Accreditations
The study plan is composed of a set of six compulsory curricular units, which represent the information considered fundamental to the course. Beyond these, the students may construct their own course of study, opting to complete one of the pre-determined specializaitons (cultural management, museology, heritage and cultural projects, entertainment and creative industries), or to combine various curricular units which focus on more specialized issues. During the second year, students will attend a dissertation/final project seminar with the objective of supporting their realization of this cumulative work.
Programme Structure for 2024/2025
Cultural Management
At the end of this learning units term, the student must be able to:
1. Identify the models of management (or theories) and their contexts: rational goal models, bureaucratic models (internal process models), human relations models and open system models.
2. Explain and describe the beginning and development of the main theories.
3. Identify and describe organizations? environmental components.
4. Analyse and describe the main concepts and theories in the context of the management process: Planning and decision making, Organizing, Leading, Controlling and Social Responsibility.
1. Managing in organizations
2. Models of Management
3. Organization Contexts
4. Planning
5. Decision Making
6. Organization Structure
7. Influence and Power
8. Motivation
9. Performance Measurement and Control
10. Corporate Responsibility
Evaluation may be continuous or final.
Continuous evaluation entails the instruments:
Class participation and attendance - 20%
Work - 20%
Final test - 60% (the test mark must be at least 7.50).
Students may opt for a final written exam (two dates) at the end of the semester.
Title: BODDY, David Management, an Introduction, 5th Edition ( Prentice Hall)
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Title: Stein, T. e Bathurst, J. (2008). Performing Arts Management. New York: Allworth Press.
Byrnes, W. e Martin, D. (2003). Management and the arts (3ª Ed.), London: Focal Press
Casos e artigos a serem indicados
Bartol, Kathryn M., Martin, David C. (1994), 2nd edition, McGraw Hill Edition
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Cultural Audiences, Consumptions and Fruitions
From the triad author, work and receiver, it will give postgraduate students the competences to analyze different author strategies and attitudes, as well as the publics reactions to such strategies or attitudes, fracturing them or federating them, taking into account the institutional contexts in which they occur and the mediation processes.
Program1. From the author's tyranny to the 'open work'.
2. One synthetic perspective, the dialectical triad of the flow of meaning: the author, work and receiver.
3. The horizon of expectation: 'culinary art' and 'deviation aesthetics'.
4. The disagreements between works and publics and contemporary iconoclasm.
5. Publics and counterpublics.
6. Modes of relating to culture.
Two modalities
1 - Assessment throughout the semester - completion and oral presentation of practical group work, assessed as such, in class on a set of topics proposed by the lecturer (30%) and a final individual assignment on a topic chosen by the students from among those covered in class, after validation by the professor (70%).
2 - Final assessment (exam) - an assignment based on the course unit's bibliography, once validated by the professor (100%).
Title: Ateca-Amestoy, et al., (Eds.). (2017). Enhancing participation in the arts in the EU. Challenges and methods. Springer.
Eco, U. (2016). Obra aberta. Relógio d?Água.
Jauss, H. R. (1978). Pour une esthétique de la reception. Gallimard.
Mantecón, A. R. (2009). O que é o público? Poiésis, 14, 175-215.
Neves, J. S., & Camacho, C. F. (Eds.). (2020). Nos 50 Anos de L?Amour de L?Art: Dívidas, críticas e desafios. Mundos Sociais.
Pais, J. M., Magalhães, P., & Antunes, M. L. (Eds.). (2022). Práticas culturais dos portugueses. Imprensa de Ciências Sociais.
Santos, M. L. L. (2012). Sociologia da cultura. Perfil de uma carreira. Instituto de Ciências Sociais.
Santos, M. L. L., (Ed.) et al., (2004). Públicos da Cultura. Observatório das Actividades Culturais.
Warner, M. (2002). Publics and counterpublics. Public Culture, 14(1), 49-90.
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Title: Bonet, L., & Négrier, E. (2018). The participative turn in cultural policy: Paradigms, models, contexts. Poetics, 66, 64-73.
Bourdieu, P. (2010). A distinção - Uma crítica social da faculdade do juízo. Edições 70.
Bourdieu, P., & Darbel, A. (1969). L'Amour de l'art: Les musées d'art européens et leur public. Les Éditions de Minuit.
Camacho, C. F., Fernandes, M. A., Maravalhas, F., & Neves, J. S. (2023). Compromisso de Impacto Social das Organizações Culturais. Fundamentos, Metodologia e Instrumentos de Apoio. Plano Nacional das Artes.
Cardoso, G. (Ed.). (2015). O livro, o leitor e a leitura digital. Fundação Calouste Gulbenkian.
Coulangeon, P. (2005). Sociologie des pratiques culturelles. La Découverte.
Esquenazi, J.-P. (2006). Sociologia dos públicos. Porto Editora.
Garcia, J. L., Lopes, J. T., Martinho, T. D., Neves, J. S., Gomes, R. T., & Borges, V. (2018). Mapping cultural policy in Portugal. From incentive to crisis. International Journal of Cultural Policy, 24(5), 577-593.
Gomes, R. T., & Lourenço, V. (2009). Democratização cultural e formação de públicos. Inquérito aos "serviços educativos" em Portugal. Observatório das Actividades Culturais.
Hanquinet, L., & Savage, M. (Eds.). (2016). Routledge international handbook of the sociology of art and culture. Routledge.
Glow, H., Kershaw, A., & Reason, M. (2020). Leading or avoiding change: the problem of audience diversification for arts organisations. International Journal of Cultural Policy, 1-19.
Jones, Y. V., Ostrouska, I., Karvonen, M., Källman, R., Niet, M. D., & Stepan, P. (2017). Promoting access to culture via digital means: Policies and strategies for audience development. União Europeia.
Lopes, J. T., & Dias, S. J. (2014). 'O público vai ao teatro' Uma etnografia dos públicos em ação. Sociologia, Problemas e Práticas, 74, 51-72.
Neves, J. S. (Ed.), Azevedo, J., Gomes, R. T., & Lima, M. J. (2017). Estudo posicionamentos das entidades artísticas no âmbito da revisão do modelo de apoio às artes. DGARTES e CIES-IUL.
Neves, J. S. (2020). O estudo dos públicos nos museus nacionais. Enquadramento e metodologia, Todas as Artes, 3(1), 23-32.
Peterson, R. A. (1992). Understanding audience segmentation: from elite and mass to omnivore and univore. Poetics, 21, 243-258.
Pitts, S. E., & Price, S. M. (2021). Understanding audience engagement in the contemporary arts. Routledge.
Reason, M., Conner, L., Johanson, K., & Walmsley, B. (Eds.). (2022). Routledge companion to audiences and the performing arts. Routledge.
Tröndle, M. (Ed.). (2022). Non-visitor research. Audience development for arts organisations. Palgrave MacMillan.
Van Hek, M., & Kraaykamp, G. (2013). Cultural consumption across countries: A multi-level analysis of social inequality in highbrow culture in Europe. Poetics, 41(4), 323-341.
Villarroya, A. A., & Llopis-Goig, R. (2021). Elites and culture: Social profiles in the cultivated population. Cultural Sociology, 15(4), 509?538.
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Research Design
At the end of the CU students should be able to:
1) recognize and use different types of methodological strategies, mastering its theoretical, methodological and technical requirements, in order to make adequate choices;
2) identify central problems in research design, from problem definition to conceptualisation, operationalization, observation and proposal writing;;
3) write a research and/or intervention project proposal.
1. Research as a producer of knowledge to know and/or to intervene.
1.1. Empirical research as theoretically oriented.
1.2. Research as problem solving: diagnosis, evaluation, intervention.
1.3. Ethics in different types of research.
2. How to design a research project and/or intervention.
2.1. Formulation of the problem and definition of objectives.
2.2. Conceptualization.
2.3. Operationalization and observation.
2.4. Project's design.
3. Methodological strategies.
3.1. Adequacy of the methodological strategies to the objectives of tthe research.
3.2. Extensive research: large surveys, statistical databases, etc..
3.3. Intensive research: case studies, field research, participant observation, ethnographic approach, etc.
3.4. Action research and social intervention.
3.5. Comparative research: objectives and problems of comparison.
3.6. Mixed methods.
The learning process proceeds trough theoretical-practical classes, seminar presentations and debate (which are given prevalence), tutorials and students' autonomous work.
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Evaluation along the semester, comprising the following components:
(a) Class participation and presentation of the research and/or intervention project (35%)
b) Final written work: research project and/or intervention (65%).
OR
Final assessment, consisting of a final written work: research project and/or intervention, complemented with an oral discussion, if the teacher considers necessary (100%).
The evaluation of this course does not include a final exam.
Art History
In accordance with the overall objectives of the Curricular Unit aims to Art History:
LG1. The students identify, analyze and characterize the evolution of representation codes and aesthetic values in accordance with the historical circumstances of each time and territory.
LG2. The students compare and distinguish aesthetic identities exemplifying them with works deemed to be emblematic.
LG3. That the students evaluate and criticize the logic of different artistic cultures.
The History of Art curricular unit will seek to address moments of Visual Culture from Romanticism to Contemporaneity:
S1- Romanticism and Modernism. The Vanguards, the Modern Movement and Contemporaneity.
S2- Salon Art and Participatory Art. New supports, materials and the concept of the ephemeral.
S3- The Painting Landscape, Land Art, and Public Art.
S4- The concept of work of art and everyday object.
S5- The École de Paris and contemporary multiculturalism.
S6- The artist as an agent of rupture, the Curator, and the Marchand.
S7- Universal Exhibitions and the persuasive power of the art market.
S8- The History and Historiography of Art, Theory and Criticism of Art, and the Media Industry.
The curricular unit expects a minimum attendance of 70% of classes
Assessment throughout the semester, with 2 assessment moments.
The final grade results from the weighting: 50% presentation of an individual assignment + 30% individual report + 20% classroom interaction
To successfully complete the curricular unit a pass grade, the student must obtain a minimum final grade of 10 points.
The curricular unit includes assessment by exam.
Title: WINDERLINDEN, Barbara; FILIPOVIC, ELENA - The Manifesta decade: debates on contemporary art exhibitions and biennials in post-wall Europe. Cambridge, Mass: The MIT Press, 2005.
WEINTRAUD, Linda - Making contemporary art : how today's artists think and work. London: Thames & Hudson, imp. 2007.
RONAN, Helen ed. lit. - A nova História da Arte de Janson : a tradição ocidental. Lisboa: Fundação Calouste Gulbenkian, 2010.
MEYER-BUSER, Susanne - Masterworks of the 20th and 21st centuries. Düsseldorf: Kunstsammlung Nordrhein-Westfalen, 2010.
HARRISON, charles; WOOD, Paul ? Art in theory 1900-2000. An Anthology of changing ideas. Malden, Osford: Blackwell Publishers, 2002.
BELL, Julian - Espelho do mundo: uma nova história da arte. Lisboa: Orfeu Negro, 2009.
ALTSHULER, Bruce ? Salon to Biennal 1863-1959. Exhibitions that made art history. London: Phaidon, 2008. vol.1.
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Title: NOGUEIRA, Isabel ? Teoria da Arte no séc. XX: Modernismo, Vanguarda, Neovanguarda, Pós-modernismo. Coimbra: Imprensa da Universidade de Coimbra, 2012.
100 000 years of beauty. Paris: Galimmard, 2009.
FLAVIO Lucchini: from fashion to art: the Vogue Lesson. Milano: Skira, 2010.
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Public Policies of Culture
Based on the understanding of the main models, paradigms and attributions public cultural policies, at the international level, and their evolution, provide students with skills to understand the strategies, objectives and instruments of cultural policies in Portugal, the articulations between the national/regional and local levels, and the relationship between public authorities and private agents, in the various domains.
Program1. Concepts, models and paradigms, their evolution
2. Cultural public policies, crises, and contemporary challenges
3. National cultural policies, comparative perspective, and international institutional frameworks
4. Administrative levels and territory, complementarity, and specificity
5. The area of culture in government areas, articulations and attributions
6. Public, private non-profit and for-profit sectors, the state intervention
7. Cultural and creative domains, sectors and industries
8. The culture tutelage: organization and instruments
9. Objectives, means and results: infrastructures to support the design, implementation and evaluation of cultural policies.
Two modalities
1 - Assessment throughout the semester - completion and oral presentation of practical group work, assessed as such, in class on a set of topics proposed by the lecturer (30%) and a final individual assignment on a topic chosen by the students from among those covered in class, after validation by the professor (70%).
2 - Final assessment (exam) - an assignment based on the course unit's bibliography, once validated by the professor (100%).
