Innovative projects of a cultural nature. The role of entrepreneurship in general and cultural entrepreneurship. Using of the entrepreneurship as a theoretical framework for examining two projects in which literature, books, and reading are the subject.
При низкой оригинальности работы "The greater sense of involvement - literary festivals and cultural entrepreneurship", Вы можете повысить уникальность этой работы до 80-100%
THE GREATER SENSE OF INVOLVEMENT - LITERARY FESTIVALS AND CULTURAL ENTREPRENEURSHIP Hans Elbeshausen The entrepreneur and the use of culture as an instrument In this paper, entrepreneurship in general and cultural entrepreneurship in particular play a central role. I use entrepreneurship as a theoretical framework for examining two projects in which literature, books, and reading are the subject. That said, I expect readers will anticipate a look at the projects’ contribution to the generation of economic value; that is a matter for the economists. My presupposition or a priori prejudices are likely based on the fact that entrepreneurship as a concept combines business, innovation, and economic progress in a fixation on economic value: Human interaction and action appear worthwhile only when their economic value has become clear. ’’Everything appears to revolve around the so-called values of profit, wealth, income, economic growth or, more simply, money” (Klamer 2003). In the United States, entrepreneurship and small business research are topics associated with David Birch and his ’gazelle theory” for high-growth small firms (Aronsson 2004). In the German language, entrepreneurship is equated to ’foundation research” or ’foundation management” (Achleitner et al. 2005). The Dutch Secretary of Culture views cultural entrepreneurship as a skill combining knowledge about and understanding of art and creativity with the ability to foster business acumen on the part of artists (Klamer 2011). The economic measuring stick applied to culture and to cultural policy can be illustrated by three examples. Shorthose (2004) describes the development of cultural policy during the Thatcher and Blair tenures as a ”shift towards a commercial agenda... accompanied by policy changes in public organisations... from policies that emphasise the support of the arts as a public good to those concerned with ‘value for money’”. In Germany, discussion has intensified during the last decade as to how to strike the appropriate balance between government, markets, and civil society. The anti-government faction is less dominant in Germany’s cultural policy ranks than it is in those of the UK. Subsequent to the publication of the “Culture in Germany” report by a parliamentary commission (Bundestag 2008), the concept of governance became prominent as a tool in cultural policies.
Вы можете ЗАГРУЗИТЬ и ПОВЫСИТЬ уникальность своей работы
