2002
DOI: 10.22230/cjc.2002v27n2a1305
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The Third Sector: Cultural Diversity and Civil Society

Abstract: This paper provides a general overview of the types, membership bases, major positions, and political strategies of cultural groups and policy networks in Canadian cultural policy. There is a need for independent and critical research which can assess and respond to the growth of the several cultural coalitions operating throughout civil society. Within this context, the Canadian and multilateral initiative around a separate cultural accord in global politics offers an avenue of possibility for Canadian rethin… Show more

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Cited by 4 publications
(6 citation statements)
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“…Chapter three situates the Canadian film and television industry and its workers in the globalized economy, providing an historical and organizational profile for each of the unions in order to analyze how their internal structure and philosophy affects their engagement w ith public policy in general and Canadian dramatic programming in particular. I draw heavily from scholarship related to the role of groups in policy networks, including Atkinson & Coleman (1996), Murray (2002), Pal (2001) and Pross (1992). Research methodology in compiling the profiles examined size, location of national and regional offices, age and historical beginnings, jurisdictions, organizational structure and governance, examination of their mission statement and constitution where possible, requirements and benefits of membership, general organizational activities, budget and policy resources, affiliates and partnerships, main issues in policy intervention and a review of all key policy documents related to dramatic programming from 1998 to present.…”
Section: ~~-mentioning
confidence: 99%
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“…Chapter three situates the Canadian film and television industry and its workers in the globalized economy, providing an historical and organizational profile for each of the unions in order to analyze how their internal structure and philosophy affects their engagement w ith public policy in general and Canadian dramatic programming in particular. I draw heavily from scholarship related to the role of groups in policy networks, including Atkinson & Coleman (1996), Murray (2002), Pal (2001) and Pross (1992). Research methodology in compiling the profiles examined size, location of national and regional offices, age and historical beginnings, jurisdictions, organizational structure and governance, examination of their mission statement and constitution where possible, requirements and benefits of membership, general organizational activities, budget and policy resources, affiliates and partnerships, main issues in policy intervention and a review of all key policy documents related to dramatic programming from 1998 to present.…”
Section: ~~-mentioning
confidence: 99%
“…Negotiating competing economic, social, political and cultural interests, the state relies heavily on civil society organizations to mitigate the power of private interests, providing greater balance to the perspectives of benefit (Murray 2002).…”
Section: The Policy Environmentmentioning
confidence: 99%
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“…According to her "the term 'civil society' refers to the space for human association which forms in response to the pursuit of culture", which is just the thing Russia needs. Moreover, she recognizes that the realm of civil society is often influenced and penetrated by the forces of both state and market (Murray, 2002). So even the smaller associational networks of civil societysuch as unions, parties, https: //dx.doi.org/10.15405/epsbs.2019.04.97 Corresponding Author: R. A. Timofeeva Selection and peer-review under 907 movements, interest groups, and policy networksshape the larger state and economy's actions in the cultural sphere.…”
mentioning
confidence: 99%