Title: Silva, A. S., Babo, E. P., & Guerra, P. (2015). Políticas culturais locais: Contributos para um modelo de análise. Sociologia, Problemas e Práticas, 78, 105-124.
Santos, M. L. L. (coord.) (1998), As Políticas Culturais em Portugal, Lisboa, OAC.
Santos, M. L. L dos, e J. M. Pais (org.) (2010), Novos Trilhos Culturais. Práticas e Políticas, Lisboa, ICS.
Poirrier, P. (dir.) (2011), Pour Une Histoire des Politiques Culturelles dans le Monde 1945-2011, Paris, DF.
Mulcahy, K. V. (2006), "Cultural policy: definitions and theoretical approaches", JAMLS, 35(4), pp. 319-330.
Mangset, P. (2018), "The end of cultural policy?", IJCP, 26(3), pp. 398-411.
Garcia, J. L. et al., (2018), "Mapping cultural policy in Portugal. From incentive to crisis", IJCP, 24(5), pp. 577-593.
Durrer, V., T. Miller e D. O'Brien (eds.) (2018), The Routledge Handbook of Global Cultural Policy, Routledge.
Dubois, V. (2000), La Politique Culturelle. Belin.
Becker, H. S. (2010). Mundos da Arte. Livros Horizonte.
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Title: Unesco (2020), Culture in Crisis. Policy guide for a resilient creative sector. UNESCO.
Throsby, D. (2010). The economics of cultural policy. Cambridge University Press.
Silva, Augusto Santos (2017). Sociologia e política pública: sobre avanços recentes em Portugal. Análise Social, 225, LII (4.º), 782-803.
Silva, Augusto Santos, Elisa Pérez Babo e Paula Guerra (2015), Políticas culturais locais: Contributos para um modelo de análise, Sociologia, Problemas e Práticas, 78, pp. 105-124.
Silva, Augusto Santos (2014), "A democracia portuguesa face ao património cultural", Revista da Faculdade de Letras Ciências e Técnicas do Património, XIII, pp. 11-32.
Silva, Augusto Santos (2007), "Como abordar as políticas culturais autárquicas? Uma hipótese de roteiro", Sociologia, Problemas e Práticas, 54, pp. 11-33.
Silva, Augusto Santos (2004), "As redes culturais: balanço e perspectivas da experiência portuguesa, 1987-2003" em AAVV, Públicos da Cultura, Lisboa, OAC, pp. 241-283.
Schuster, J. Mark (2015[2002]), Informing Cultural Policy. The Research and Information Infrastructure. Transaction Publishers.
Schuster, J. Mark (1988), "Comparaisons internationales et choix méthodologiques: approche critique des études internationales de politique culturelle" em Girard, Augustin (ed.), Économie et Culture: Culture en Devenir et Volonté Publique Vol. II. La documentation Française, pp. 237-268.
Sassatelli, Monica (2009), Becoming Europeans. Cultural Identity and Cultural Policies. Palgrave MacMillan.
Santos, Maria de Lourdes Lima dos (coord.) (2004), Políticas Culturais e Descentralização: Impactos do Programa Difusão das Artes do Espectáculo. OAC.
Santos, Maria de Lourdes Lima dos (2012), Sociologia da Cultura. Perfil de Uma Carreira. ICS.
Rosado-García, María Jesús, Renata Kubus, Ramón Argüelles-Bustillo e María Jesús García-García (2021), "A New European Bauhaus for a Culture of Transversality and Sustainability", Sustainability, 13(21).
Rodrigues, Maria de Lurdes e Pedro Adão e Silva (2016), "A constituição e as políticas públicas em Portugal", Sociologia Problemas e Práticas, Nº especial, pp. 13-22.
Quintela, Pedro e Claudino Ferreira (2018), "Indústrias culturais e criativas em Portugal: Um balanço crítico de uma nova ?agenda? para as políticas públicas no início deste milénio", Revista Todas as Artes, 1(1), pp. 88-110.
Nogare, Chiara Dalle e Enrico Bertacchini (2015), "Emerging modes of public cultural spending: Direct support through production delegation", Poetics, 49, pp. 5-19.
Neves, José Soares (2020), "Políticas culturais e infraestruturas de pesquisa: o caso português", Sociologia On Line.
Neves, José Soares (2020), "Cultura" em Mamede, Ricardo Pais e Pedro Adão E Silva (Coords.), O Estado da Nação e as Políticas Públicas 2020, IPPS-Iscte, pp. 26-32.
Neves, José Soares (2021). Políticas culturais de museus em Portugal: ciclos e processos de reflexão estratégica participada. Midas, 13, 1-23.
Neves, José Soares (2021), "Cultura" em Mamede, Ricardo Pais e Pedro Adão e Silva (Coords.), O Estado da Nação e as Políticas Públicas 2021: Governar em Estado de Emergência, IPPS-Iscte, pp. 23-28
Morató, Arturo Rodríguez (2012), "El análisis de la política cultural en perspectiva sociológica. Claves introductorias al estudio del caso español", RIPS: Revista de Investigaciones Políticas y Sociológicas, 11(3), pp. 15-38.
Merkel, J. (2019). Curating Strangers. Em R. Gill, A. C. Pratt, & T. E. Virani (Eds.), Creative hubs in question: Place, space and work in the creative economy (pp. 51-84). Palgrave Macmillan.
Matarasso, François e Charles Landry (1999), Balancing Act: 21 Strategic Dilemmas in Cultural Policy. Edições do Conselho da Europa.
Lopes, João Teixeira (2007), Da Democratização à Democracia Cultural. Uma Reflexão sobre Políticas Culturais e Espaço Público, Profedições.
Kaitavuori, Kaija (2019), "Participation in cultural legislation", International Journal of Cultural Policy, 26(5), pp. 668-680.
Jones, Yvette Vaughan, Irena Ostrouska, Minna Karvonen, Rolf Källman, Marco de Niet e Paul Stepan (2017), Promoting access to culture via digital means: Policies and strategies for audience development. União Europeia.
Hesmondhalgh, David e Andy C. Pratt (2005), "Cultural industries and cultural policy", International Journal of Cultural Policy, 11(1), pp. 1-13.
Gray, Clive (2015), "Ambiguity and Cultural Policy", Nordisk Kulturpolitisk Tidsskrift, 18(1), pp. 66-80.
Ginsburgh, Victor e David Throsby (eds.) (2006), Handbook of the Economics of Art and Culture Vol 1. Elsevier.
Garcia, José Luís (coord.) (2014), Mapear os recursos, Levantamento da legislação, Caracterização dos atores, Comparação internacional. Relatório Final. ICS-UL, FLUP-UP e CIES-IUL.
Fishman, R. M., & Lizardo, O. (2013). How Macro-Historical Change Shapes Cultural Taste: Legacies of Democratization in Spain and Portugal. American Sociological Review, 78(2), 213-239.
Durrer, Victoria (2018), "The relationship between cultural policy and arts management" em Durrer, Victoria, Toby Miller e Dave Obrien (eds.), Routledge Companion to Global Cultural Policy, Routledge, pp. 60-85.
Dupin-Meynard, F. & E. Négrier (Eds.) (2020). Cultural Policies in Europe: a Participatory Turn?. L'Attribut.
Donnat, Olivier (2007), "Painel democratização cultural hoje: histórico do conceito" em AAVV, Acesso à Cultura e Promoção da Cidadania. Seminário Internacional de Democratização Cultural, Instituto Votorantim, pp. 6-14.
Dewey, Patricia (2010), "Power in European Union Cultural Policy" em J. P. Singh (ed.), International Cultural Policies and Power, Palgrave MacMillan, pp. 113-126.
D'Angelo, Mario e Paul Vespérini (1999), Politiques Culturelles en Europe: Méthode et Pratique de L'évaluation, Estrasburgo, Edições do Concelho da Europa.
Crane, D. (2013). Cultural globalization and the dominance of the American film industry: cultural policies, national film industries, and transnational film. International Journal of Cultural Policy, 20(4), 365-382.
Costa, A. F. (1997). Políticas culturais: conceitos e perspectivas. OBS, 2, 10-14.
Camacho, C. F. (Ed.). (2021). Grupo de Projeto Museus no Futuro. Relatório Final. DGPC.
Borges, Vera (2021), "Políticas públicas para a cultura e a gestão dos equipamentos teatrais. O Teatro Nacional D. Maria II em Lisboa", Sociologia, Problemas e Práticas, 95, pp. 43-60.
Blake, Casey Nelson (ed.) (2007), The Arts of Democracy. Art, Public Culture, and the State, Woodrow Wilson Center Press & University of Pennsylvania Press.
Bina, Vladimir et al., (2012), ESSnet-Culture Final Report. ESSnet Culture e Eurostat.
Baumol, W. J e W. G. Bowen (2001), Performing Arts: The Economic Dilemma. A Study of Problems Common to Theater, Opera, Music and Dance. Ashgate.
Baptista, M. M. (Ed.). (2014). Políticas públicas para a cultura: Dinâmicas, tensões e paradoxos. Grácio Editor.
Araújo, Luísa e Maria de Lurdes Rodrigues (2017), "Modelos de análise das políticas públicas", Sociologia, Problemas e Práticas, 83, 11-35.
Ahearne, Jeremy (2009), "Cultural policy explicit and implicit: a distinction and some uses", International Journal of Cultural Policy, 15(2), pp. 141-153.
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Cultural Theories
LO1- Discuss the notion of Culture in the Contemporary society
LO2- Understand different spatiotemporal views of Culture
LO3- Relate the dynamics between the concept of Culture and notions such as Civilization, Nature, Identity, Canon, and Nation
LO4- Know and confront different authors and constructions concerning the role of Culture
LO5- Formulate persuasive responses to the various themes addressed, both orally and in writing
LO6- Explore and assimilate information through the reading of key bibliography and the interpretation of different sources
PC1- Culture: (in)definitions of a concept
PC2- Culture and nature: the “diplomacy of interdependencies” and ecosystem management
PC3- Culture and sustainability: complexities, innovative strategies, and development of initiatives “on the field”
PC4- Culture, eclecticism and omnivorism: European perspectives on cultural practices
PC5- Culture and canon: construction, transmission, questioning and review
PC6- Culture and multiculturalism: dynamics and circulations in a global world
PC7- Culture and Identity: affirmation and reconfigurations in a contemporary society
Periodic assessment comprises two short academic essays, worth 50% each. Students participation in class and on Moodle’s Forum will be valued. Alternatively, students may choose to take a final exam that covers all the course’s contents.
BibliographyTitle: CUCHE, Denys (1999), A Noção de Cultura nas Ciências Sociais. Lisboa: Fim de Século
ELIAS, Norbert (2006 [1939]), O Processo Civilizacional: investigações sociogenéticas e psicogenáticas. Tradução de Lídia Campos Rodrigues. Lisboa: Dom Quixote
HALL, Stuart (2006 [1992]), A Identidade Cultural na Pós-Modernidade [«Two questions of cultural identity»]. Trad. Tomás Tadeu da Silva e Guacira Lopes Louro. Rio de Janeiro: DP&A Editora, 11.ª ed.
PAIS, J. M., Magalhães, P. & ANTUNES, M. L. (2022). Práticas Culturais dos Portugueses. ICS, pp. 235-284.
REEVES, Aaron (2019). How class identities shape highbrow consumption: A cross-national analysis of 30 European countries and regions. Poetics, 76. https://doi.org/10.1016/j.poetic.2019.04.002
RITA, Annabela (2014), Luz & Sombras do Cânone Literário. Lisboa: Esfera do Caos
THROSBY, D. (1997). Sustainability and culture some theoretical issues. International Journal of Cultural Policy, 4(1), 7-19. https://doi.org/10.1080/10286639709358060
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Title: ANDERSON, Benedict (2012 [2006]). Comunidades Imaginadas: reflexões sobre a origem e a expansão do nacionalismo [Imagined Communities: reflections on the origin and spread of nationalism]. Estudo introdutório de Diogo Ramada Curto, Nuno Domingos, Miguel Bandeira Jerónimo; trad. Catarina Mira. Lisboa: Edições 70
APPADURAI, Arjun (2004 [1996]), «Aqui e agora» in: Dimensões Culturais da Globalização: a modernidade sem peias [Modernity at Large: Cultural Dimensions of Globalization]. Trad. Telma Costa. Lisboa: Teorema, pp. 11-40
BLOOM, Harold (2011 [1994]), «Uma Elegia em Louvor do Cânone» in: O Cânone Ocidental. Os grandes livros e os escritores essenciais de todos os tempos [The Western Canon - The Books and Schools of the Ages]. Trad., intro. e notas Manuel Frias Martins. Lisboa: Temas e Debates, pp. 29-53
DUARTE, João Ferreira (2009) «Cânone» in: E-Dicionário de termos Literários: https://edtl.fcsh.unl.pt/encyclopedia/canone
DUBAR, Claude (2006), A Crise das Identidades. A interpretação de uma mutação. Porto: Afrontamento
ELIOT, T.S. (1996), Notas para uma Definição de Cultura. Lisboa: Século XXI
FEIJÓ, António M. (2020). «Cânone 1», in: António M. Feijó; João R. Figueiredo; Miguel Tamen (eds.), O Cânone. Lisboa: Fundação Cupertino de Miranda; Edições Tinta-da-China, pp. 11-15
GIDDENS, Anthony (1997), Modernidade e Identidade Pessoal. Oeiras: Celta Editora, 2.ª ed.
