Titlebook: Cultural Governance and the European Union; Protecting and Promo Evangelia Psychogiopoulou Book 2015 The Editor(s) (if applicable) and The

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存心

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’.

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,‘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).

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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).

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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).

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Pandemic

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.

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