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This article studies how people across Europe think about cultural value, including cultural heritage, and how this is related to their media usage. Drawing on data from the Eurobarometer in October 2017, which were designed with EU cultural policy goals in mind, we examine which cultural value orientations are most prevalent among citizens in European Union countries, and how these are related to their use of legacy news media and online media, their trust in professional journalists and social networks, and the media system their country belongs to. Our findings show three distinct types of cultural value orientation among Europeans: valuing cultural heritage, valuing cultural exchange, and skepticism towards European culture. These orientations map onto two out of three pillars of EU policy goals. While individual media usage and trust are important predictors of these orientations, we find limited effects of media systems, including market shares of public broadcasters.

This work investigates the role of digital heritage in the cultural policy of the European Commission (EC). Over the past two decades, the European Union has encouraged the digitisation of almost every aspect of the cultural sector in the member states. To this end, the EC has financed many expensive grants resulting in the creation of a plethora of new techniques and digital heritage infrastructures, and the drastic transformation of how, in Europe, cultural heritage institutions collaborate and people discover their past. By critically exploring the agendas and effects of the European digital heritage revolution, this dissertation explores how digital heritage imposes a new layer of meaning on cultural heritage within Europe and how this affects the way digital heritage is generated, used, and perceived. The object of this work is Europeana, the European platform for digital cultural heritage. Launched in 2008, Europeana is today the most extensive and most significant digital cultural initiative and driver of digitisation in Europe. Through its work, Europeana governs the Europeanisation of the cultural heritage sector. To understand the role of digital heritage in the Europeanisation of cultural heritage, this dissertation seeks to answer three interlocking questions. Firstly, which objectives and aspirations drove the digital cultural heritage policy of the EU? To answer this question, this dissertation traces the evolution of the policy framework of the EU that guided the digital transformation. This allows us to assess the political visions that informed the processes of digitisation of the European cultural sector. Secondly, which policy instruments did the EU develop to implement its digital cultural heritage policy? The ideal of fostering European cultural identity through digital instruments has resulted in standards and best practices for the cultural sector. Therefore, central in this analysis is Europeana, the Infrastructure designated by the Commission as the instrument to support cultural heritage institutions’ digitisation. By tracing its historical evolution, this work demonstrates that Europeana represents at the same time a policy instrument governing the digital transformation of cultural heritage institutions and a vehicle for the construction of European narratives that actively governs the Europeanisation of the cultural heritage sector. Thirdly, what has been the impact of digital technologies and standards on the missions and curatorial practices of heritage institutions throughout Europe? The aim is to analyse the impact of the standards and best practices promoted by Europeana on curatorial processes of heritage institutions. On the one hand, this requires a reflection on the multidisciplinary competencies required for creating and managing digital cultural heritage collections. On the other hand, this work analyses the role of digital heritage in the process of identity formation and in the transmission of cultural values. The conceptual goal of this dissertation is not only to determine the technological, political, and ethical assumptions at the base of the digital strategies but also to assess how cultural heritage institutions in Europe put these strategies into practice. This work investigates the effects of EU digital cultural policies, assessing whether they have successfully transformed our engagement with the past.

Over the past two decades, the European Commission has mobilised cultural heritage to bolster a European identity. One of the main flagship initiatives promoted to this end has been Europeana, the most extensive digital cultural project financed by the EU. At the core of the project stands europeana.eu, a digital cultural portal aggregating metadata provided by national and local heritage institutions. Central in our analysis is the Europeana Data Model (EDM). Using standardised thesauri and vocabularies, EDM offers the possibility to create a semantic contextualisation for objects, allowing semantic operations on the metadata and their enrichment with Linked Open Data on the web. Due to its overarching nature, EDM cannot deliver the granularity that cultural heritage institutions need when documenting their resources. Nonetheless, heritage institutions accept to sacrifice accuracy to have their information represented in a Europewide collection. We study how this digital heritage infrastructure was designed to enact a sense of Europeanness amongst national and local institutions. Policy documents, ethnographic research and a systematic survey amongst the European heritage institutions enabled us to trace how a standardised European metadata structure plays a role in governing local and national heritage institutions. The EDM might enable heritage stakeholders to benefit from Europeana’s online exposure while enacting a European mindset. Ultimately, this study of the metadata model enriches the debate on the EU’s cultural heritage politics, which has not fully explored the role of the digital. At the same time, it also taps into debates about infrastructure and digital governmentality.