MEDEIROS, João Luiz (2004), «A identidade em questão: notas acerca de uma abordagem complexa» in: Maria Beatriz Balena Duarte; João Luiz Medeiros (org.), Mosaico de Identidades. Interpretações Contemporâneas das Ciências Humanas e a Temática da Identidade. Curitiba: Juruá Editora, pp. 103-126
MITCHELL, W. J. T. (2005), «Canon» in: Tony Bennett; Lawrence Grossberg; Meaghan Morris (eds.), New Keywords. A Revised Vocabulary of Culture and Society. Malden, MA: Blackwell Publishing, pp. 20-22
POLLOCK, Griselda (1999), Differencing the Canon: Feminist Desire and the Writing of Art's Histories. Londres e Nova Iorque: Routledge
RITA, Annabela (2015), «Lusofonia e Literatura: haverá cânone(s) lusófono(s)?» in: Moisés de Lemos Martins (coord.). Lusofonia e Interculturalidade – Promessa e Travessia. V. N. Famalicão: Edições Húmus / Centro de Estudos de Comunicação e Sociedade, pp. 129-151
STEINER, George (1992 [1971]), No Castelo Do Barba Azul. Algumas Notas para a Redefinição da Cultura. Lisboa: Relógio D’Água
ROBINS, Kevin (2005), «Identity» in: Tony Bennett et al. (eds.), New Keywords. A Revised Vocabulary of Culture and Society. Malden, MA: Blackwell Publishing, pp. 172-175
TAMEN, Miguel (2020), «Cânone 4», in: António M. Feijó; João R. Figueiredo; Miguel Tamen (eds.), O Cânone. Lisboa: Fundação Cupertino de Miranda / Tinta-da-China, pp. 523-526
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Accountability and Finances for Cultural Organizations
At the end of the course, students should be able to:
1. Explain business dynamics from the perspective of economic, financial and monetary decisions.
2. Distinguish the structuring components for the analysis of financial health, profit generation and cash generation.
3. Explain the impact of decisions on the financial health of organizations in the creative and cultural industries.
4. Explain the impact of decisions on profit generation in organizations in the creative and cultural industries.
5. Explain the impact of decisions on cash flow generation in organizations in the creative and cultural industries and the differences between cash generation, profit generation and financial health.
1 - Business, Business Dynamics and Decisions
1.1. Financial literacy: from personal finances to business finances
1.2. Business, activities and decisions: the FIO triumvirate
1.3. The accounting-financial information system
1.4. The FEM triumvirate: financial, economic and monetary position
1.5. Financial reports
2 - Financial Health and Financing and Investment Decisions
2.1. Fundamental concepts
2.2. Financing and investment decisions and their impact on financial position
2.3. Financial position reporting and metrics
3 - Profit Generation and Operational Decisions
3.1. Fundamental concepts
3.2. Operational decisions and their impact on economic position
3.3. Economic position reporting and metrics
4 - Fundamentals of Finance: Focal Points
4.1. Fundamental concepts
4.2. Cash generation, business decisions and their impact on monetary position
4.3. Money generation metrics
4.4. Profitability and risk metrics
4.5. Financial balance and solvency metrics
Two types of assessment:
1. Assessment throughout the semester:
- Individual and/or group cases (thematic): 10%
- Group work, with possible oral discussion: 30%.
- Individual written test: 60%
Requirements:
- Execution of cases and evaluation work.
- Minimum average of 10 points in cases and assessment work.
- Minimum score of 8 points in the individual written test.
Attendance:
- There is no minimum attendance.
2. Assessment by exam:
- Individual written exam: 100%.
Grade defense: eventual defense of a grade, oral or written, for a classification higher than 16, in any of the modalities.
Title: 1. Libby, R., Libby, P. and Hodge, F. (2023), Financial Accounting, 11ª Ed., McGraw Hill.
2. Lourenço, I., et al., (2020), Fundamentos de Contabilidade Financeira - Teoria e Casos (3ª Ed.), Lisboa: Sílabo.
Authors:
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Title: 1. Mota, A. G., Barroso, C., Soares, H. e Laureano, L. (2023), Introdução às Finanças - Fundamentos de Finanças com Casos Práticos Resolvidos e Propostos, 4ª Ed., Lisboa: Sílabo.
2. Jordan, H., Neves, J. C. e Rodrigues, J. A. (2020), O Controlo de Gestão, 11ª Ed., Lisboa: Áreas Editora.
2. Pordata (2017), Que número é este? Um guia de estatísticas para jornalistas, Lisboa: Fundação Francisco Manuel dos Santos.
4. Sistema de Normalização Contabilística (SNC), 2018 - Legislação.
Authors:
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Portuguese Contemporary Culture
(a) acquisition of knowledge about the history of Portuguese culture, between 1830 and 1945;
(b) contact with authors and major works of contemporary Portuguese culture;
(c) understanding the evolution of modern Portuguese culture, his most striking ruptures and continuities, in the cultural and social context, national and international.
Introdution
Society, Culture and Politics in Contemporary Portugal
1. Romanticism: culture and politics
1.1. Liberal intellectuals' proselytizing
1.2. History, popular culture and cultural heritage
2. The positivist culture: the power of the experts
2.1. The program of "mental and moral reforms to the political and social transformations"
2.2. History, pedagogy and democratic revolution
3. New cultural and political trends (c.1870-c.1920)
3.1. The Generation 70:the program of the "new generation"
3.2. Literary and cultural nationalism in the end of the XIX century
3.3. The "Renascença Portuguesa"
3.4. The "Integralismo Lusitano"
3.5. The "Geração do Orpheu"
3.6. António Sérgio and "Seara Nova" group
4. The decades of 30 and 40: obstacles and challenges
4.1. The "Presença", art as a "finality without end"
4.2. The neo-realists, in defense of the disinherited
4.3. The Surrealists, "a new aesthetic mentality"
4.4. Intellectuals and the Estado Novo
Periodic assessment consists of three elements: (1) Attendance and class participation (10%); (2) Individual work (50%); (3) Oral presentation (40%)). Alternatively, the student makes a final exam corresponding to a similar level of knowledge required in the periodic evaluation.
Title: REAL, Miguel, O Pensamento Português Contemporâneo 1890-2010, Lisboa, Imprensa Nacional-Casa da Moeda, 2011
RAMOS, Rui, "Os dissidentes", "A traição dos intelectuais", "Os inadaptados" in J. Mattoso (dir.), História de Portugal, Vol. VI, Lisboa, Círculo de Leitores, 1994, pp. 55-62, 529-565, 615-665
PINA, Ana Maria, A Quimera do Ouro. Os Intelectuais Portugueses e o Liberalismo, Oeiras, Celta Editora, 2003
MATOS, Sérgio Campos, Consciência Histórica e Nacionalismo, Lisboa, Livros Horizonte, 2008
LOURENÇO, Eduardo, O Labirinto da Saudade, Lisboa, Gradiva, 2000 [1975]
HOMEM, Amadeu Carvalho, Do Romantismo ao Realismo. Temas de Cultura Portuguesa (séc. XIX), Porto, Fundação Engenheiro António de Almeida, 2005
CATROGA, Fernando e CARVALHO, Paulo Archer de, Sociedade e Cultura Portuguesas II, Lisboa, Universidade Aberta, 1996
BUESCU, Helena (coord.), Dicionário do Romantismo Literário Português, Lisboa, Caminho, 1997
Authors:
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Title:
CORREIA, Natália, O Surrealismo na Poesia Portuguesa, Mem-Martins, Europa-América, 1973
VASCONCELOS, Mário Cesariny de, A Intervenção Surrealista, Lisboa, Ulisseia, 1966
FRANÇA, José Augusto, A Arte em Portugal no Século XX (1911-1961), 3ª ed., Venda Nova, Bertrand, 1991
Surrealismo
Vértice, Lisboa, Caminho, 1996, nº75
Vértice, Lisboa, Caminho, 1989, nº21
VALE, António (pseudónimo atribuído a Álvaro Cunhal), ?Cinco notas sobre forma e conteúdo?, Nova Renascença, 1992, nº 45-47, pp.511-528
MADEIRA, João, Os Engenheiros de Almas: o Partido Comunista e os Intelectuais, Lisboa, Estampa, 1996 (Terceira Parte, cap. IV, pp.277-314)
LOURENÇO, Eduardo, Sentido e Forma da Poesia Neo-realista, Lisboa, Ulisseia, 1968
REIS, Carlos, O Discurso Ideológico do Neo-realismo Português, Coimbra, Almedina, 1983
REIS, Carlos (org.), Textos Teóricos do Neo-realismo Português, Lisboa, Comunicação, 1981
Neo-realismo
SIMÕES, João Gaspar, ?Como nasceu e morreu a ?Presença? in José Régio e a História do Movimento da ?Presença?, Porto Brasília Editora, 1977, pp.141-205
SENA, Jorge de, Régio, Casais, a ?Presença? e outros afins, Porto, Brasília, 1977 (Cap. II, pp. 59-80)
LOURENÇO, Eduardo, Cultura e Política na Época Marcelista (entrevista de Mário Mesquita), Lisboa, Cosmos, 1996
LOURENÇO, Eduardo, ?Sobre Régio? [1973], in O Canto do Signo ? Existência e Literatura (1957-1993), Lisboa, Editorial Presença, 1993, pp.136-149
LISBOA, Eugénio, O Segundo Modernismo em Portugal, 2ª ed., Lisboa, Instituto de Cultura Portuguesa, 1984 (Cap.II, pp.27-61 e Cap.III, pp.63-75)
GUIMARÃES, Fernando, Ob. Cit., (pp. 5-60, 99-115, 137-164)
Presença
4. A cultura em Portugal nas décadas de vinte, trinta e quarenta
LOPES, Fernando Farelo, ?O liberalismo decadente da Seara Nova (algumas hipóteses) in O Fascismo em Portugal, Lisboa, A Regra do Jogo, 1982, pp.141-165
CARDIA, M. Sottomayor, ?Para a compreensão do ideário do primeiro grupo seareiro? in Seara Nova ? Antologia, Lisboa, 1971, Vol. I, pp.13-84
CABRAL, Manuel Villaverde, ?The Seara Nova group and the ambiguities of portuguese liberal elitism?, Portuguese Studies (London), IV,1988, pp.181-195
Seara Nova
FREIRE, João, Anarquistas e Operários, Porto, Afrontamento, 1992
FONSECA, Carlos da, Para uma Análise do Movimento Libertário e da sua História, Lisboa, Antígona, 1988
Movimento anarquista
QUADROS, António, O Primeiro Modernismo Português. Vanguarda e Tradição, Lisboa, Europa-América, 1989
NEVES, João Alves das, O Movimento Futurista em Portugal, 2ª ed.,1987
JÚDICE, Nuno, ?O Futurismo em Portugal? in Portugal Futurista, 2ª edição facsimilada, Lisboa, Contexto Editora, 1982, pp.VII-XVII
GERSÃO, Teolinda, ?Para o estudo do futurismo literário em Portugal? in Portugal Futurista, 2ª edição facsimilada, Lisboa, Contexto Editora, 1982, pp.XXI-XXXIX
Geração do Orpheu
CARVALHO, P. Archer de, ?Memória mítica da nação ? o caso do Integralismo Lusitano?, Vértice, nº 61, 1994, pp. 51-66
Integralismo Lusitano
SAMUEL, Paulo, A Renascença Portuguesa ? Um Perfil Documental, Porto, Fundação Eng.º António de Almeida, 1990 (contém manifestos, registos históricos, textos de polémicas e índices das revistas do movimento)
SANTOS, A. Ribeiro dos, A Renascença Portuguesa ? um Movimento Cultural Portuense, Porto, Fundação Eng.º António de Almeida, 1990
PEREIRA, José Carlos Seabra, ?Tempo neo-romântico?, Análise Social, nº77-78-79, 1983, pp.845-873
Nova Renascença, nº especial da revista, dedicado ao 75º aniversário da Renascença Portuguesa, Porto, 1987, nº27-28
FRANÇA, José Augusto, Os Anos Vinte em Portugal, Estudo de Factos Sócio-culturais, Lisboa, Presença, 1992 (III parte, cap. VII, pp.417-446)
Renascença Portuguesa
Nova Renascença, nº especial da revista, dedicado ao simbolismo, Porto, 1989-1990, nº35-38
GUIMARÃES, Fernando, Poética do Simbolismo, Lisboa, Presença, 1988
GUIMARÃES, Fernando, ?Simbolismo: a procura da originalidade?; in Simbolismo, Modernismo e Vanguardas, 2ª ed., Porto, Lello e Irmão, 1992
DUARTE, Isabel Margarida, SILVA, Augusto Santos, ?A. Nobre, problemas de uma aproximação cultural?, Colóquio /Letras, 64, 1981, pp. 31-40
DIAS, Augusto da Costa, A Crise da Consciência Pequeno-Burguesa ? o Nacionalismo Literário da Geração de 90, Lisboa, Editorial Estampa, 1977, 3ª ed.
