Titlebook: Cultural Policies in East Asia; Dynamics between the Hye-Kyung Lee,Lorraine Lim Book 2014 Palgrave Macmillan, a division of Macmillan Publi

教育学

978-1-349-46019-9Palgrave Macmillan, a division of Macmillan Publishers Limited 2014

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刺穿

or example, ethnic differences, the rise of hybrid culture, and multiple identities) and homogenizing forces (the construction of a national identity) have continued through the various phases of Taiwanese history, affecting the Taiwanese version of multiculturalism. From the 1940s, the conflict bet

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CHOKE

torical development of, and the recent controversies around, its arts policy. There are two reasons for the chapter’s focus on arts policy: firstly, preserving and developing the arts has traditionally been the main concern of Korean cultural policy; and secondly, the country’s arts sector, which ha

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Joy Jamese promotion of arts was seen as a luxury; issues such as sustained economic growth and social stability were deemed more important. It was only in 1990, more than two decades after independence, that the Singapore government published its first recognizable official cultural policy document. This is

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ship of these meanings is well-recognized. However, the analysis here focuses mainly on the aspect of culture that is related to the deeply embedded values, beliefs, signifying system, or ‘informing spirit’ behind the perceivable activities of a society (Gong 1995, p. 41; Yu 1992, pp. 20–21), rather

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Opening the Door to the Sanguinestrative structural reforms that have progressed in a rapid manner since 2000. I will analyze two particular reforms that have greatly affected the cultural sector in the country. The first would be the Basic Law for Promotion of Culture and Arts (BLPCA), and the second would be the ‘Designated Mana