By Prof. Dr. Raphaela Henze, Prof. Dr. Gernot Wolfram (auth.), Raphaela Henze, Gernot Wolfram (eds.)
Is eu tradition noticeable adequate within the globalized international? Why is tradition from this continent frequently perceived as ‘old-fashioned’ or perhaps worse as ‘out-dated’? Is the export of nationwide cultural services – in so much ecu nations sponsored through the taxpayer – now not correct, or extra suitable than ever sooner than? Is it a major waste of cash, time, and energy or an try and create one other type of globalization? tradition – in its broadest experience – is frequently considered and authorised in ways in which fluctuate thoroughly from these of alternative across the world traded items. this could be one of many explanation why such a lot of associations, foundations and cooperations make investments time, strength, and cash in cultural tasks. is that this an exaggerated strategy or an clever reputation of the true values of the twenty first century – creativity and cultural sensitivity? those and a number of other questions in regards to the export of tradition are addressed by means of authors from diversified international locations that allows you to begin a debate concerning the function eu cultural services and products may be able to play globally.
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Extra resources for Exporting Culture: Which role for Europe in a Global World?
As in the business world, the cultural sector of the USA is diverse and that is definitely another factor explaining its success. It is not only that many of the most successful artists have diverse backgrounds. This diversity is also mirrored in many cultural organizations whereas in Europe the dominance of white male in leadership positions not only in the private but also in the cultural sector is striking. Hilary Carty states in her contribution to this book that way too often the established cultural institutions represent the status quo without much inclination to Raphaela Henze 46 change it.
In Culture Report, EUNIe Yearbook 2011, Europe's Foreign Cultural Relations. Stuttgart: EUNIC Delanty, Gerard (2003): Is There A European Identity? Global Dialogue Vol. 5 Number 3-4. The Future ofEuropc. Centre for World Dialogue. php'lid=269 Demossier, Marion (2007): The European Puzzle. The Political Structuring of Cultural Identities at a time of Transition. New York: Berghahn Books DeVlieg, Mary Ann (2011): 'Seeing the world in a new light', In Culture Report, EUNIC Yearbook 2011, Europe's Foreign Cultural Relations.
The situation is slightly better when it comes to literature. Joanne K. ' All in all Europe is the second largest exporter of content (27% of all international content in comparison to 50 % by the United States of America), but the content stays mainly in Europe and does not find its way out. Europeans do not only cherish their own cultural goods, but they are also hungry for international ones - especially US-American movies, TV-series, music, games and literature (MarteI2011b: 441), whereas there is no real demand for what Europe has to offer in other parts of the world.
Exporting Culture: Which role for Europe in a Global World? by Prof. Dr. Raphaela Henze, Prof. Dr. Gernot Wolfram (auth.), Raphaela Henze, Gernot Wolfram (eds.)