Geração de 90
SARAIVA, António José, A Tertúlia Ocidental. Estudos sobre Antero de Quental, Oliveira Martins, Eça de Queirós e Outros, Lisboa, Gradiva, 1990
RAMOS, Rui ?Os intelectuais no estado liberal? in Benedicta Mª Duque Vieira (org.), Grupos Sociais e Estratificação Social em Portugal no Século XIX, Lisboa, CEHCP, 2004, pp.107-134
PIRES, A. Machado, A Ideia de Decadência na Geração de 70, Lisboa, Vega, 1992 (Parte I, Cap. 2 e 3, pp. 91-128)
PINA, Ana Maria, ?Geração de 70 e Geração de 98: ?sociedade? versus ?comunidade??, in Serrão, J.V.; Pinheiro, Magda de Avelar; Ferreira, Maria de Fátima Sá e Melo (orgs.), Desenvolvimento Económico e Social. Portugal nos últimos dois séculos. Homenagem a Miriam Halpern Pereira, Lisboa, ICS. Imprensa de Ciências Sociais, 2009, pp.613-626
PINA, Ana Maria, ?O ?Pão? e a ?Alma? na política liberal?, Ler História, 2002, nº 43, pp.141-156
MAURÍCIO, Carlos, A Invenção de Oliveira Martins. Política, Historiografia e Identidade Nacional no Portugal Contemporâneo (1867-1960), Lisboa, Imprensa Nacional/Casa da Moeda, 2005
MACHADO, Álvaro Manuel, ?A Geração de 70: uma literatura de exílio? in O Século XIX em Portugal, colóquio organizado pelo GIS, Lisboa, Editorial Presença/GIS, s.d., pp.413-426
MACHADO, Álvaro Manuel, A Geração de 70 - uma Revolução Cultural e Literária, Lisboa, Instituto de Cultura Portuguesa, 1977
CATROGA, Fernando, ?Os caminhos polémicos da ?Geração Nova?? in J. Mattoso (dir.), História de Portugal, Vol. V, Lisboa, Círculo de Leitores, 1993, pp. 569-573
CABRITA, Maria João, A Ideia de Justiça em Antero de Quental, Lisboa, Ímanedições, 2002 (Cap. I, pp. 35-87)
Geração de 70
3. Novas correntes culturais e políticas (c.1870-c.1920)
VAZ, Maria João, Crime e Sociedade. Portugal na Segunda Metade do Século XIX, Oeiras, Celta, 1998, pp.31-44 e 63-75
VAQUINHAS, Irene Maria, ?O conceito de ?decadência fisiológica da raça? e o desenvolvimento do desporto em Portugal (finais do século XIX/ princípios do século XX)?, Revista de História das Ideias, Vol. 14, 1992, pp. 365-387
PINA, Ana Maria, ?Criminosos, crianças e selvagens. A maldade humana na cultura portuguesa, no ocaso do século XIX?, Ler História, 2007, 53, pp.113-134
PEREIRA, Ana Leonor, Darwin em Portugal. Filosofia, História, Engenharia Social (1865-1914), Coimbra, Almedina, 2001
MATOS, Sérgio Campos, Historiografia e Memória Nacional no Portugal do Séc. XIX (1846-1898), Lisboa, Ed. Colibri, 1998 (Parte IV)
HOMEM, Amadeu carvalho, ?O positivismo perante as propostas marxistas e demoliberal?, Análise Social, 2001, nª 158-159
CATROGA, Fernando, ?Cientismo, política e anticlericalismo? in J. Mattoso (dir.) História de Portugal, Vol. V, Lisboa, Círculo de Leitores, 1993, pp. 583-593
CATROGA, Fernando, ?Os inícios do positivismo em Portugal? in Revista de História das Ideias, Vol. I, 1977, pp. 287-394
2. A cultura positivista
PEREIRA, José Esteves, ?Almeida Garrett: Liberalismo e Romantismo? in Garrett às Portas do Milénio, Lisboa, Edições Colibri, 2001, pp.155-168
FERREIRA, Fátima Sá e Melo, ?Povo-povos?, Ler História, 2008, nº 55, pp.141-154
CATROGA, Fernando, ?Romantismo, literatura e história? in J. Mattoso (dir.), História de Portugal, Vol. V, Lisboa, Círculo de Leitores, 1993, pp.545-562
CATROGA, Fernando, ?Alexandre Herculano e o Historicismo romântico? in L.R. Torgal, J.A. Mendes e F. Catroga (org.), História da História em Portugal, Sécs. XIX e XX, Lisboa, Círculo de Leitores, 1996, pp. 39-86
1.O romantismo: cultura e política
Authors:
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Inventory and Analysis of the Urban Heritage
LO1- To understand the current issues on cultural heritage theories and practices, within a critical heritage studies approach.
LO2- To know and identify the phases of the evolution of the cultural heritage concept, worldwide.
LO3- To know and identify cultural heritage operative categories, with emphasis on the Portuguese context;
LO4- To know and correctly mobilize legislation and administrative procedures, as well as primary stakeholders in the heritage domain, in Portugal and in the world;
LO5- To know CH safeguard and valorization policies in Portugal, namely classification, inventory, conservation, restoration, musealization and education;
LO6- To know CH management policies and heritage economics as a mean towards a sustainable development.
PC1- Introductory concepts.
1.1. Cultural Heritage concept evolution;
1.2. CH categories;
1.3. CH in Portugal;
1.4. CH: identity and value
PC2- CH Safeguard
2.1. International and Portuguese Legislation;
2.2. Classification;
2.3. Inventory policies
PC3 ? CH Valorization
3.1. Conservation and Restoration
3.2. Museum process
3.3. Heritage Interpretation
PC4- The Economics of Heritage
4.1. CH in sustainable development;
4.2. Heritage tourism
PC5 - Managing Cultural Heritage
5.1. Cultural Heritage Policies
5.2. Public and private in Cultural Heritage
5.3. Civic Society and Heritage
The modality of the evaluation is an Assessment throughout the semester mode, with two evaluation elements:
1. Two written individual papers on subjects (articles) given by the teacher throughout the semester (counting for 25% of the final grade). Papers will have the maximum dimension of 800-900 words (two A4 size pages);
2. Final individual written essay (counting or 75% of the final grade) with the maximum dimension of 6000-7000 words (15 A4 paper size pages),. Bibliographic references do not enter in the word count.
All the written text must include bibliography that was used, and should follow the graphic procedures applied by the school ESPP.
There is no oral presentations.
The final essay, analytical and reflexive, must be done by choosing only one of the following themes: a) a critical reflection on the theoretical subjects presented in the unit; b) a critical analysis of a text indicated in the basic bibliography; c) a critical report on the field trip.
For the evaluation, assiduity is not considered, though class attendance allows for a more fruitful participation of students ins the theoretical debates towards a better fulfilling of the learning objectives, as well as it allows for clarifying doubts, thus contributing towards a better individual assessment.
Title: Choay, F. (2008). A alegoria do Património. Edições 70.
Custódio, J. (Coord). (2010). 100 anos de Património. Memória e Identidade: Portugal 1910-2010. IGESPAR.
Guillaume, M. (2003). A política do património. Campo das Letras.
Lacroix, M. (1999). O princípio de Noé ou a ética da salvaguarda. Instituto Piaget.
Lowenthal, D. (1985). The Past is a Foreign Country. Cambridge University Press.
Ortigão, R. (2006). O Culto da Arte em Portugal. Esfera do Caos.
Riegl, A. (2016). O culto moderno dos monumentos e outros ensaios estéticos. Edições 70.
Silva, J. H. P. da (1980). Pretérito Presente: para uma teoria da preservação do património histórico-artístico. SEC/CNDP.
Smith, L. (2006). Uses of Heritage. Routledge.
Tilden, F. (1967). Interpreting Our Heritage. The University of North Carolina Press.
Waterton, E. & Watson, S. (Eds.) (2015). The Palgrave Handbook of Contemporary Heritage Research. Palgrave Macmillan.
Authors:
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Title: Blockley, M. & Hems, A. (Eds.) (2006). Heritage Interpretation: Theory and Practice: Issues in Heritage Management. Routledge.
Choay, F. (2011). As questões do Património. Antologia para um combate. Edições 70.
De la Torre, M. (2013). Values and Heritage Conservation. Heritage & Society, 60 (2), 155?166.
Fairclough, G. (Ed.) (2008). The heritage reader. Routledge.
Folgado, D. (2005). O património e os dois ?ii? ? integrar ou ignorar: a propósito de A política do património de Marc Guillaume. Trabalhos de Antropologia e Etnologia, 45 (3-4), 51-66.
Hooper, G. (Ed.) (2018). Heritage at the Interface, Interpretation and Identity. University Press of Florida.
Jokiletho, J. (2004). A history of architectural conservation. Elsevier Butterworth-Heinemann.
Lopes, F. & Correia, M.B. (2004). Património Arquitectónico e Arqueológico: cartas recomendações e convenções internacionais. Livros Horizonte.
Lopes, F. (2012). Património Arquitectónico e Arqueológico. Noção e Normas de Proteção. Caleidoscópio.
Macedo, S. C. (2018). Associações de defesa do património em Portugal (1974-1997). Caleidoscópio.
Mohen, J.-P. (1999). Les sciences du patrimoine: identifier, conserver, restaurer. Odille Jacob.
Rizzo, I. & Mignosa, A. (Eds.) (2013). Handbook on the Economics of Cultural Heritage. Edward Elgar Publishing Limited.
Smith, L. & Akagawa, N. (Eds.) (2009). Intangible Heritage: Key Issues in Cultural Heritage. Routledge.
Authors:
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Organizations, Professions and Creativity
To provide analytical tools that enable the postgraduate students to assess the dimensions and dynamics of creativity at the global scenarios of the fields of arts, crafts, cultural and recreation industries, as well as heritage. A particular emphasis will be given to the labor market situation and the shapes of organization and management of companies and groups operating in the setor , distinguishing profitable activities / non-profit, public / private, in partnerships or through hybrid models.
Program1. Organizations:
Teams, times of work and organizational cultures
Spaces and venues, programs and artistic projects
Strategies, power and leadership
Networks of art and culture
2. Professionals:
Profiles, careers and professional cultures
Recruitment, remuneration, training and mobility
Value, reputation and renown
Employment and artistic and cultural labor markets
3. Ressources:
Policies and financing (public and private)
Crowfunding, sponsorship and patronage
Markets: fom supported to business and hibrid models.
Assessment can be:
a) assessment throughout the semester, consisting of two assessment elements: a written test (weighting 40%) and an individual assignment of up to 10 pages to be handed in at the end of the semester on one of the topics on the programme (weighting 60%). The topics and assignments are discussed with the students;
b) assessment by final exam (weighting 100%.
Title: Borges, V., Estudo de Avaliação do Impacto das Bolsas e Apoios às Artes, nas áreas da Formação e da Criação, da Fundação Calouste Gulbenkian. Lisboa: FCG & CIES-ISCTE. ISBN 978-972-8048-80-8., 2022, Borges, V. (coord). (2020). Estudo de Avaliação do Impacto das Bolsas e Apoios às Artes, nas áreas da Formação e da Criação, da Fundação Calouste Gulbenkian. Lisboa: FCG & CIES-ISCTE. ISBN 978-972-8048-80-8.,
Borges, V. & Veloso, L. (2020). Emerging patterns of artistic organizations in Portugal: A three-case studies analysis, Sociologia del Lavoro, 157: 84-107. DOI 10.3280/SL2020-157005.
