Titlebook: Arts Management and Cultural Policy Research; Jonathan Paquette,Eleonora Redaelli Book 2015 The Editor(s) (if applicable) and The Author(s

吊胃口

Knowledge: Disciplines and Beyond, sensory side of human experience leads away from the critical rationality upon which truth depends (Eisner, 2007). For Aristotle, knowledge is differentiated along three lines: theoretical, practical, and productive. Theoretical knowledge is knowledge that purports to know things that cannot be any

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Academic Beginnings: Arts Management Training and Cultural Policy Studies,n. However, that does not encompass all the agents involved in the field. Disciplines emerge as discursive practices that reflect specific rules of academia, whereas the notion of field includes an epistemic culture that does not conceptualize knowledge as built on a privileged epistemic paradigm, b

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Functions of Management as Disciplinary Bridges,t and arts management (Palmer, 1998). The first strand claims that there is little difference between managing an arts organization and any other kind of business (Shore, 1987). The second strand’s argument considers arts organizations to be fundamentally different from other businesses (Pick & Ande

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More than Management: Organizational Perspectives,ultural organizations, and despite the existence of important and rich contextual elements that could prove to be extremely helpful in uncovering some of the challenges that arts organizations and their managers face, our field has a genetic bias towards questions of management over questions of org

假设

Cultural Policy as Conventional Public Policy, policy research used by these traditions consists of approaching cultural policy through the lenses of political scientists or public policy researchers — meaning that cultural policy is given no specific status and is seen as a “policy area or subfield” among others (environmental policy foreign p

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On Paradigms: From Epistemology to Epistemic Cultures,to truthfulness — being made by arts management and cultural policy research? On what grounds are these research findings to be considered valid, truthful, reliable, or even worth considering? What are the grounds on which the voice of the researcher can be said to be distinct or different from the

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Conclusion,geneous knowledge. In particular, we described this complexity as twofold: it includes two main discursive practices — arts management and cultural policy — and it involves multiple actors producing knowledge in different institutional settings. We started our investigation using the concept of fiel

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Jakob Mutanu Jungersted MD, PhDve nature and life of arts organizations. Moreover, the organizational level sheds light on many important phenomena, such as the sense of identity, the power dynamics at play, the dynamics of organizational change, and the constraints that are exerted on the institutional environment of arts organi