liu.seSearch for publications in DiVA
Endre søk
RefereraExporteraLink to record
Permanent link

Direct link
Referera
Referensformat
  • apa
  • harvard1
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • oxford
  • Annet format
Fler format
Språk
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Annet språk
Fler språk
Utmatningsformat
  • html
  • text
  • asciidoc
  • rtf
Svenska Rikskonserter och kulturpolitikens estetik
Linköpings universitet, Institutionen för studier av samhällsutveckling och kultur, Tema Kultur och samhälle – Tema Q. Linköpings universitet, Filosofiska fakulteten.
2018 (svensk)Inngår i: Nordisk kulturpolitisk tidskrift, ISSN 1403-3216, E-ISSN 2000-8325, Vol. 21, nr 1-2018, s. 73-93Artikkel i tidsskrift (Annet vitenskapelig) Published
Abstract [en]

Although aesthetics, primarily in the shape of the arts, can be seen as the raison d’etreof cultural policy, it is seldom in the forefront of cultural policy research. This article focuses on the aesthetics of Concerts Sweden, which was founded in 1968 and closed down in 2010. With the aim to give high quality music to all citizens around the country and its concentration on mobile concerts and the production of records, Concerts Sweden initially rested on a Bildung aesthetics thoroughly elaborated in the white papers underlying its foundation. This Bildung aesthetics was based on classical views on Bildung and the emergence of modern theories of aesthetics, from the late eighteenth century by foremost Immanuel Kant and Friedrich Schiller. Kant changed the way of looking at aesthetics, but in the 20th century his view on the a priori based universal character of aesthetical judgment lost its prior credibility. This is also reflected in the restricted aesthetic claims of most national cultural policies during the century, and in the history of Concerts Sweden (Svenska Rikskonserter), which musical-aesthetic platform changed when the aim to “counteract the negative effects of commercialism” was introduced as one of the goals of the new Swedish national cultural policy in 1974. With the support of this goal Concerts Sweden drifted away from the Bildung aesthetics prescribed for it in the white papers when it was founded, but without explicitly abandoning it. The history of Concerts Sweden shows that aesthetics had a stronger position in Swedish cultural policy prior to its reorganization in the 1970s, when it became more subordinated to political viewpoints. From this point of view, the Swedish cultural policy of music successively takes on a post-aesthetic character from the 1970s, in the sense that it no longer takes principle stands in matters of aesthetics, except in pragmatic ways, as when it for example comes to the assignment of subsidies based on judgments of aesthetical values or qualities.

sted, utgiver, år, opplag, sider
Borås, Sweden: Högskolan i Borås , 2018. Vol. 21, nr 1-2018, s. 73-93
Emneord [sv]
Svensk kulturpolitik, Svenska Rikskonserter, estetik, postestetisk kulturpolitik, estetiska kriterier, estetiska värden, estetiska kvaliteter, musik, bildningsestetik
HSV kategori
Identifikatorer
URN: urn:nbn:se:liu:diva-150423OAI: oai:DiVA.org:liu-150423DiVA, id: diva2:1241067
Tilgjengelig fra: 2018-08-22 Laget: 2018-08-22 Sist oppdatert: 2018-08-31bibliografisk kontrollert

Open Access i DiVA

Fulltekst mangler i DiVA

Andre lenker

Link to publication

Personposter BETA

Bjurström, Erling

Søk i DiVA

Av forfatter/redaktør
Bjurström, Erling
Av organisasjonen
I samme tidsskrift
Nordisk kulturpolitisk tidskrift

Søk utenfor DiVA

GoogleGoogle Scholar

urn-nbn

Altmetric

urn-nbn
Totalt: 48 treff
RefereraExporteraLink to record
Permanent link

Direct link
Referera
Referensformat
  • apa
  • harvard1
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • oxford
  • Annet format
Fler format
Språk
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Annet språk
Fler språk
Utmatningsformat
  • html
  • text
  • asciidoc
  • rtf