The subject of the paper is the analysis of the experience gained by the European Union in the cultural sector management and modern approaches thereto with the purpose to enhance the socio-economic performance of the sector and develop appropriate tools. General scientific methods and special economic analysis tools were used in the research. It is concluded that despite the objective difficulties in assessing the cultural sector performance and its management efficiency, the development of the regional control of the cultural sector made it possible to partially overcome the above difficulties by using general and special management tools. It is shown that special tools developed abroad for the regional use can be adapted to domestic conditions and used to enhance the social and economic performance of the cultural sector in Russia and its regional partners.

The goal is to define the functional role of intercultural dialogue in modern Belarus. The research methodology is based on the next methods: system analysis, structural-functional, historical, anthropological, and axiological, which allow us to consider the national culture and the contemporary socio-cultural space in their integrity and consistency. Philosophical methods (analytical, phenomenological and dialectical) made it possible to identify the tendencies of development and interpretation of intercultural dialogue. Deduction and induction, abstraction and generalization were also used. Scientific novelty. This article is devoted to the modern interpretation of the intercultural dialogue and its functional role in Belarus. Conclusions. Being a universal value of the modern world and strategy of European cultural policy intercultural dialogue plays a critical role for the nation building and democratic transformation in Belarus. The crisis of the Belarusian national culture, the lack of natural linguistic and cultural context, not high enough level of national identity and the split of the Belarusian society can be overcome to a large extent through the development of intercultural dialogue, which would be an attributive characteristic of Belarusian society due to its historically multi-confessional and multi-ethnic structure and deep democratic traditions of the Belarusian history., Цель исследования – определение функциональной роли межкультурного диалога в современной Беларуси. Методология исследования базируется на применении методов системного анализа, структурно-функционального, ис- торического, антропологического и аксиологического, позволяющих рассматривать национальную культуру и современ- ное социокультурное пространство в их целостности и системности. Философские методы (аналитический, феноменологический, диалектический) дали возможность выявить наиболее общие закономерности развития и трактовки межкультурного диалога. Использованы также общенаучные методы дедукции и индукции, абстрагирования, обобщения. Научная новизна. Cистематизированы основные теоретические и практические подходы к пониманию и использованию межкультурного диалога в современном мире. Показаны историко-культурные предпосылки и препятствия для развития межкультурного диалога в Беларуси, а также его возможная функциональная роль в национальном строительстве и демократической трансформации. Выводы. Являясь универсальной ценностью современного глобального мира и основой стратегии европейской культурной политики, межкультурный диалог играет важнейшую роль в национальном строительстве и демократической трансформации Беларуси. Кризис белорусской национальной культуры, недостаточность натурального языково-культурного контекста, уровня национальной идентичности, расколотость белорусского общества в значительной степени могут быть преодолены путём развития межкультурного диалога, который мог бы являться атрибутивной характеристикой белорусского общества благодаря его исторически поликонфессиональной и полиэтнической структуре, а также глубоким демократическим традициям белорусской истории.

The essence and the connection between multiculturalism and interculturalism (intercultural dialogue) concepts are considered in this article with the example of European policy. Due to the lack of the consensus between researchers the problem of relation between the concepts is posed. В данной статье рассматривается содержание и связь таких концепций, как «мультикультурализм» и «интеркультурализм» («межкультурный диалог») на примере европейского опыта. Ставится проблема идейного и практического соотношения данных концепций, которая на данный момент не нашла решения в исследовательских кругах.