Menger, P.-M., Retrato do artista enquanto trabalhador. Metamorfoses do Capitalismo, 2005, Menger P.-M. (2005). Retrato do artista enquanto trabalhador. Metamorfoses do Capitalismo. Lisboa: Roma Editora.,
Comissão Europeia. (2023). O plano de trabalho da UE para a cultura 2023-2026. Official Journal of the European Union.
Morató, A. R. & Santana-Acuña, A. 2023. Sociology of the Arts in Action. New Perspectives on Creation, Production, and Reception. DOI https://doi.org/10.1007/978-3-031-11305-5.
Liz, M. & Owen, H. (2023). Realizadoras portuguesas. Cinema no Feminino na Era Contemporânea. Lisboa: ICS.
Pais, J. M., Magalhães, P. & Antunes, M. L. (2021). Práticas Culturais dos Portugueses. Inquérito 2020. Lisboa: ICS.
Becker, H., Faulkner, R. & Kirshenblatt-Gimblett, B. (Eds.) (2006). Art from start to finish: Jazz, painting, writing, and other improvisations. Chicago: University of Chicago Press.
Authors:
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Title: Banks, M. (2015). Valuing Cultural Industries. In K. Oakley & J. O’Connor (Eds.), The Routledge Companion to the Cultural Industries. Abingdon: Routledge, 51–60.
Ferro, L., Nico, M., Abrantes, M., Veloso, L. & Caeiro, T., Ser artista imigrante em Portugal: uma análise de perfis socioprofissionais, 2016, (2016). Ser artista imigrante em Portugal: uma análise de perfis socioprofissionais, Análise Social, 221, li (4.º), 850-884., https://repositorio.iscte-iul.pt/bitstream/10071/12835/5/AS_221_art04.pdf.
Comunian, R. & England, L. (2020). Creative and Cultural work without filters: Covid-19 and exposed precarity in the creative economy, Cultural Trends, 29 (2): 112-128. DOI: 10.1080/09548963.2020.1770577.
Holden, J. (2015). The Ecology of Culture. Arts and Humanities Research Council’s Cultural Value Project.
Lundin, R. A., Arvidsson, N., Brady, T., Ekstedt, E., Midler, C. (2015). Managing and working in project society. Institutional Challenges of Temporary Organizations. Cambridge University Press.
Menger, P.-M., Talent and inequalities: what do we learn from the study of artistic occupations?, 2012, Menger, P. -M. (2012). Talent and inequalities: what do we learn from the study of artistic occupations?. In V. Borges & P. Costa (Eds.), Criatividade e Instituições. Os Novos Desafios aos Artistas e Profissionais da Cultura. Lisboa: Imprensa de Ciências Sociais, 49-75.,
Menger, P.-M. (2014). The Economics of Creativity. Art and Achievement under uncertainty. Harvard University Press.
Authors:
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Management Control for Cultural Organizations
At the end of the course, students should be able to:
1. Distinguish the main cost taxonomies and be able to apply them to support decision-making in organizations in the creative and cultural industries.
2. Formulate the cost-volume-profit (CVP) theory and apply it to estimate results in organizations in the creative and cultural industries.
3. Know how to determine the break-even point and the safety margin in a cultural organization.
4. Characterize the activity-based costing (ABC) system and differentiate it from the traditional cost allocation system.
5. Explain the instruments and importance of behavioral management control for the management of organizations in the creative and cultural industries.
1 - Costs and Decision Making
1.1. Management functions and types of accounting
1.2. Direct and indirect costs
1.3. Allocation of indirect costs: traditional method
1.4. Fixed costs and variable costs
1.5. Relevant and irrelevant costs
1.6. Incremental costs and incremental revenues
1.7. Opportunity costs
1.8. Controllable and non-controllable costs
2 - Cost-Volume-Profit (CVP) Analysis
2.1. Cost behavior in the face of variations in the level of activity: fixed and variable costs
2.2. Assumptions and limitations of CVP analysis
2.3. Break-even-point and safety margin
2.4. Profits estimation
3 - Activity-Based Costing (ABC)
3.1. Origins and execution of ABC
3.2. ABC and the traditional method of cost allocation
4 - Behavioral Management Control
4.1. Management control, behaviours and motivational instruments
4.2. Responsibility centers
4.3. Performance assessment of responsibility centers
4.4. Internal transfer pricing
4.5. Dialogue instruments
Two modalities of assessment:
1. Assessment throughout the semester:
- Individual and/or group cases (thematic): 10%
- Group work, with possible oral discussion: 30%.
- Individual written test: 60%
Requirements:
- Execution of cases and evaluation work.
- Minimum average of 10 points in cases and assessment work.
- Minimum score of 8 points in the individual written test.
Attendance:
- There is no minimum attendance.
2. Assessment by exam:
- Individual written exam: 100%.
Grade defense: eventual defense of a grade, oral or written, for a classification higher than 16, in any of the modalities.
Title: 1. Drury, C. (2022), Management Accounting for Business, 8th Edition, Cengage Learning EMEA.
2. Merchant, K. A. and Van der Stede, W. A. (2023), Management Control Systems, 5th Edition, Financial Times/Prentice Hall.
Authors:
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Title: 1. Franco, V. F. et al., (2010), Os Custos, os Resultados e a Informação par a Gestão, 4ª Ed., Lisboa: Livros Horizonte.
2. Jordan, H., Neves, J. C. e Rodrigues, J. A. (2021), O Controlo de Gestão - Ao Serviço da Estratégia e dos Gestores, 11ª Ed., Lisboa: Áreas Editora.
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Globalization, Art and Culture
a) Knowledge on the main theoretical perspectives about modernity and globalization, centered on the analysis of cultural and artistic pratices.
b) Ability to think critically, discuss and write on the main points of the program.
c) Capaciy to apply knowledge to research and intervention.
1. Modernity and Globalization: cultural dinamics
1.1. Modernity, complexification and individualization
1.2. The paradoxes of cultural globalization
1.3. From global processes to the singularity of cultural strategies
2. The Space of Art: systemic complexity
2.1. Art and artists: autonomization, configurations and regulatory processes
2.2. Artistic practices and mediation-reception processes: multipolarities, networks and interdependencies
2.3. New centers and new margins: hibridity, fragmentation, instability and singularity
Gradings will result from the evaluation of the final written paper and of student participation in classes. Students who fail the course, may take the final written exam.
BibliographyTitle: MELO, Alexandre (2002), Globalização Cultural, Lisboa: Quimera.
MELO, Alexandre (2001), Arte, Lisboa: Quimera.
LIPOVETSKI, Gilles & Hervé JUVIN (2011), O Ocidente Mundializado: controvérsia sobre a cultura planetária, Lisboa: Edições 70.
BAUMAN, Zygmunt (2016), Stranges at Our Door, Cambridge/Malden Polity Press.
APPADURAI, Arjun (2004), Dimensões Culturais da Globalização: A modernidade sem peias, Lisboa: Teorema.
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Title: Waters, Malcolm (1999), Globalização, Oeiras, Celta Editora.
Wallerstein, Immanuel (1990-1994), O sistema mundial moderno, Porto, Edições Afrontamento.
Tomlinson, John (1999) ; "Globalization and Culture" ; Polity Press.
Smith, Terry ; Enwezor, Okwui ; Condee, Nancy ( 2008 ) ; "Antinomies of Art : Modernity, Postmodernity, Contemporaneity " ; Durham e Londres, Duke.
Robertson, Roland ( 1992 ) ; "Globalization : Social Theory and Global Culture"; Londres, Thousand Oaks e Nova Deli, Sage.
Pieterse, Jan Nederveen (2009) ; "Globalization and Culture", Rowman & Littlefield.
Meneguzzo, Marco (2012) ; "Breve Storia della Globalizzazione in arte (e delle sue conseguenze)" ; Johan & Levi.
Melo, Alexandre (2016); "Arte e Poder na Era Global" (2016) ; Lisboa, Documenta.
Melo, Alexandre (2012), "Sistema da Arte Contemporânea" ; Lisboa, Documenta.
Melo, Alexandre (2002), Globalização Cultural, Lisboa, Quimera Editores.
Lyotard, Jean-François (1989), A condição pós-moderna, Lisboa, Gradiva.
Lipovetsky, Gilles e Serroy, Jean (2010), A Cultura-Mundo : resposta a uma sociedade desorientada, Lisboa, Edições 70.
Lipovetsky, Gilles (1988), A Era do Vazio: ensaio sobre o individualismo contemporâneo, Lisboa, Relógio D'Água.
Harris, Jonathan (ed.) ( 2011 ) , Globalization and Contemporary Art ; Wiley-Blackwell.
Hall, Stuart (2004), A identidade cultural na pós-modernidade, Rio de Janeiro, DP & A Editora.
Giddens, Anthony (2000), O Mundo na Era da Globalização, Lisboa, Editorial Presença.
Giddens, Anthony (1994), Modernidade e Identidade Pessoal, Oeiras, Celta Editora.
Featherstone, Mike (1991), Consumer Culture and Postmodernism, London, Sage.
Castells, Manuel (2002), A Era da Informação - Vol. I: A sociedade em rede, Lisboa, Fundação Calouste Gulbenkian.
Calinescu, Matei (1999), As 5 faces da Modernidade, Lisboa, Vega.
Belting, Hans ; Buddenensieg, Andrea ; Weibel, Peter (ed.) ( 2013 ) , "The Global Contemporary and the Rise of New Art Worlds" ; Karlsruhe , ZKM / Cambridge e Londres, MIT.
Bauman, Zygmunt (2000), Liquid Modernity, Cambridge, Polity Press
Barrento, João (2001), "Que significa "moderno"?", in A espiral vertiginosa - ensaios sobre a cultura contemporânea, Lisboa, Cotovia, pp. 11-45.
Appadurai, Arjun (ed.) ( 2001 ) ; "Globalization" ; Durham e Londres, Duke.
Appadurai, Arjun (2004), Dimensões culturais da globalização: A modernidade sem peias, Lisboa, Teorema.
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Heritage Cultural Projects
At the end of the CU, each student will be able to:
LO1- To identify the main components of the cultural projects;
LO2- To place the project as a tool for cultural action, focusing on the Portuguese cultural context;
LO3- To identify the methods and techniques for the design of cultural projects, including assessment;
LO4-To identify the main opportunities for the construction of cultural projects, specifically on heritage;
LO5- To apply knowledge towards the construction of a project;
LO6- The present and communicate a cultural project.
PC1 - Introductory concepts
1.1. Definition of Cultural Heritage;
1.2. Project definition and characteristics;
1.3. Working witj projects in the cultural sector
PC2 - Designing a cultural project
2.1. Diagnosis
2.2. Project definition
2.3. Project Production
2.4. Project evaluation
2.5. The pitch
PC3 - The Portuguese cultural sector
3.1. Delimitation of the CS in Portugal;
3.2. Cultural public policies;
3.3. Players
3.4. The Cultural Heritage domain
3.5. Field of action for implementing cultural projects; the specific case of tourism projects
3.6. Economic characteristics: Needs and opportunities
Assessment throughout the semester.
The instrument for evaluation is the elaboration of a cultural project, and consists on two elements:
1) Individual oral presentation (counting for 30% of the final grade), using a pechakucha model (20 slides maximum, with 20 seconds each, in case of a multimedia presentation);
2) Individual written essay, concerning the previously oral presentation (counting for 70% of the final grade). Essays should respect a dimension between 6000-7000 words (15 A4 sized pages), without counting the bibliography. Bibliography is mandatory. The essay should follow the graphic model used in the ESPP.
For the project to develop, students should focus their ideas towards the following work themes: a) heritage and tourism; b) heritage and the arts; c) heritage and communications; d) heritage and interpretation; e) heritage and digital transition; f) heritage and governance and public policies.
Assiduity is not an evaluation criteria but student's presence in the classroom stimulates debate, promotes a better aprehension of contents and allows for clarifying doubts "in the spot".
Title: BONET, Lluís, CASTAÑER, Xavier e FONT, Josep (eds.) (2006[2001]), Gestión de Proyectos Culturales: Análisis de Casos, Barcelona, Ariel.
GINSBURGH, V. A. e THROSBY, D., (eds.) (2006), Handbook of the Economics of Art and Culture, vol 1, Amsterdão, Elsevier, (E.172 Han v.1 2 ex)
PATIN, Valéry (1999), ?Cultura e Turismo: para uma Economia de Mercado? in Pedra&Cal, Ano I, nº 3, Jul/Ago/Set.
