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The paper contextualizes and reflects on the essay-films John and the Street (1967) and Acropolis (2001) by prominent Greek filmmakers Tonia Marketaki (1942--1994) and Eva Stefani (b. 1964), respectively. Created at different moments in modern Greek history, the two films nonetheless address the tension between history and personal experience in the public sphere, especially as this tension marks the urban context of Athens. The analysis explores how the two films challenge hegemonic national narratives while tracing "subterranean" alternative subjectivities. It emphasizes the aesthetic practices developed by the filmmakers and examines whether these practices contribute to what Jacques Rancière has described as a possible reconfiguration of "the distribution of the sensible," and whether they help to envision urban reality as a spatio-temporal field of ever emergent potentialities. [ABSTRACT FROM AUTHOR]

As global practice shows, the fundamental mechanism for optimizing the activities of public authorities is strategic management, which involves the development and introduction of the latest technology to optimize their functioning and contributes to the formation of positive trends in the innovative development of the entire public administration system. Therefore, this article, based on the analysis of modern problems in the formation of strategic management in the development of the public sphere, demonstrates the expediency of using the strategic management methodology in the development of the public sphere to ensure its effective formation. The main strategic management tasks of state authorities are determined, solutions to which must be derived in compliance with the criteria of effectiveness and social responsibility. The need to change the management culture in the public sector is substantiated-in particular, the introduction of a strategic approach to management in the activities of state authorities is encouraged. The place and role of strategic management in the organization of the activities of state administration entities is defined. The main tasks of the strategic management of state authorities are also outlined, solutions to which must be carried out in compliance with the criteria of efficiency and social responsibility. The main stages of strategic management in the public sphere are characterized, the observance of which enables state authorities to quickly solve organizational problems and, in general, ensure the effective functioning of the public administration system at all levels. The key conditions for the effective work of state authorities in Ukraine are identified, and both modern innovative strategic management tools and the possibilities of their use in domestic state authorities are analyzed. It is substantiated that the analysis of strategic alternatives and the justification of strategy is a conceptual task of strategic management, the achievement of which requires the use of an interrelated set of tools. The main directions of the development of the system of management of the activities of public sphere entities are studied, and it is emphasized that this should change in accordance with general trends in the development of management science. The implementation of strategic approaches should become a priority area of implementation for the new concept of public sector management. The stages of the strategic management of public sector entities are also proposed, taking into account their purpose and role in the development of the country and the objective of reforming the general public administration sector. [ABSTRACT FROM AUTHOR]

Straipsnyje aptariama viešoji erdvė ir jos sampratos bei transformacijos problemos. Pagrindiniais atramos taškais pasirinktos dviejų autorių – Hannah’os Arendt ir Jürgeno Habermaso – teorijos. Darbe aptariami šių teorijų panašumai ir skirtumai, jų konceptualios sąveikos. Straipsnyje mėginama įrodyti, kad viešosios erdvės transformacijos kontekste atsirandantis valstybės priešpriešinimas pilietinei bendruomenei nėra visiškai pagrįstas, o šias dvi sritis jungianti viešoji sfera nėra autonomiška.

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Socially engaged art projects that give central priorities to principles of participation, collaboration and the inclusion of various social groups into the creative process are spreading rapidly. Despite this "social turn" in contemporary art (or maybe it is because of it) one of the most important questions remains: how do we evaluate such activ ity? Socially engaged art radically transgresses the lim its of artistic autonomy that were inherent to modernism, transferring the processes of creativity from the conventional art-world space into the sphere of social relations. Thus, an art practice which is not merely representational directly affects human relations. Therefore evaluation of social art can be diverse including various combinations of aesthetic, ethical and political aspects. The paper investigates the problems of evaluating social art in order to formulate a set of criteria that will be applied in the analysis of the Šančiai-Friendly Zone socially engaged art project. The theoretical part of the paper ends with the conclusion that different dimensions of political, ethical and aesthetic standpoints should be judged in proportion to one another as they impact the general form that the particular socially engaged art project takes. Ethical criteria are the most problematic ones when applied to the creative processes that are impossible to put in the frame of tight moral boundaries. Political meaning and effects in socially engaged art projects are obvious and interpretation should be based on the principles of locality and contextuality. However, the question of aesthetic values in socially engaged art are often forgotten in order to understand the broader political possibilities and limits of social art. Raising the question of aesthetic criteria, as I've argued, should thus be one of the essential things to do. On the one hand the transposition of art related skills to the non-art sphere exactly defines the limits of social art detaching it from such disciplines as social work or activism. On the other hand the transfer of attributes of art discourse, the condensation of the unknown and the imaginary, into the sphere of social relations can accomplish the act which historically is associated with socially engaged art's raison d'être - to change reality. The second part of the article contains the analysis of artistic and cultural project Šančiai - Friendly Zone executed in 2013 in Kaunas. The main aim of the project was to create experiences of publicness through communication and collaboration with local communities in one area of Kaunas called Žemieji Šančiai. The publicity in this case was perceived after Jürgen Habermas' classic definition of the modern "public sphere" understood as a place for critical-rational discussion. However, the project bears all the consequences that follow from this idealist image of public sphere. From a social point of view Žemieji Šančiai is a very heterogeneous area beginning from working class foundation ending with large Roma minority. In a context such as this the urgent question to be raised is how to overcome Habermasian idealism where the interests of one class are regarded as universal, ignoring the heterogeneity of the public sphere by blindly believing in the efficiency of rational communication? After the analysis of the Šančiai - Friendly Zone project the statement could be made that the participants overcame the normative rationality of public space by using creative methods based on creativity and imagination instead of logical argumentation. They provoked the emergence of collective images, emotions, and acts; creating situations in the local community in order to form new derivatives of the public sphere even if they were temporary and fragmentary. However, the analysis tells how important it's to note that the public sphere, just as society, is not homogeneous, and how stressing the differences and conflicts that follow from this situation are important. The tools of art and creativity can expose and employ the conflicts productively. So far, the inner conflict situation seems to have been extracted from the agenda of project Šančiai-Friendly Zone (the title Friendly Zone speaks for itself) and concentrated on external conflict (where enemy is official conception of culture and negligence of institutions). [ABSTRACT FROM AUTHOR]

The aim of our paper is to offer an analysis of the phenomenon of the national philosophy of the 19th century. We will analyse this concept as a consequence of the emergence of the public sphere of the city in the function of the cultural capital of a national culture and the centre of the press. Our instance is the development of the philosophical public sphere of the double cities on the opposite banks of the Danube, Buda and Pest (today Budapest). This public sphere was organised in native language by the newly established organisations of the literature, humanities and sciences, such as different societies of writers, with a distinguished role of the Hungarian Academy of Sciences (HAS, since 1825). By our hypothesis, it is not an accident phenomenon that the topic of the national philosophy has emerged within the framework of this new public sphere. Expressed more clearly, the concept of the national philosophy depends on a special grade of the development of the public sphere of the centre of the national press - at least in the Hungarian case. [ABSTRACT FROM AUTHOR]

Investigating the possibilities of the conceptualization of media policy within cultural policy, this paper focuses on the controversies between the necessary de-etatisation of the media system and the wish of cultural policy to use it as a mediator of cultural values and art achievements. The research raises the following questions: How should cultural policy address media issues? How were diversity policies formulated within and through the civil sector - and how did the public sector answered? And to what extent are those issues elaborated within the process of the harmonization of accession countries and the countries of the Western Balkan region (making necessary efforts to join public policies standards of EU countries). [ABSTRACT FROM AUTHOR]