The European Capital of Culture (ECoC) is a title designated to a European city for a duration of one year, when it can present itself and its cultural life regionally, nationally and internationally. The origin of ECoC goes back in 1983 when then Greek Minister of Culture Melina Mercouri aimed to »bring the people of the Member States closer together« and to »highlight the richness and diversity of European cultures«. Since then over fifty European cities have taken the advantage and held the ECoC title, which has overgrown the original purpose and became today the most established EU’s cultural initiative. This Master’s Thesis discusses Maribor and Guimarães as the host cities of the ECoC 2012 event. The Master’s Thesis considers the ECoC event as a whole and provides a systematic review of the literature on the European cultural policy and on the development of the ECoC, as well as the evaluation of the ECoC in 2012. Therefore, the Master’s Thesis is divided into theoretical and empirical part and briefly presented further in this Abstract. The theoretical part first outlines the origins, purpose and definition of the European Cultural Policy. It traces the development of the European Cultural Programme, particularly the legislative and the flagship programme of the ECoC. This part is then followed by the presentation of culture’s incorporation into the EU’s objectives and the creation of the European cultural space. The second chapter highlights the ECoC event and presents the past ECoC cities from historical perspective and by their particularity. Maribor and Guimarães, as the ECoC 2012 cities, are also presented in detail, from the perspectives of the socio-economic indicators of the cities and the ECoC 2012 event. The next chapters provide a wider discussion on the relationship among the culture and economy. Previous empirical studies have identified the impacts of the ECoC event on the city’s economy. Additionally, cities are increasingly using cultural events to improve their image, stimulate urban development and attract visitors. Moreover, the ECoC event attracts great media attention. This Master’s Thesis examines the role of such event for tourism, as well as its cultural and promotion effects. In order to determine the effects of the ECoC event on the cities hosting the title in 2012, a comparison analysis of the indicators was performed and the quantitative analysis by the AHP method was undertaken in the empirical part. An evaluation model was formed, in which nine indicators were used to evaluate the effects of the 2012 event on the city’s tourism, culture and recognition. On the basis of this Master’s Thesis research we confirmed the hypothesis H2 and rejected the hypotheses H1, H3 and H4. We concluded that Guimarães as the ECoC 2012 achieved more favourable results than Maribor with its partner cities almost in all effects Maribor was better than Guimarães only as regards the effects on the city’s culture. In the last chapter the conclusions and the recommendations for the future are drawn. The results of the Master’s Thesis are applicable for institutions that form development strategies, institutions that develop tourist and cultural offer in Maribor and Guimarães and for cities that will host the ECoC event in the future. The research findings are also applicable for the European Commission and general public. Začetek projekta Evropska prestolnica kulture (EPK) sega v leto 1983, ko je takratna grška ministrica za kulturo Melina Mercouri podala pobudo, da vsako leto evropsko mesto prejme naziv EPK, s ciljem opozoriti na bogastvo in raznolikost evropskih kultur ter s poudarjanjem skupnih kulturnih temeljev širiti zavest o evropski pripadnosti. Odkar so leta 1985 za prvo EPK izbrali Atene, je doslej dogodek EPK gostilo že več kot 50 mest. Mesta vse bolj uporabljajo kulturne prireditve, da izboljšajo svojo podobo, spodbujajo urbano regeneracijo in zanimanje medijev zanje ter privabljajo obiskovalce in tuje investitorje. Izsledki dosedanjih raziskav so pokazali, da EPK v veliki meri povečuje možnosti razvoja kulturnega turizma, ki velja za enega najbolj dinamičnih gospodarskih sektorjev v EU. Leta 2012 sta dogodek EPK gostili mesto Maribor skupaj s partnerskimi mesti in portugalsko mesto Guimarães. Maribor se je s petimi partnerskimi mesti (Murska Sobota, Novo mesto, Ptuj, Slovenj Gradec in Velenje) povezal v »Vzhodno kohezijsko regijo«. Namen tega magistrskega dela je raziskati učinke dogodka EPK na mesti, ki sta gostili dogodek v istem letu, to je v letu 2012. Glavni namen raziskave magistrskega dela je oceniti katero mesto - Maribor ali Guimarães - je zaradi dogodka EPK doseglo boljše učinke. Za ta namen je magistrsko delo razdeljeno na dva dela, v teoretični in empirični del. V teoretičnem delu predstavimo pomen kulturnih dogodkov za razvoj, povečanje prepoznavnosti in izboljšanje podobe mesta, vsebine in vlogo kulturne politike EU, ključne družbeno-ekonomske značilnosti mest Maribor in Guimarães, kulturno dogajanje v mestih pred dogodkom EPK 2012, učinke dogodka EPK na izbrana mesta, pristope in izsledke obstoječih študij o vrednotenju učinkov dogodka EPK ter pojasnimo vpliv kulture na določene gospodarske sektorje. V empiričnem delu magistrske naloge so naši glavni cilji razviti model vrednotenja učinkov dogodka EPK na mesti Maribor in Guimarães, opredeliti področja in določiti pripadajoče kazalnike učinkov dogodka EPK, ovrednotiti učinke dogodka EPK na mesti po izoblikovanem modelu, primerjati učinke dogodka EPK na turizem, kulturo, prepoznavnost mest, ugotoviti razlike v učinkih ter možne razloge za te razlike ter ugotoviti na katero mesto je imel dogodek EPK večje učinke. Raziskave smo se lotili sistematično in skušali zagotoviti celovito vrednotenje dogodka EPK. V prvem delu smo izvedli primerjalno analizo (s katero smo preverjali hipoteze H1, H2, H3). Nato smo nadaljevali raziskavo z AHP metodo - metodo analitičnega hierarhičnega procesa (s katero smo preverjali hipotezo H4) ter s pomočjo Expert Choice programa izbrali boljšo alternativo (Maribor s partnerskimi mesti ali Guimarães). V raziskavi smo morali ovreči hipotezo H1, saj smo ugotovili, da je imel Guimarães kot EPK bolj ugodne učinke na turizem kot Maribor. Ovrgli smo tudi hipotezo H3, saj je imel dogodek EPK bolj ugodne učinke na prepoznavnost mesta Guimarães kot na prepoznavnost mesta Maribor. Prav tako smo ovrgli najpomembnejšo hipotezo magistrskega dela H4 in prišli do ugotovitev, da je dogodek EPK imel bolj ugodne učinke na Guimarães kot na Maribor s partnerskimi mesti. Na podlagi rezultatov analize smo potrdili le hipotezo H2, saj so rezultati pokazali, da je Maribor kot EPK dosegel boljše učinke za kulturo mesta kot Guimarães. Izsledki magistrskega dela so uporabni za inštitucije, ki oblikujejo strategijo razvoja mesta, turistično in kulturno ponudbo mest Maribor in Guimarães ter za tovrstne inštitucije tistih mest, ki bodo gostila dogodek EPK v prihodnje. Rezultati raziskave bodo uporabni tudi za širšo javnost, saj je namen tega magistrskega dela tudi povečati zavest o pomenu dogodka EPK in izboljšati razumevanje o učinkih EPK na mesta.