RALLET, Alain (2001), ?Le Patrimoine et l?Économie? in Pays d?Art et d?Histoire et Pôles d?Économie du Patrimoine, Paris, La Documentation Française.
ROSELLÓ-CEREZUELA, David (2007[2004]), Diseño y Evaluación de Proyectos Culturales, Barcelona, Ariel.
SARLANGA, Emmanuelle (1997), Les Routes Touristiques. De la Conception à l?Animation, Paris, ACFCI.
TINOCO, Alfredo (2012), "Alfredo Tinoco: Artigos e comunicações", Cadernos de Sociomuseologia, 42.
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Title: AAVV (2004), Públicos da Cultura, Lisboa, OAC.
AAVV (2006), The Economy of Culture in Europe, Bruxelas, KEA (document eletrónico)
CARVALHO, José Maria Lobo de (2007), Conservação do Património. Políticas de Sustentabilidade Económica, Tese de Doutoramento apresentada ao Instituto Superior Técnico da Universidade Técnica de Lisboa.
FORTUNA, Carlos e LEITE, Rogerio Proença (orgs.) (2009), Plural de Cidade: Novos Léxicos Urbanos, Coimbra, Almedina.
GREFFE, Xavier (1999), La Gestion du Patrimoine Culturel, Paris, Anthropos.
MENGER, Pierre-Michel (2005[2002]), Retrato do Artista Enquanto Trabalhador. Metamorfoses do Capitalismo, Lisboa, Roma Editora.
SANTOS, Maria de Lourdes Lima dos e PAIS, José Machado (orgs.) (2010), Novos Trilhos Culturais. Práticas e Políticas, Lisboa, ICS.
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Portuguese Contemporary Culture
(a) acquisition of knowledge about the history of Portuguese culture, between 1830 and 1945;
(b) contact with authors and major works of contemporary Portuguese culture;
(c) understanding the evolution of modern Portuguese culture, his most striking ruptures and continuities, in the cultural and social context, national and international.
Introdution
Society, Culture and Politics in Contemporary Portugal
1. Romanticism: culture and politics
1.1. Liberal intellectuals' proselytizing
1.2. History, popular culture and cultural heritage
2. The positivist culture: the power of the experts
2.1. The program of "mental and moral reforms to the political and social transformations"
2.2. History, pedagogy and democratic revolution
3. New cultural and political trends (c.1870-c.1920)
3.1. The Generation 70:the program of the "new generation"
3.2. Literary and cultural nationalism in the end of the XIX century
3.3. The "Renascença Portuguesa"
3.4. The "Integralismo Lusitano"
3.5. The "Geração do Orpheu"
3.6. António Sérgio and "Seara Nova" group
4. The decades of 30 and 40: obstacles and challenges
4.1. The "Presença", art as a "finality without end"
4.2. The neo-realists, in defense of the disinherited
4.3. The Surrealists, "a new aesthetic mentality"
4.4. Intellectuals and the Estado Novo
Periodic assessment consists of three elements: (1) Attendance and class participation (10%); (2) Individual work (50%); (3) Oral presentation (40%)). Alternatively, the student makes a final exam corresponding to a similar level of knowledge required in the periodic evaluation.
Title: REAL, Miguel, O Pensamento Português Contemporâneo 1890-2010, Lisboa, Imprensa Nacional-Casa da Moeda, 2011
RAMOS, Rui, "Os dissidentes", "A traição dos intelectuais", "Os inadaptados" in J. Mattoso (dir.), História de Portugal, Vol. VI, Lisboa, Círculo de Leitores, 1994, pp. 55-62, 529-565, 615-665
PINA, Ana Maria, A Quimera do Ouro. Os Intelectuais Portugueses e o Liberalismo, Oeiras, Celta Editora, 2003
MATOS, Sérgio Campos, Consciência Histórica e Nacionalismo, Lisboa, Livros Horizonte, 2008
LOURENÇO, Eduardo, O Labirinto da Saudade, Lisboa, Gradiva, 2000 [1975]
HOMEM, Amadeu Carvalho, Do Romantismo ao Realismo. Temas de Cultura Portuguesa (séc. XIX), Porto, Fundação Engenheiro António de Almeida, 2005
CATROGA, Fernando e CARVALHO, Paulo Archer de, Sociedade e Cultura Portuguesas II, Lisboa, Universidade Aberta, 1996
BUESCU, Helena (coord.), Dicionário do Romantismo Literário Português, Lisboa, Caminho, 1997
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Title:
CORREIA, Natália, O Surrealismo na Poesia Portuguesa, Mem-Martins, Europa-América, 1973
VASCONCELOS, Mário Cesariny de, A Intervenção Surrealista, Lisboa, Ulisseia, 1966
FRANÇA, José Augusto, A Arte em Portugal no Século XX (1911-1961), 3ª ed., Venda Nova, Bertrand, 1991
Surrealismo
Vértice, Lisboa, Caminho, 1996, nº75
Vértice, Lisboa, Caminho, 1989, nº21
VALE, António (pseudónimo atribuído a Álvaro Cunhal), ?Cinco notas sobre forma e conteúdo?, Nova Renascença, 1992, nº 45-47, pp.511-528
MADEIRA, João, Os Engenheiros de Almas: o Partido Comunista e os Intelectuais, Lisboa, Estampa, 1996 (Terceira Parte, cap. IV, pp.277-314)
LOURENÇO, Eduardo, Sentido e Forma da Poesia Neo-realista, Lisboa, Ulisseia, 1968
REIS, Carlos, O Discurso Ideológico do Neo-realismo Português, Coimbra, Almedina, 1983
REIS, Carlos (org.), Textos Teóricos do Neo-realismo Português, Lisboa, Comunicação, 1981
Neo-realismo
SIMÕES, João Gaspar, ?Como nasceu e morreu a ?Presença? in José Régio e a História do Movimento da ?Presença?, Porto Brasília Editora, 1977, pp.141-205
SENA, Jorge de, Régio, Casais, a ?Presença? e outros afins, Porto, Brasília, 1977 (Cap. II, pp. 59-80)
LOURENÇO, Eduardo, Cultura e Política na Época Marcelista (entrevista de Mário Mesquita), Lisboa, Cosmos, 1996
LOURENÇO, Eduardo, ?Sobre Régio? [1973], in O Canto do Signo ? Existência e Literatura (1957-1993), Lisboa, Editorial Presença, 1993, pp.136-149
LISBOA, Eugénio, O Segundo Modernismo em Portugal, 2ª ed., Lisboa, Instituto de Cultura Portuguesa, 1984 (Cap.II, pp.27-61 e Cap.III, pp.63-75)
GUIMARÃES, Fernando, Ob. Cit., (pp. 5-60, 99-115, 137-164)
Presença
4. A cultura em Portugal nas décadas de vinte, trinta e quarenta
LOPES, Fernando Farelo, ?O liberalismo decadente da Seara Nova (algumas hipóteses) in O Fascismo em Portugal, Lisboa, A Regra do Jogo, 1982, pp.141-165
CARDIA, M. Sottomayor, ?Para a compreensão do ideário do primeiro grupo seareiro? in Seara Nova ? Antologia, Lisboa, 1971, Vol. I, pp.13-84
CABRAL, Manuel Villaverde, ?The Seara Nova group and the ambiguities of portuguese liberal elitism?, Portuguese Studies (London), IV,1988, pp.181-195
Seara Nova
FREIRE, João, Anarquistas e Operários, Porto, Afrontamento, 1992
FONSECA, Carlos da, Para uma Análise do Movimento Libertário e da sua História, Lisboa, Antígona, 1988
Movimento anarquista
QUADROS, António, O Primeiro Modernismo Português. Vanguarda e Tradição, Lisboa, Europa-América, 1989
NEVES, João Alves das, O Movimento Futurista em Portugal, 2ª ed.,1987
JÚDICE, Nuno, ?O Futurismo em Portugal? in Portugal Futurista, 2ª edição facsimilada, Lisboa, Contexto Editora, 1982, pp.VII-XVII
GERSÃO, Teolinda, ?Para o estudo do futurismo literário em Portugal? in Portugal Futurista, 2ª edição facsimilada, Lisboa, Contexto Editora, 1982, pp.XXI-XXXIX
Geração do Orpheu
CARVALHO, P. Archer de, ?Memória mítica da nação ? o caso do Integralismo Lusitano?, Vértice, nº 61, 1994, pp. 51-66
Integralismo Lusitano
SAMUEL, Paulo, A Renascença Portuguesa ? Um Perfil Documental, Porto, Fundação Eng.º António de Almeida, 1990 (contém manifestos, registos históricos, textos de polémicas e índices das revistas do movimento)
SANTOS, A. Ribeiro dos, A Renascença Portuguesa ? um Movimento Cultural Portuense, Porto, Fundação Eng.º António de Almeida, 1990
PEREIRA, José Carlos Seabra, ?Tempo neo-romântico?, Análise Social, nº77-78-79, 1983, pp.845-873
Nova Renascença, nº especial da revista, dedicado ao 75º aniversário da Renascença Portuguesa, Porto, 1987, nº27-28
FRANÇA, José Augusto, Os Anos Vinte em Portugal, Estudo de Factos Sócio-culturais, Lisboa, Presença, 1992 (III parte, cap. VII, pp.417-446)
Renascença Portuguesa
Nova Renascença, nº especial da revista, dedicado ao simbolismo, Porto, 1989-1990, nº35-38
GUIMARÃES, Fernando, Poética do Simbolismo, Lisboa, Presença, 1988
GUIMARÃES, Fernando, ?Simbolismo: a procura da originalidade?; in Simbolismo, Modernismo e Vanguardas, 2ª ed., Porto, Lello e Irmão, 1992
DUARTE, Isabel Margarida, SILVA, Augusto Santos, ?A. Nobre, problemas de uma aproximação cultural?, Colóquio /Letras, 64, 1981, pp. 31-40
DIAS, Augusto da Costa, A Crise da Consciência Pequeno-Burguesa ? o Nacionalismo Literário da Geração de 90, Lisboa, Editorial Estampa, 1977, 3ª ed.
Geração de 90
SARAIVA, António José, A Tertúlia Ocidental. Estudos sobre Antero de Quental, Oliveira Martins, Eça de Queirós e Outros, Lisboa, Gradiva, 1990
RAMOS, Rui ?Os intelectuais no estado liberal? in Benedicta Mª Duque Vieira (org.), Grupos Sociais e Estratificação Social em Portugal no Século XIX, Lisboa, CEHCP, 2004, pp.107-134
PIRES, A. Machado, A Ideia de Decadência na Geração de 70, Lisboa, Vega, 1992 (Parte I, Cap. 2 e 3, pp. 91-128)
PINA, Ana Maria, ?Geração de 70 e Geração de 98: ?sociedade? versus ?comunidade??, in Serrão, J.V.; Pinheiro, Magda de Avelar; Ferreira, Maria de Fátima Sá e Melo (orgs.), Desenvolvimento Económico e Social. Portugal nos últimos dois séculos. Homenagem a Miriam Halpern Pereira, Lisboa, ICS. Imprensa de Ciências Sociais, 2009, pp.613-626
PINA, Ana Maria, ?O ?Pão? e a ?Alma? na política liberal?, Ler História, 2002, nº 43, pp.141-156
MAURÍCIO, Carlos, A Invenção de Oliveira Martins. Política, Historiografia e Identidade Nacional no Portugal Contemporâneo (1867-1960), Lisboa, Imprensa Nacional/Casa da Moeda, 2005
MACHADO, Álvaro Manuel, ?A Geração de 70: uma literatura de exílio? in O Século XIX em Portugal, colóquio organizado pelo GIS, Lisboa, Editorial Presença/GIS, s.d., pp.413-426
MACHADO, Álvaro Manuel, A Geração de 70 - uma Revolução Cultural e Literária, Lisboa, Instituto de Cultura Portuguesa, 1977
CATROGA, Fernando, ?Os caminhos polémicos da ?Geração Nova?? in J. Mattoso (dir.), História de Portugal, Vol. V, Lisboa, Círculo de Leitores, 1993, pp. 569-573
CABRITA, Maria João, A Ideia de Justiça em Antero de Quental, Lisboa, Ímanedições, 2002 (Cap. I, pp. 35-87)
Geração de 70
3. Novas correntes culturais e políticas (c.1870-c.1920)
VAZ, Maria João, Crime e Sociedade. Portugal na Segunda Metade do Século XIX, Oeiras, Celta, 1998, pp.31-44 e 63-75
VAQUINHAS, Irene Maria, ?O conceito de ?decadência fisiológica da raça? e o desenvolvimento do desporto em Portugal (finais do século XIX/ princípios do século XX)?, Revista de História das Ideias, Vol. 14, 1992, pp. 365-387
PINA, Ana Maria, ?Criminosos, crianças e selvagens. A maldade humana na cultura portuguesa, no ocaso do século XIX?, Ler História, 2007, 53, pp.113-134
PEREIRA, Ana Leonor, Darwin em Portugal. Filosofia, História, Engenharia Social (1865-1914), Coimbra, Almedina, 2001
MATOS, Sérgio Campos, Historiografia e Memória Nacional no Portugal do Séc. XIX (1846-1898), Lisboa, Ed. Colibri, 1998 (Parte IV)
HOMEM, Amadeu carvalho, ?O positivismo perante as propostas marxistas e demoliberal?, Análise Social, 2001, nª 158-159
CATROGA, Fernando, ?Cientismo, política e anticlericalismo? in J. Mattoso (dir.) História de Portugal, Vol. V, Lisboa, Círculo de Leitores, 1993, pp. 583-593
CATROGA, Fernando, ?Os inícios do positivismo em Portugal? in Revista de História das Ideias, Vol. I, 1977, pp. 287-394
2. A cultura positivista
PEREIRA, José Esteves, ?Almeida Garrett: Liberalismo e Romantismo? in Garrett às Portas do Milénio, Lisboa, Edições Colibri, 2001, pp.155-168
FERREIRA, Fátima Sá e Melo, ?Povo-povos?, Ler História, 2008, nº 55, pp.141-154
CATROGA, Fernando, ?Romantismo, literatura e história? in J. Mattoso (dir.), História de Portugal, Vol. V, Lisboa, Círculo de Leitores, 1993, pp.545-562
CATROGA, Fernando, ?Alexandre Herculano e o Historicismo romântico? in L.R. Torgal, J.A. Mendes e F. Catroga (org.), História da História em Portugal, Sécs. XIX e XX, Lisboa, Círculo de Leitores, 1996, pp. 39-86
1.O romantismo: cultura e política
Authors:
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Cultural Marketing
The central objective of the culture and art communication and cultural Marketing course focuses on understanding the role of culture and art communication in general and cultural marketing, in particular in the preparation, implementation and evaluation of cultural and artistic realization.
