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Can one produce an international comparison of cultural policies, and if so, how? These are our initial questions. The possibility of a comparative approach appears as a particular problem in France, where the thesis positing the very existence of cultural policiesamalgamated with the existence of a ministry for cultureas nationally specific enjoys a broad consensus, thereby depriving any comparative analysis of an object. Whether it is celebrated or denounced, i the 'French exception' is scarcely questioned. Furthermore, the 'French model' has become the object of an export drive, as is shown by the occupation by agents from the Ministry of Culture of positions in international institutions (Unesco, the Council of Europe), the recent organisation of the 'Malraux colloquia' whose vocation is the diffusion of this 'unique model' across the world, and even the references in other countries to this supposed 'model'. ii Against this flat refusal of any comparative approach, seeing no foreign cases for comparison, one can setnotably in the framework of specialised international organisations the juxtaposition of national monograph studies that presuppose a common identity for objects presented as equivalent. This was the case, for example, with the programme of studies launched by Unesco in the 1970s and 1980s, which gave rise to the publication of some sixty brochures on 'cultural policies'. The more recent programme for the evaluation of national cultural policies developed by the Council of Europe also puts side by side situations whose homogeneity, to say the least, is not an a priori given (from Sweden at the end of the 1980s to the Eastern European countries ten years later). The seemingly intractable question of the standardisation of indicators for evaluation is, moreover, itself a good indication of the problematic character of such homogenisation (see Gray, 1996). Absolute national specificities on the one hand, indiscriminate generalisations on the other hand: for opposite reasons, these two postures divert attention from what could constitute a true comparison. To move beyond this impasse, a comparative approach must not, as it seems to us, focus on 'things' conceived as the distinct manifestations of a common essence (cultural policies in France and Germany), but rather on processes, namely the construction of the categories of public intervention in cultural matters. iii The object of comparison then becomes the way in which domains of action are divided up; the aggregation of objects and practices of intervention which are thereby brought together and conceptualised conjointly; the production of principles bringing elements to cohere that in other times and places would be considered separately. In other words, the point of this article is not so much to compare the conduct of cultural policies whose form might be seen as identical from one country to another, but rather, precisely, to confront in the two cases under consideration the work that gave these policies their form, and through which the polic...
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Conservation ou rénovation ? Transitions de la politique culturelle. Pascale Laborier [111-132]. Le transfert du système fédéraliste ouest-allemand dans le secteur «culturel» en ex-RDA a confronté les acteurs institutionnels et politiques à de nombreuses difficultés qui résident, d'une part, dans la destruction de l'ancien système et d'autre part, dans la construction d'un État de droit et d'un système politique efficace. Une série d'entretiens menés dans les nouveaux Länder en 1992 auprès de responsables des nouveaux ministères régionaux et des services municipaux de la culture, de directeurs de musée, de théâtre ou de cabaret, d'artistes, de députés, etc. permet ici de saisir les diverses représentations que ces acteurs (Allemands de l'Ouest et de l'Est) de la reconstruction administrative se faisaient d'une action culturelle légitime, non seulement quant aux modalités de l'intervention mais aussi quant à ses contenus afin d'exposer les mécanismes par lesquels un système fédéraliste a été «transféré» sur les ruines d'un système centralisé. L'analyse en termes de répertoires permet d'éprouver tant la fiction du simple retour à la «nation culturelle» allemande que l'interprétation simplificatrice du transfert rationnel d'un système à l'autre.
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