標(biāo)題: Titlebook: Cultural Governance and the European Union; Protecting and Promo Evangelia Psychogiopoulou Book 2015 The Editor(s) (if applicable) and The [打印本頁(yè)] 作者: Odious 時(shí)間: 2025-3-21 17:17
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作者: Type-1-Diabetes 時(shí)間: 2025-3-21 21:37 作者: Prologue 時(shí)間: 2025-3-22 03:54
New Factory Women in Time and Space, and the fostering of growth and economic competitiveness more generally, has recently gained ground in Brussels. In December 2013, the European Parliament and the Council of the European Union (Council) adopted the new Creative Europe programme (European Parliament and Council, 2013a). The European作者: 新手 時(shí)間: 2025-3-22 07:56 作者: mitral-valve 時(shí)間: 2025-3-22 09:22 作者: 門(mén)閂 時(shí)間: 2025-3-22 16:51 作者: 門(mén)閂 時(shí)間: 2025-3-22 18:30 作者: 偏見(jiàn) 時(shí)間: 2025-3-22 23:19
,‘Emergent Classes’ and Sicheng Society,ulatory measures have been adopted with the aim to guarantee the proper functioning of the internal market for cultural goods and services. Although primarily designed to correct legislative disparities between national copyright laws, EU copyright directives have been increasingly aimed at preservi作者: 青春期 時(shí)間: 2025-3-23 01:53 作者: Gustatory 時(shí)間: 2025-3-23 08:36 作者: 割讓 時(shí)間: 2025-3-23 11:12 作者: BILL 時(shí)間: 2025-3-23 16:33 作者: harpsichord 時(shí)間: 2025-3-23 20:21
,‘Emergent Classes’ and Sicheng Society,Participation in cultural activities is however a crucial component of a democratic society. The institutionalisation of a ‘democratic political community’, be it at European or national level, rests, following Gérard (2007: 134–135), upon several requirements, and notably on the recognition and imp作者: 放大 時(shí)間: 2025-3-23 23:15
,‘Emergent Classes’ and Sicheng Society,hting the emergence, development, strengths and shortfalls of minority rights protection in the EU. Minority protection may not be a comprehensive affair in EU law. However, the EU’s legal framework still pertains to minority issues in ways sufficient to warrant lengthy analysis (Ahmed, 2009a, 2009b作者: abduction 時(shí)間: 2025-3-24 05:12
Women Scientists in France and the USA,affecting culture are amongst the most controversial. The ‘trade and culture’ quandary could indeed be phrased more revealingly as ‘trade . culture’. It is an area of contestation that emerged in the forum of the World Trade Organization (WTO) and its institutional predecessor, the General agreement作者: 陳舊 時(shí)間: 2025-3-24 07:00 作者: 全面 時(shí)間: 2025-3-24 13:16 作者: Microaneurysm 時(shí)間: 2025-3-24 14:55 作者: 設(shè)想 時(shí)間: 2025-3-24 20:10 作者: clarify 時(shí)間: 2025-3-25 00:17
The Editor(s) (if applicable) and The Author(s) 2015作者: 一致性 時(shí)間: 2025-3-25 04:27 作者: 脫水 時(shí)間: 2025-3-25 10:46
Introductionemit for the development of a cultural policy, reflected in Article 167 of the Treaty on the Functioning of the European Union (TFEU), in recognition of member states’ preponderant role in the field, should not hide from view an array of EU policies that are not meant to be about culture yet touch u作者: SOBER 時(shí)間: 2025-3-25 12:28
The Cultural Logic of Economic Integratione Second World War. But if the immediate goals were expressly economic and developmental, the long-term ones were also cultural and political. Economic integration was seen as the ‘leaven from which will grow a wider and deeper community between countries long opposed to one another by sanguinary di作者: Vulnerary 時(shí)間: 2025-3-25 19:13 作者: 衣服 時(shí)間: 2025-3-25 20:48 作者: Thyroid-Gland 時(shí)間: 2025-3-26 01:46
The Creative Europe Programme: Policy-Making Dynamics and Outcomes set three specific objectives that should guide the EU cultural policy forward: promotion of cultural diversity and intercultural dialogue; promotion of culture as a catalyst for creativity; and promotion of culture as a vital element in the Union’s international relations (European Commission, 200作者: Cursory 時(shí)間: 2025-3-26 06:58
The Protection of National Treasures in the EU Single Marketmall number of them are ever returned (European Parliament, 2014). Art theft and trade of stolen art are growing and they are often linked with organised crime. The creation of a single, borderless market has been the indisputable cornerstone of European integration. The abolition of physical checks作者: 糾纏,纏繞 時(shí)間: 2025-3-26 09:37 作者: 一個(gè)攪動(dòng)不安 時(shí)間: 2025-3-26 12:56 作者: 樹(shù)膠 時(shí)間: 2025-3-26 17:44
Digital Rights Management and Rights Licensing in the Online Music Sector: A Case for Cultural Divers to digital content online in general and music works in particular has generated a heated debate at the European Union (EU) level over copyright management. Accounting for this has been the longstanding territorial structure of copyright, that is, the practice of clearing rights for the lawful use作者: Serenity 時(shí)間: 2025-3-26 21:35
Cultural Diversity and State Aids to the Cultural Sectorurage cultural activities, foster the creation and broad distribution of cultural products and ensure the conservation of heritage (Psychogiopoulou, 2006, 2008). The rationale of public funding is that a laissez-faire economy does not guarantee the protection of cultural and linguistic identities an作者: detach 時(shí)間: 2025-3-27 01:17