The course aims the acquisition of skills in the field of: 1) theoretical tools necessary to understand the mechanisms of marketing techniques and communication; 2) methodological tools for the implementation of both tools to situations in which concrete action current of cultural agents.
Introduction
1-Creativity and bureaucracy
The arts organisation: core business; the rest of the organisation; the mission; the role of the administrative diretor ; performance measurements.
2-What is marketing?
-A product is a set of benefits as they are perceived by the consumer.
-Components of a product: artistic product itself, spin-offs products, related services, and the consumer’s experience of the product.
-A cultural product is a complex, multidimensional product.
-A cultural product is a specialised product. What does this means for arts marketers?
-Cultural products bear the characteristics of a service
3-Markets
Consumer’s market. Government market. Private setor . Partners.
Consumer Behaviour in the Arts
One of the task of the marketing function is to gain an understanding of the consumers of given markets.
- Who are the consumers? Why do they go or do not go to arts events? How do they make their decision?
4-Remaining Marketing Variables
The assessment takes into account the following parameters and their weight in the final standings: 1) attendance and quality participation in class - involvement in discipline, hard work, criticism and self-critical and timely fulfillment of the tasks (25%); 2) presentation of a lesson in teamwork from an empirical report with data on subjects studied in the discipline (35%); 3) development of a critical review of selected works by student and approved in advance by the teacher (40%).
BibliographyTitle: -Colbert, François, Marketing culture and the arts, Montréal, École des Hautes Études Commerciales, 2001.
-Colbert François, Carmelle e Rémi Marcoux, Marketing Planning for Culture and the Arts, Montreal, École des Hautes Études Commerciales, 2008.
-Bernstein, Joanne Scheff, Arts Marketing Insights, Jossey-Bass Pub., 2006.
-Curvelo, Rita, Marketing das Artes em Direto , Lisboa, editora Quimera, 2009.
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Title: -
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Digital Storytelling and Transmedia Entertainment
At the end of this curricular unit students should be able to:
LO1: to understand the main trends in the contemporary media landscape, perceiving the social and technological conjuncture that has potentiated (and power) this specific type of narrative construction.
LO2: list several proposals for definition of the category "transmedia" and similar like crossmedia, being able to identify where the different visions overlap or diverge.
LO3: have a historical look at this type of narrative construction in various media.
LO4: List the main characteristics of transmedia narratives, knowing how to frame and apply the main theoretical contributions in practice.
LO5: developing a transmedia project, in its various phases, proactively mobilizing the taught manual of good practices of transmedia storytelling.
LO6: analyzing a transmedia narrative.
This curricular unit deals with the study of transmedia narratives, unfolding the pedagogical course on several articulated dimensions.
P1: Proposals for the definition of "transmedia" category and similar terms.
P2: Genealogy of this type of narratives.
P3: Key features of a transmedia narrative.
P4: Strategies for building a transmedia narrative on various platforms.
P5: Methods for a transmedia project analysis.
Assessment throughout the semester consists of 2 moments of presentation in class (30%) and 1 of written work (70%):
1) oral presentation of the theme of the final work (10%)
2) oral presentation and problematization of the final work (20%) and
3) an individual written work weighing 70%, with a theoretical/conceptual component, complemented with a practical case study or project.
The possibility of assessment throughout the semester implies a minimum attendance of 2/3 of classes.
Assessment by exam will be through written work with a weight of 100%.
There is no possibility of an oral test.
Title: Gambarato, Renira Rampazzo (2013). 'Transmedia Project Design: Theoretical and Analytical Considerations', Baltic Screen Media Review 1, 81-100.
Gambarato, Renira R. et al (2020. Theory, Development, and Strategy in Transmedia Storytelling, Routledge.
Freeman, Matthew & Gambarato, Renira Rampazzo (eds.) (2019). The Routledge Companion to Transmedia Studies. Routledge
Jenkins, Henry (2006). Convergence Culture. Where Old and New Media Collide, New York and London. University Press.
Pratten, Robert (2011). Getting Started in Transmedia Storytelling. A Practical Guide for Beginners.
Scolari, Carlos (2013). Narrativas Transmedia: Cuando Todos Los Medios Cuentan. Deusto
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Title: Bernardo, Nuno (2011) The Producer's Guide to Transmedia. How to Develop, Fund, Produce and Distribute Compelling Stories Across Multiple Platforms, Lisbon, beActive books.
Bernardo, Nuno (2013) Transmedia 2.0, How to create an entertainment brand using a transmedial approach to storytelling, Lisbon, beActive books.
Dena, Christy (2009) Transmedia Practice: Theorising the practice of expressing a fictional world across distinct media and environments. PhD Thesis, School of Letters, Art and Media, Sydney
Evans, Elizabeth (2011). Transmedia Television: Audiences, New Media, and Daily Life. Sage
Edmond, Maura (2015) 'All platforms considered: Contemporary radio and transmedia engagement', New Media & Society 17(9), 1566-1582
Evans, Elizabeth (2015) 'Layering Engagement: The Temporal Dynamics of Transmedia Television', Storyworlds: A Journal of Narrative Studies 7(2), 111-19.
Evans, Elizabeth (2008) 'Character, audience agency and transmedia drama', Media, Culture & Society 30(2), 197-213
Gambarato, Renira Rampazzo & Geane C. Alzamora (eds.) (2018). Exploring Transmedia Journalism in the Digital Age. IGI Global
Gambarato, Renira Rampazzo & Lorena Peret Teixeira Tárcia (2016) 'Transmedia Strategies in Journalism', Journalism Studies, 1-19.
Graves, Michael (2011) 'Lost in a Transmedia Storytelling Franchise: Rethinking Transmedia Engagement'. PhD Thesis, Film and Media Studies and the Graduate Faculty of the University of Kansas, Kansas
Jenkins, Henry (2003), "Transmedia Storytelling. Moving characters from books to films to video games can make them stronger and more compelling", MIT Technology Review, (Online). Available at: http://www.technologyreview.com/news/401760/transmedia- storytelling/.
Jenkins, Henry (2007), "Transmedia Storytelling 101", Confessions of an Aca-Fan. The Official Weblog of Henry Jenkins, (Online). Available at: http://henryjenkins.org/2007/03/ transmedia_storytelling_101.html.
Jenkins, Henry (2009a), "The Revenge of the Origami Unicorn: Seven Principles of Transmedia Storytelling (Well, Two Actually. Five More on Friday)", Confessions of an Aca- Fan. The Official Weblog of Henry Jenkins, (Online). Available at: http://henryjenkins.org/ 2009/12/the_revenge_of_the_origami_uni.html.
Jenkins, Henry (2009b), "Revenge of the Origami Unicorn: The Remaining Four Principles of Transmedia Storytelling", Confessions of an Aca-Fan. The Official Weblog of Henry Jenkins, (Online). Available at: http://henryjenkins.org/2009/12/ revenge_of_the_origami_unicorn.html.
Jenkins, Henry (2010), "Transmedia Storytelling and Entertainment: An annotated syllabus", Continuum: Journal of Media & Cultural Studies, XXIV, (6), pp.943-958.
Jenkins, Henry, Sam Ford and Joshua Green (2013), Spreadable Media. Creating Value and Meaning in a Networked Culture, New York and London, New York University Press.
Long, Geoffrey A. (2007), Transmedia Storytelling. Business, Aesthetics and Production at the Jim Henson Company, Master Thesis in Comparative Media Studies, Massachusetts Institute of Technology, Cambridge
Mittell, Jason (2013), "Forensic Fandom and the Drillable Text", Spreadable Media: Enhanced Version, (Online). Available at: http://spreadablemedia.org/essays/mittell/#.VHqBXmSsWtu.
Moloney, Kevin T. (2011), Porting Transmedia Storytelling to Journalism, Master Thesis in Social Sciences, Denver, University of Denver.
Pearson, Roberta & Anthony N. Smith (eds.) (2015) Storytelling in the media convergence age. Exploring screen narratives, Hampshire, Palgrave Macmillan
Perryman, Neil (2008), "Doctor Who and the Convergence of Media: A Case Study in 'Transmedia Storytelling'", Convergence: The International Journal of Research into New Media Technologies, XIV, (1), pp.21-39.
Rodríguez-Ferrándiz, Raúl et al. (2014) 'Transmedia contents created around Spanish television series in 2013: typology, analysis, overview and trends', Communication & Society 27(4), 73-94.
Roos, Cecilia (2012) 'Producing Transmedia Stories. A Study of Producers, Interactivity and Prosumption', Malmö, Malmö University.
Scolari, Carlos Alberto (2009) 'Transmedia Storytelling: Implicit Consumers, Narrative Worlds, and Branding in Contemporary Media Production', International Journal of Communication, 1-21.
Scolari, Carlos, Paolo Bertetti & Matther Freeman (2014) Transmedia Archaeology. Storytelling in the Borderlines of Science Fiction, Comics and Pulp Magazines, Basingstoke, Palgrave
Smith, Aaron Michael (2009) 'Transmedia Storytelling In Television 2.0', Thesis, Middlebury College.
Smith, Aaron Michael (2011) 'Lost in a Transmedia Universe', Geminis, 1-31.
Ugartemendía, José Ig Galán (2012) 'La transmedialidad, una nueva gramática para el sujeto complejo', Portal Comunicación, http://portalcomunicacion.com/lecciones_det.asp?id=71
Various Authors (2014) International Journal of Communication, Special Issue "Transmedia Critical: Empirical Investigations into Multiplatform and Collaborative Storytelling"
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Organizations, Professions and Creativity
To provide analytical tools that enable the postgraduate students to assess the dimensions and dynamics of creativity at the global scenarios of the fields of arts, crafts, cultural and recreation industries, as well as heritage. A particular emphasis will be given to the labor market situation and the shapes of organization and management of companies and groups operating in the setor , distinguishing profitable activities / non-profit, public / private, in partnerships or through hybrid models.
Program1. Organizations:
Teams, times of work and organizational cultures
Spaces and venues, programs and artistic projects
Strategies, power and leadership
Networks of art and culture
2. Professionals:
Profiles, careers and professional cultures
Recruitment, remuneration, training and mobility
Value, reputation and renown
Employment and artistic and cultural labor markets
3. Ressources:
Policies and financing (public and private)
Crowfunding, sponsorship and patronage
Markets: fom supported to business and hibrid models.
