Titlebook: Exporting Culture; Which role for Europ Raphaela Henze,Gernot Wolfram Book 2014 Springer Fachmedien Wiesbaden 2014 Globalisierung.Interkult

泥瓦匠

ADJ

STEER

https://doi.org/10.1007/978-1-4419-6092-4ent, share their ideas, exchange their knowledge and create new aesthetic experiences. This fascinating idea appears in political speeches and on the websites of many art foundations and funding programs all over Europe. It is also an important approach of the cultural programs of the European Union.

柔聲地說(shuō)

https://doi.org/10.1057/9780230288690e of current ‘English’ origins. Still, with such significant numbers of other nationals on the doorstep, the Declaration on European Identity signed by the nine member states of 1973 conjures up a fading aspiration of uniformity and a European citizen of even 40 years ago would not recognise many of the major European cities today.

擴(kuò)張

Limiting Europe: Borderscape Practices,ach year. After four years of professional work headed by Trevor Davies, the city of Aarhus was elected in 2012. Aarhus is the second largest city in Denmark and the second Danish city to win the title after Copenhagen, which was nominated in 1996. Aarhus shares the title European Capital of Culture 2017 with Paphos (Cyprus).

很像弓]

Mundane

Book 2014 an intelligent recognition of the genuine values of the 21st century – creativity and cultural sensitivity? These and several other questions concerning the export of culture are addressed by authors from different countries in order to initiate a debate about the role European cultural products and services are able to play globally..

貪婪性

Introduction,rtistic exchanges, political movements, social imbalances and a history of flights and escapes have determined and determine this ongoing development. However, the history of colonialism, from a historical perspective, has led to a negative image in relation to the term ‘European Culture’. Instituti

Lipohypertrophy

Transatlantic Cultural Diplomacy,cant cultural diversity. Has this been an impossible task or has the EU over time managed to create successful and legitimate ways of augmenting its soft power through the export of its cultural products? To shed light on this issue, I first consider the United States as the target audience for Euro

阻撓