Cultural Diversity and State Aid to Public Service Media pluralism are among the most common. Identity and diversity might be considered to be somewhat antagonistic. Indeed, whereas the identity building aspect of PSM largely refers to a process of unification around a nation, language and/or culture, the diversity aspect is centrally concerned with the 作者: 不幸的人 時(shí)間: 2025-3-27 07:35 作者: 玉米棒子 時(shí)間: 2025-3-27 10:07 作者: 厭煩 時(shí)間: 2025-3-27 15:57 作者: extinguish 時(shí)間: 2025-3-27 20:52 作者: LIEN 時(shí)間: 2025-3-27 23:39 作者: Injunction 時(shí)間: 2025-3-28 05:56
The Cultural Open Method of Coordinationion in the realm of culture through various funding tools, devised to encourage . between the member states. In light of Article 167(4) TFEU, the Union has also sought to cope with the cultural implications of its various policies (Psychogiopoulou, 2008).作者: 自然環(huán)境 時(shí)間: 2025-3-28 08:48 作者: hypertension 時(shí)間: 2025-3-28 10:37
Cultural Diversity and State Aids to the Cultural Sectord is not suitable to promote the multiplicity of artistic expressions. By reinforcing domestic industries and the production of niche cultural goods at national and regional levels, public funding aims to prevent ‘cultural uniformity’ (Ferri, 2008).作者: sorbitol 時(shí)間: 2025-3-28 17:17 作者: 存心 時(shí)間: 2025-3-28 20:43
New Factory Women in Time and Space,visions’ (Schuman, 1950). In this sense it was a direct response to, and rejection of, the nationalism, totalitarianism and theories of racial superiority that had characterised the recent Fascist regimes. As Ulrich Beck (2006: 163) has observed, ‘Europe’s collective memory of the Holocaust provides the basis for the European Union’.作者: Palate 時(shí)間: 2025-3-29 00:26
,‘Emergent Classes’ and Sicheng Society,ion in the realm of culture through various funding tools, devised to encourage . between the member states. In light of Article 167(4) TFEU, the Union has also sought to cope with the cultural implications of its various policies (Psychogiopoulou, 2008).作者: palliate 時(shí)間: 2025-3-29 06:06
New Factory Women in Time and Space,s aimed at enhancing diversity of the media …’ (ibid.: Article 6(2)(h)). The European Union (EU) ratified the UNESCO Convention confined to its competences in the fields covered by this instrument and without prejudice to member states’ initiatives towards this aim (EU Council (Council), 2006).作者: musicologist 時(shí)間: 2025-3-29 11:13
New Factory Women in Time and Space,d is not suitable to promote the multiplicity of artistic expressions. By reinforcing domestic industries and the production of niche cultural goods at national and regional levels, public funding aims to prevent ‘cultural uniformity’ (Ferri, 2008).作者: 向前變橢圓 時(shí)間: 2025-3-29 13:04 作者: cumber 時(shí)間: 2025-3-29 16:25 作者: Pandemic 時(shí)間: 2025-3-29 22:32
Women Scientists in France and the USA, or the Union) and its member states played a key role in this battle, which almost turned into a stumbling block for the entire negotiations and ultimately had a strong impact on the design of the WTO Agreements, especially the rules on services.作者: puzzle 時(shí)間: 2025-3-30 00:27 作者: 開(kāi)始沒(méi)有 時(shí)間: 2025-3-30 07:55 作者: conjunctivitis 時(shí)間: 2025-3-30 10:46 作者: Complement 時(shí)間: 2025-3-30 15:21 作者: conscribe 時(shí)間: 2025-3-30 18:51
,‘Emergent Classes’ and Sicheng Society,pect of PSM largely refers to a process of unification around a nation, language and/or culture, the diversity aspect is centrally concerned with the task of reflecting the ever increasing fragmentation within nation states on the one hand and the diversity of cultures globally on the other.作者: interior 時(shí)間: 2025-3-30 23:54
New Factory Women in Time and Space,tion of the cultural and creative sectors, or industries, to Europe’s changing economic environment and to the implementation of the EU 2020 strategy for smart, sustainable and inclusive growth (European Commission, 2010a; Council of the EU (Council), 2011a).作者: Phonophobia 時(shí)間: 2025-3-31 01:13
,‘Emergent Classes’ and Sicheng Society,justice and cohesion because of the influence of cultural capital on cultural classifications and on social mobility (Bennett et al., 2008; Lahire, 2008: 166; Peterson, 1992, 2005). Access to culture is far from being only a mere aspirational good; it appears, on the contrary, to be necessary for the existence of a vivid democracy.作者: granite 時(shí)間: 2025-3-31 08:26
The Creative Europe Programme: Policy-Making Dynamics and Outcomestion of the cultural and creative sectors, or industries, to Europe’s changing economic environment and to the implementation of the EU 2020 strategy for smart, sustainable and inclusive growth (European Commission, 2010a; Council of the EU (Council), 2011a).作者: 檢查 時(shí)間: 2025-3-31 11:50 作者: dissolution 時(shí)間: 2025-3-31 15:19 作者: 注意力集中 時(shí)間: 2025-3-31 19:57
New Factory Women in Time and Space,a key element in the definition process of regional, national and European identities. With the launch of the ‘creativity frame’, a clear paradigmatic change took place and economic concerns became the core of the justification for the EU’s cultural policy. This chapter explains the drive behind thi作者: hypnogram 時(shí)間: 2025-4-1 00:58
,‘Emergent Classes’ and Sicheng Society,promotion of Europe’s cultural diversity. The third section points out that corporate interests evidently prevailed over the objective to protect the interests of individual creators, whose contribution is crucial for the production of diverse cultural content. The fourth section focuses on the legi