Starting point for this study is Jean Monnet’s famous reference that the process of European integration should have started from the cultural point of view rather than the economic, legislative and legal one. The thesis aims to examine the development of the European cultural policy and the issue of the European identity. The study has benefitted both from qualitative (literature research) and quantitative analysis (examination of Eurobarometer results). For the purpose of approaching developments in EU cultural policy the analysis considers the following parameters: - how the definition of "culture" has evolved in Europe, - the Cultural Policy in Greece in comparison to its evolution on the EU level, - the definitions of the notion of "nation", "citizenship", "nationality" and "national identity", - the role of the economy in the development of the European cultural policy, particularly during the current period of crisis, -the National identities and the "European identity" (characteristics and elements of its configuration) - the European public opinion. In conclusion, the thesis argues on the need to create an exclusive body of policy and policy initiatives that will support the formulation of cultural policy in Europe. A policy that would raise not only the awareness about the role and the work of the European institutions, but also the awareness on the importance of the European identity as an element of convergence for the Member States, particularly during the current period of the economic crisis.

У статті йдеться про важливий внесок культури та творчості у суспільне життя, здатність зазначеної галузі впливати не лише на духовний але і на економічний розвиток Європейського Союзу. Розглянуто основні документи та програми, що стосуються розвитку культури та творчості в держав-учасниць ЄС та третіх країн. The article describes the important contribution of culture and creativity in public life, the ability of this industry to influence not only spiritual but also the economic development of European Union citizens and associations in general. The basic documents and programs relating to the development of culture and creativity in the EU member states and third countries were considered.

We conducted a qualitative observation, about a theater company of Occitanie, south of France and a theater production and diffusion company. Both are located in Montpellier and have regional and mediterranean culture as a core value. We completed the observation with a third theater company based in the Provence region : this company creates performances based on exchanges with Palestinia. Agreements used by these theater enterprises demonstrates a strong relationship with Alterity. The theater in this part of this art world builds and experiments a competence about the concept of border in its search for cultural exchanges. This competence reinforces the particular status of the actor in his role of citizen in charge of awakening for political and cultural identities. The analysis of the funding practices of these theater structures also allowed us to clarify the positioning and actions of the various parties, including public service parties. Finally, the place and the function of the above practices were confronted to the emerging European Cultural Policy, La thèse se propose d’étudier les conduites de certains professionnels du théâtre dans leur dimension interculturelle. Une observation de type qualitatif a été menée auprès d’une compagnie de théâtre occitan et d’un lieu de diffusion offrant une programmation méditerranéenne, tout deux situés à Montpellier. Une troisième structure théâtrale, installée en Région Provence-Alpes-Côte d’Azur, a complété l’enquête : cette compagnie crée des spectacles à partir d’échanges avec la Palestine. Une étude des conventions de ces entreprises théâtrales démontre un rapport à l’Autre privilégié. Cette parcelle du monde du théâtre élabore et expérimente une compétence de la frontière dans sa volonté d’échanges culturels. Cette compétence conforte le statut particulier du comédien comme citoyen suscitant l’’’éveil’’. L’analyse du financement de ces structures a permis en outre de préciser les positionnements et actions des différents partenaires publics. La place et la fonction de telles pratiques ont été confrontées à l’émergence d’une politique culturelle européenne

