pirate to ever darken the Holy City's waters.

This book focuses on the theoretical, policy and practice linkages and disjunctures between tourism and the creative industries. There are clear and strong intersections between the sectors, for example in the development and application of new and emerging media in tourism; festivals and cultural events showcasing the creative identity of place; tours and place identities associated with film, TV, music and arts tourism; as well as particular destinations being promoted on the basis of their 'creative' endowments such as theatre breaks, art exhibitions and fashion shows. Tourism and the Creative Industries explores a variety of relationships in one volume and offers innovative and critical insights into how creative industries and tourism together contribute to place identity, tourist experience, destination marketing and management. The book is aligned with the sectors that have been demarcated by the UK Government Department of Culture, Media and Sport as comprising the creative industries: advertising and marketing; architecture; design and designer fashion; film, TV, video, radio and photography; IT, software and computer services; publishing and music; performing and visual arts. The title of this volume demonstrates how the exclusion of tourism from the creative industries is arguably perverse, given that much of the work by destination managers and of private sector tourism is characterised by creativity and innovation. Interdisciplinary research and international context bring a broader perspective on how the creative industries operate in varying cultural and policy contexts in relation to tourism. This book brings together the parallel and disparate inter-disciplinary fields of tourism and the creative industries and will be of interest to students, academics and researchers interested in tourism, creative industries, marketing and management.

This volume offers fresh perspectives on the representation of the recent past in museums of the Second World War and of communism in post-communist Eastern Europe. It does so against the background of recent European-wide debates on history, memory and politics. The contributors from across Europe focus comparatively on a wide variety of case studies, pointing out similarities and differences, and accounting for transnational patterns of remembrance at regional and European level. Occupation and Communism in Eastern European Museums argues that museums have a huge influence on the image of the communist past in Eastern Europe. It shows how they use a vast array of media tools, visual tactics and commercial strategies in order to substantiate ideological approaches to the past and to shape the attitude of public opinion.

Heritage Sites in Contemporary China: Cultural Policies and Management Practices focuses on cultural heritage policies in China emerging in the period of the 11th and 12th Five Year Plans. Various important Chinese sites across China are investigated, including Luoyang Sui, Daming Gong, Niuheliang, Xinjiang, and Nanyuewang through the dual perspective of archaeological debate and as a case study of policy making. It explores the relationship between policy and the institutional and administrative conditions, such as budgeting and land concerns, which affect it. Building on the research project implemented by the China Academy for Cultural Heritage (CACH) from 2012-2014, which focused on the impact of the Dayizhi Policy for Great Archaeological Sites, the book provides an interdisciplinary insider's approach to viewing archaeological discoveries; policies and emerging practices in site and archaeological management; and public administration in China. Featuring contributions from experts within CACH and from the Chinese community of archaeologists, and including numerous tables, data and maps, it will appeal to researchers and scholars in disciplines such as archaeology, heritage management, public administration, and policy making.

This splendid and timely book will be invaluable to those visiting the battlefields, sites, museums, memorials and cemeteries of the D-Day Normandy landings. It is intended for those planning and leading school groups and similar parties but is also ideal for individual/family visitors. Rather than list every site etc it provides realistic itineraries to the best places in the Normandy area. Even these are flexible to allow party leaders suitable discretion. The author provides helpful information for each site such as its context in the War, visitor orientation, the narrative (the essential facts to engage, inform and entertain), suggested activity and relevant photos and maps. This combines to make every visit of maximum benefit and interest and yet reduce the workload of the party leaders. There are also valuable tips for lunch breaks, free time ideas and other helpful pointers.

This book examines collecting around the world and how women have participated in and formed collections globally. The edited volume builds on recent research and offers a wider lens through which to examine and challenge women's collecting histories. Spanning from the seventeenth century to the twenty-first (although not organized chronologically) the research herein extends beyond European geographies and across time periods; it brings to light new research on how artificiallia and naturallia were collected, transported, exchanged, and/or displayed beyond Europe. Women, Collecting and Cultures Beyond Europe considers collections as points of contact that forged transcultural connections and knowledge exchange. Some authors focus mainly on collectors and what was collected, while others consider taxonomies, travel, patterns of consumption, migration, markets, and the after life of things. In its broad and interdisciplinary approach, this book amplifies women's voices, and aims to position their collecting practices toward new transcultural directions, including women's relation to distinct cultures, customs, and beliefs as well as exposing the challenges women faced when carving a place for themselves within global networks. This study will be of interest to scholars working in collections and collecting, conservation, museum studies, art history, women's studies, material and visual cultures, Indigenous studies, textile histories, global studies, history of science, social and cultural histories.

Described by GEM* as 'a very informative and practical book ... worth having on any museum shelf', the Museum Educator's Handbook is a thorough and practical guide to setting up and running education services in all types of museum, even the smallest, in any geographical setting. This third edition has been comprehensively updated to reflect the increased emphasis on the role of museums at all levels of education, from schools to further and higher education. There are new sections which deal with the importance of risk management and quality assurance, as well as guidance on the prevalent use of policy documents and new marketing methods. *Group for Education in Museums

Since the 1990s, artists and art writers around the world have increasingly undermined the essentialism associated with notions of "critical practice." We can see this manifesting in the renewed relevance of what were previously considered "outsider" art practices, the emphasis on first-person accounts of identity over critical theory, and the proliferation of exhibitions that refuse to distinguish between art and the productions of culture more generally. How Folklore Shaped Modern Art: A Post-Critical History of Aesthetics underscores how the cultural traditions, belief systems and performed exchanges that were once integral to the folklore discipline are now central to contemporary art's "post-critical turn." This shift is considered here as less a direct confrontation of critical procedures than a symptom of art's inclusive ideals, overturning the historical separation of fine art from those "uncritical" forms located in material and commercial culture. In a global context, aesthetics is now just one of numerous traditions informing our encounters with visual culture today, symptomatic of the pull towards an impossibly pluralistic image of art that reflects the irreducible conditions of identity.

This book challenges traditional approaches to heritage interpretation and offers an alternative theoretical architecture to the current research and practice. Russell Staiff suggests that the dialogue between visitors and heritage places has been too focused on learning outcomes, and so heritage interpretation has become dominated by psychology and educational theory, and over-reliant on outdated thinking. Using his background as an art historian and experience teaching heritage and tourism courses, Russell Staiff weaves personal observation with theory in an engaging and lively way. He recognizes that the 'digital revolution' has changed forever the way that people interact with their environment and that a new approach is needed.