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2016 | OriginalPaper | Buchkapitel

Cultural Product and Cultural Communication as a Dynamic Bipolar Interaction and Creative Contribution to the Structural Recompiled of the Local Cultural Units

verfasst von : Labros Sdrolias, Nikolaos Kakkos, Dagmar Škodová-Parmová, Ladislav Rolinek, Eva Cudlínová, George Aspridis, Zuzana Dvořáková-Líšková, Vasiliki Kazantzi

Erschienen in: Tourism and Culture in the Age of Innovation

Verlag: Springer International Publishing

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Abstract

The conditions of the contemporary cultural environment make the reinforcement and adaptation of the cultural structures mandatory, depending on the corresponding emerging demands and expectations, which designates the effective application of each state’s cultural policy as a priority of paramount importance. This way, what is aimed at is that the produced cultural products are of high quality and competitive character, able to attract the public’s interest. In the same framework unavoidably belongs the action of the individual cultural enterprises, which are asked to safeguard their sustainability, to renew their operational practices and to respond both productively and communicatively to the high cultural demands of the era. A characteristic case is the basic cultural body of the Municipality of Karditsa, the Municipal Cultural and Public Benefit Enterprise of Karditsa (DI.K.E.K)-Greece, where an outlining of its environment is attempted, so that the factors responsible for its functional weaknesses are defined, while a vigorous organizational redesign is suggested, which is estimated to secure conditions for its more effective operation, high levels of production of cultural products, an upgraded communicative process and ensure that the cultural needs of its audience on a local level are sufficiently met.

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Fußnoten
1
The town of Karditsa, with a population of about 45,000 citizens, is the capital of the Prefecture of Karditsa, which is a Prefecture of sheer agriculturally and public sector employed people, located in the center of Greece, and belongs in the District of Thessaly.
 
2
Since the end of the 1980s, several specialists and scientists started to talk about a significant turn from the massive production of culture to more flexible specializations, a result of the increasing volatility of the consumer markets. Predictable motifs of massive cultural consumption have been replaced by smaller specialized markets and by the transmission of those cultural products that had a higher “symbolic” rather than financial content and were able to attract new ways of building a social identity away from the up to then directive (O’Connor, 2010).
 
3
According to Adorno (2003), those holding leading roles of power and the powerful economic lobbies, took absolute advantage of the technological developments and invented the mass production of cultural products (also known as mass culture) in order to control human consciousness. These goods are promoted and offered systematically and purposefully standardized, while aiming at imposing new aesthetic models which have nothing to do with beauty and aesthetics but simply serve the at times financial and political purposes. Mass culture doesn’t aim at questioning the status quo, but reproduces and empowers the dominant system. Although it was invented to fill the individual’s free time by offering entertainment and amusement, it also distracts him/her from the real problems by inactivating his/her thought, spontaneity and imagination.
 
4
Data acquisition was carried out in the context of the dissertation thanks to a grant from GAJU 79/2013/S.
 
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Metadaten
Titel
Cultural Product and Cultural Communication as a Dynamic Bipolar Interaction and Creative Contribution to the Structural Recompiled of the Local Cultural Units
verfasst von
Labros Sdrolias
Nikolaos Kakkos
Dagmar Škodová-Parmová
Ladislav Rolinek
Eva Cudlínová
George Aspridis
Zuzana Dvořáková-Líšková
Vasiliki Kazantzi
Copyright-Jahr
2016
DOI
https://doi.org/10.1007/978-3-319-27528-4_3