Conference Agenda

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Session Overview
Session
RN07_04a_H: Cultural Practices II
Time:
Thursday, 31/Aug/2017:
9:00am - 10:30am

Session Chair: Mark D. Jacobs, George Mason University
Location: HB.3.18
HAROKOPIO University 70 El. Venizelou Street 17671 Athens, Greece Building: B, Level: 3.

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Presentations

Sensory-consumer culture of capitalist society.

Muslimat Gazievna Akhmedova

Russian State Social University, Russian Federation

Sensory-consumer culture is a way of existence of the market of intellectual production (ie the organized forms of production and transmission of spiritual values), not the culture itself with its high humanistic ideals. Sensory-consumer culture has a certain effect on the everyday human world, formed by its value system, needs, tastes, etc. The role of this type of culture in people's daily lives become increasingly significant, and in the current circumstances it becomes the main supplier of normative values ​​of behavior, thus affecting all sectors of society, including the elite.


Creative Industries Policy in Taiwan: After the Neoliberal Reform

Hui-Ju TSAI

Loughborough University, United Kingdom

This article argues that neoliberal reform has generally failed to promote the public interest in cultural and creative industries policy-making in Taiwan. Creative economy has heavily influenced the development of cultural policy discourse. Particularly, Taiwanese government was to embark on a major cultural policy shift towards neoliberalism after concluding that its adoption of ‘creative industries’ policy from Britain in 2002 had failed to reform the structure of media and cultural industries. Neoliberalism, global capitalism and the profitable growth of global cultural industries gradually penetrated the direction of cultural policy in Taiwan. The imbalance of priorities in cultural policies has been linked to the chronic short-termism of cultural governance. The huge public sums into the expansion of creative industries sector in the last decade as a trajectory of neoliberalisation in Taiwan. It illustrates that the creative industries policy-thought has neoliberalised and been embodied in three salient characteristics about the privatisation of public space, the financialisation of public subsidy & investment, and the commercialisation of higher education. The three main problems clearly demonstrate that private capital investment in the public sector, without long-term planning to foster talent, is inefficient. This paper is divided into three main sections which address the three neoliberal results. Finally, the article briefly attempts to show how we might develop new perspectives for evidence-informed policymaking and the wider public interest.


Seeing justice being done? Courtroom broadcasting, transparency, and public participation

Sarah Moore

University of Bath, United Kingdom

“Not only must justice be done; it must be seen to be done.” This aphorism, attributed to Lord Chief Justice Hewart, has lately been revived in support of a set of legislative changes across England and Wales that mark a historic shift in the public’s relation to justice and the media’s access to the courtroom. The government hopes that the broadcasting of footage from trials and appeals, enabled by rescinding the long-time ban on cameras in the courtroom, will increase the visibility of legal proceedings and, in turn, improve public trust and understanding. This is an untested ambition. Encouraged by news corporations, the government has embarked on a path towards the filming of criminal trials with little more than a hypothesis about the effects on public confidence.

Drawing upon findings from an audiovisual analysis of courtroom footage and focus groups with members of the public, this paper considers what the introduction of courtroom broading tells us about the operation and meaning of justice, transparency, and public participation in the legal realms of twenty-first century liberal democracies. As part of this, the paper considers whether video footage transforms the courtroom into technocratic sites of process or, by contrast, performative arenas where justice is enacted. A tension between these aspects — technocratic vs performative — has long existed, but the introduction of courtroom filming brings it into sharp focus and gives an urgency to the question of how justice should be “seen to be done”.


Cultural Production by the Second-generation Entrepreneurs in China

Xiao Mei

Chinese Academy of Socia Sciences, China, People's Republic of

This paper analyzes the cultural production of the second-generation entrepreneurs in China. Social reproduction theorists often depicted social processes during which a better-off class reproduces itself through transmitting economic, social and cultural capital from one generation to the next. The younger generation tries hard to master the “tricks of the trade” and aspires to live up to the standards of their privileged class. Yet the cultural endeavor of the second-generation entrepreneurs in China is completely different. All they want is to be different from their parents, despite the fact that their ambition to be different is subsidized by the wealth of their parents, or the fact that their ultimate mission is copy their parents’ success. Drawing on qualitative data collected from interviews with second-generation entrepreneurs in China, I argue that it is exactly because the second-generation Chinese entrepreneurs choose to produce a culture of their own instead of reproducing the culture of their parents’ generation, they may stand a chance of reproducing the social status and economic prosperity of their class, given the specific social and economic conditions of the Chinese society. Drawing on Paul Willis’s concept of cultural production, I explore cultural production by the second-generation entrepreneurs as on the one hand a creative, dynamic and contested process, and on the other an important reproductive mechanism.



 
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