Kultura i turizam su u Europi vrlo usko povezani pa je na globalnoj razini Europa uvijek imala dominantno mjesto u međunarodnom turizmu zbog bogatog kulturnog nasljeđa. Kulturno je nasljeđe često koncentrirano u gradovima pa predstavlja temelj razvoja turizma mnogih europskih gradova. Iako su turizam i kultura uvijek bili povezani, u gospodarskim interesima razvoja masovnog turizma tijekom više desetljeća, zanemarivala se uloga i mjesto kulture u turizmu. Tek se u posljednjih desetak godina poticanje i posebna pažnja usmjerava na razvoj kulturnog turizma, kako na razini Vijeća Europe, Europske unije i UNESCO-a tako i na razinama pojedinih zemalja. Kulturno nasljeđe se oblikuje kao proizvod i nudi na tržištu, te postaje primarni i sekundarni motiv putovanja sve šireg segmenta rastućeg tržišta kulturnog turizma. Stvaranje i razvoj turističkog proizvoda u kulturnom turizmu temelji se na razvoju menadžmenta kulturnih resursa i primjeni marketinške koncepcije koja polazi od zadovoljstva korisnika, a u kulturnom se turizmu zadovoljstvo postiže očuvanjem kvalitete resursa na kojem se temelji turistička ponuda. U Hrvatskoj kulturni turizam još nije ušao u planove razvoja turizma i još se uvijek kultura razumijeva kao element proizvoda masovnog turizma. Kako se u Hrvatskoj gradski turizam nije razvijao promišljanje razvoja kulturnog turizma još uvijek ne slijedi poticaje europske politike razvoja turizma., Europe has always been an important destination for those attracted by its rich cultural heritage. Cultural heritage is concentrated in cities and is often used in development of European city tourism. Increasing market segmentation created new cultural motives for travel, which became very important for the growing incorporation of cultural heritage into tourism, as basic commodity for tourist consumption has been linked to the growth of the cultural tourism. The development of policy relating to cultural tourism has been more and more evident at European and national levels. Policies, which influence the development of cultural tourism at the transnational level, come mainly from the European Union, Council of Europe and UNESCO. In cultural tourism cultural heritage (as other cultural issues) becomes a product as a result of cultural production of commercial organisations, and resource management and marketing policy. In Croatia cultural tourism has not yet been included into the tourism development strategies and the influence of European policies is not yet evident but there are indications that this is slowly changing for the better.

National audience; Les mass-médias présentent la particularité de transmettre, d'un pays à l'autre, les éléments culturels d'une société. Il en est particulièrement ainsi de la télévision, à cause de son caractère transfrontière et de son grand impact sur le public.L'élaboration d'un espace télévisuel européen, sans frontières entre les États, encouragerait les échanges d'idées et favoriserait l'éclosion d'une véritable pensée propre à l'Europe.Il ne faut toutefois se masquer ni certaines difficultés de fonctionnement aux quelles se heurte l'espace télévisuel européen, ni même les problèmes de crédibilité face à l'hégémonie américaine.

This article examines the European Capital of Culture programme in relation to its success in sustaining a sense of European cultural identity. This is done by examining the case study of Liverpool 2008. The study is conducted by combining a discourse analysis of a sample of articles of four British newspapers (two regional newspapers and two national newspapers) published in 2008 with interviews conducted with eight journalists in 2012. This research argues that the European Capital of Culture programme is a way in which a city can adopt a sustainable European cultural identity. There are a number of cultural factors that lead to this; some of the most prominent include visual discourse, the degree to which the community embraces the programme, the creation of desirable venues and the adoption of long-term cultural activities, festivals and schools. The analysis underlines that the city of Liverpool still adopts a cultural identity closely associated with the EU programme.