Assessment can be:
a) assessment throughout the semester, consisting of two assessment elements: a written test (weighting 40%) and an individual assignment of up to 10 pages to be handed in at the end of the semester on one of the topics on the programme (weighting 60%). The topics and assignments are discussed with the students;
b) assessment by final exam (weighting 100%.
Title: Borges, V., Estudo de Avaliação do Impacto das Bolsas e Apoios às Artes, nas áreas da Formação e da Criação, da Fundação Calouste Gulbenkian. Lisboa: FCG & CIES-ISCTE. ISBN 978-972-8048-80-8., 2022, Borges, V. (coord). (2020). Estudo de Avaliação do Impacto das Bolsas e Apoios às Artes, nas áreas da Formação e da Criação, da Fundação Calouste Gulbenkian. Lisboa: FCG & CIES-ISCTE. ISBN 978-972-8048-80-8.,
Borges, V. & Veloso, L. (2020). Emerging patterns of artistic organizations in Portugal: A three-case studies analysis, Sociologia del Lavoro, 157: 84-107. DOI 10.3280/SL2020-157005.
Menger, P.-M., Retrato do artista enquanto trabalhador. Metamorfoses do Capitalismo, 2005, Menger P.-M. (2005). Retrato do artista enquanto trabalhador. Metamorfoses do Capitalismo. Lisboa: Roma Editora.,
Comissão Europeia. (2023). O plano de trabalho da UE para a cultura 2023-2026. Official Journal of the European Union.
Morató, A. R. & Santana-Acuña, A. 2023. Sociology of the Arts in Action. New Perspectives on Creation, Production, and Reception. DOI https://doi.org/10.1007/978-3-031-11305-5.
Liz, M. & Owen, H. (2023). Realizadoras portuguesas. Cinema no Feminino na Era Contemporânea. Lisboa: ICS.
Pais, J. M., Magalhães, P. & Antunes, M. L. (2021). Práticas Culturais dos Portugueses. Inquérito 2020. Lisboa: ICS.
Becker, H., Faulkner, R. & Kirshenblatt-Gimblett, B. (Eds.) (2006). Art from start to finish: Jazz, painting, writing, and other improvisations. Chicago: University of Chicago Press.
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Title: Banks, M. (2015). Valuing Cultural Industries. In K. Oakley & J. O’Connor (Eds.), The Routledge Companion to the Cultural Industries. Abingdon: Routledge, 51–60.
Ferro, L., Nico, M., Abrantes, M., Veloso, L. & Caeiro, T., Ser artista imigrante em Portugal: uma análise de perfis socioprofissionais, 2016, (2016). Ser artista imigrante em Portugal: uma análise de perfis socioprofissionais, Análise Social, 221, li (4.º), 850-884., https://repositorio.iscte-iul.pt/bitstream/10071/12835/5/AS_221_art04.pdf.
Comunian, R. & England, L. (2020). Creative and Cultural work without filters: Covid-19 and exposed precarity in the creative economy, Cultural Trends, 29 (2): 112-128. DOI: 10.1080/09548963.2020.1770577.
Holden, J. (2015). The Ecology of Culture. Arts and Humanities Research Council’s Cultural Value Project.
Lundin, R. A., Arvidsson, N., Brady, T., Ekstedt, E., Midler, C. (2015). Managing and working in project society. Institutional Challenges of Temporary Organizations. Cambridge University Press.
Menger, P.-M., Talent and inequalities: what do we learn from the study of artistic occupations?, 2012, Menger, P. -M. (2012). Talent and inequalities: what do we learn from the study of artistic occupations?. In V. Borges & P. Costa (Eds.), Criatividade e Instituições. Os Novos Desafios aos Artistas e Profissionais da Cultura. Lisboa: Imprensa de Ciências Sociais, 49-75.,
Menger, P.-M. (2014). The Economics of Creativity. Art and Achievement under uncertainty. Harvard University Press.
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Cultural Entrepreneurship
LO1 - Develop a business project for-profit/non-profit
LO2 - Know the contextual and personal characteristics that favor innovation and entrepreneurship.
LO3 – Apply the Business Model Canvas methodology and create value propositions
LO4 - Know how to prepare the business plan for your business project (including market analysis, competition analysis, business strategy, marketing plan, financial projections)
LO5 - Know how to present the business plan to obtain financing/support
PC1 - The context and the entrepreneur:
PC1.1: Contextualization of the current environment for starting business projects in the field of cultural/creative industries
PC1.2: The profile of the entrepreneur and cultural entrepreneurship
PC2: Business models – Introduction, examples, and case studies
PC3: Business Model Canvas
PC4: Create value propositions (presentation and discussion of value propositions prepared in groups)
PC5: Business plan – structure (market segments, competition analysis, marketing plan, financial plan)
PC6: Presentation and discussion of business projects (pitch)
There are two evaluation methods:
(1) Assessment throughout the semester (recommended assessment method)
Throughout the semester, the following assessment instruments will be used:
- Attendance and participation - (20%) – Attendance of at least 66% of classes required
- Business plan (group project): final presentation - (30%) - All group members must participate in the presentation
- Business plan (group project): written report - (50%)
(2) Assessment by written exam (100%)
Title: Osterwalder, A. & Pigneur, Y. (2010). Business Model Generation. New Jersey: J. Wiley & Sons. https://catalogo.biblioteca.iscte-iul.pt/cgi-bin/koha/opac-detail.pl?biblionumber=88421
Osterwalder, A., Pigneur, Y., Bernarda, G., Smith, A. & Papadakos, P. (2014). Value Proposition Design. New Jersey: J. Wiley & Sons.
Gehman, J., & Soublière, J-F. (2017). Cultural entrepreneurship: from making culture to cultural making. Innovation 19 (1), 61-73. DOI:10.1080/14479338.2016.1268521
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Title: Barringer, B.R. and Ireland, R.D. (2016). Entrepreneurship: Successfully Launching New Ventures, Pearson Prentice-Hall, Upper Saddle River, NJ.
Andrews, R. (2019). Arts Entrepreneurship: Creating a New Venture in the Arts. London: Routledge
Bock, A. J., & George, G. (2018). The Business Model Book. Harlow: Pearson Education Limited.
Naudin, A. (2019). Cultural Entrepreneurship: The Cultural Worker’s Experience of Entrepreneurship. London: Routledge
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Cultural Marketing
The central objective of the culture and art communication and cultural Marketing course focuses on understanding the role of culture and art communication in general and cultural marketing, in particular in the preparation, implementation and evaluation of cultural and artistic realization.
The course aims the acquisition of skills in the field of: 1) theoretical tools necessary to understand the mechanisms of marketing techniques and communication; 2) methodological tools for the implementation of both tools to situations in which concrete action current of cultural agents.
Introduction
1-Creativity and bureaucracy
The arts organisation: core business; the rest of the organisation; the mission; the role of the administrative diretor ; performance measurements.
2-What is marketing?
-A product is a set of benefits as they are perceived by the consumer.
-Components of a product: artistic product itself, spin-offs products, related services, and the consumer’s experience of the product.
-A cultural product is a complex, multidimensional product.
-A cultural product is a specialised product. What does this means for arts marketers?
-Cultural products bear the characteristics of a service
3-Markets
Consumer’s market. Government market. Private setor . Partners.
Consumer Behaviour in the Arts
One of the task of the marketing function is to gain an understanding of the consumers of given markets.
- Who are the consumers? Why do they go or do not go to arts events? How do they make their decision?
4-Remaining Marketing Variables
The assessment takes into account the following parameters and their weight in the final standings: 1) attendance and quality participation in class - involvement in discipline, hard work, criticism and self-critical and timely fulfillment of the tasks (25%); 2) presentation of a lesson in teamwork from an empirical report with data on subjects studied in the discipline (35%); 3) development of a critical review of selected works by student and approved in advance by the teacher (40%).
BibliographyTitle: -Colbert, François, Marketing culture and the arts, Montréal, École des Hautes Études Commerciales, 2001.
-Colbert François, Carmelle e Rémi Marcoux, Marketing Planning for Culture and the Arts, Montreal, École des Hautes Études Commerciales, 2008.
-Bernstein, Joanne Scheff, Arts Marketing Insights, Jossey-Bass Pub., 2006.
-Curvelo, Rita, Marketing das Artes em Direto , Lisboa, editora Quimera, 2009.
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Accountability and Finances for Cultural Organizations
At the end of the course, students should be able to:
1. Explain business dynamics from the perspective of economic, financial and monetary decisions.
2. Distinguish the structuring components for the analysis of financial health, profit generation and cash generation.
3. Explain the impact of decisions on the financial health of organizations in the creative and cultural industries.
4. Explain the impact of decisions on profit generation in organizations in the creative and cultural industries.
5. Explain the impact of decisions on cash flow generation in organizations in the creative and cultural industries and the differences between cash generation, profit generation and financial health.
1 - Business, Business Dynamics and Decisions
1.1. Financial literacy: from personal finances to business finances
1.2. Business, activities and decisions: the FIO triumvirate
1.3. The accounting-financial information system
1.4. The FEM triumvirate: financial, economic and monetary position
1.5. Financial reports
2 - Financial Health and Financing and Investment Decisions
2.1. Fundamental concepts
2.2. Financing and investment decisions and their impact on financial position
2.3. Financial position reporting and metrics
3 - Profit Generation and Operational Decisions
3.1. Fundamental concepts
3.2. Operational decisions and their impact on economic position
3.3. Economic position reporting and metrics
4 - Fundamentals of Finance: Focal Points
4.1. Fundamental concepts
4.2. Cash generation, business decisions and their impact on monetary position
4.3. Money generation metrics
4.4. Profitability and risk metrics
4.5. Financial balance and solvency metrics
Two types of assessment:
1. Assessment throughout the semester:
- Individual and/or group cases (thematic): 10%
- Group work, with possible oral discussion: 30%.
- Individual written test: 60%
Requirements:
- Execution of cases and evaluation work.
- Minimum average of 10 points in cases and assessment work.
- Minimum score of 8 points in the individual written test.
Attendance:
- There is no minimum attendance.
2. Assessment by exam:
- Individual written exam: 100%.
Grade defense: eventual defense of a grade, oral or written, for a classification higher than 16, in any of the modalities.
Title: 1. Libby, R., Libby, P. and Hodge, F. (2023), Financial Accounting, 11ª Ed., McGraw Hill.
2. Lourenço, I., et al., (2020), Fundamentos de Contabilidade Financeira - Teoria e Casos (3ª Ed.), Lisboa: Sílabo.
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Title: 1. Mota, A. G., Barroso, C., Soares, H. e Laureano, L. (2023), Introdução às Finanças - Fundamentos de Finanças com Casos Práticos Resolvidos e Propostos, 4ª Ed., Lisboa: Sílabo.
2. Jordan, H., Neves, J. C. e Rodrigues, J. A. (2020), O Controlo de Gestão, 11ª Ed., Lisboa: Áreas Editora.
2. Pordata (2017), Que número é este? Um guia de estatísticas para jornalistas, Lisboa: Fundação Francisco Manuel dos Santos.
4. Sistema de Normalização Contabilística (SNC), 2018 - Legislação.
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Master Dissertation in Studies and Management of Culture
The purpose of the course is to enable students to develop empirical research that tests scientific hypotheses in the context of the Studies of Culture. The preparation of the dissertation will incorporate the students as ative participants, in the scientific community, and will enhance their critical skills in theoretical and empirical research.
Students who successfully complete this course should be able to:
- Formulate research hypotheses
- Gather the appropriate literature
- Develop methods and materials for the hypotheses? empirical testing
- Analyze results and reject / confirm hypotheses
- Writing a scientific paper and a poster
In the beginning of this curricular unit, students will be prompted to choose a personal interest topic, which is relevant for the state of the art, as well as a supervisor. In close relation with the research supervisor, students will:
- Formulate the question of departure
- Identify relevant literature and develop a theoretical and empirical review
- Formulate the research problem and hypotheses
- Design a study to test the hypotheses
- Create a procedure and its materials
- Conduct the study
- Analyze and interpret results
- Develop the dissertation plan
- Write a dissertation
Throughout this process students will receive important information for the theme of their dissertations and for the conduction of the process itself, as, for example, literature that is relevant for their topic and indications on the design they should use.
The dissertation will be evaluated by a jury in a public examination after the supervisor has confirmed that the work is completed and is ready to be publicly presented and discussed. The evaluation will be based on the study's scientific merit and its theoretical and methodological appropriateness.
BibliographyTitle: -WARNIER, Jean-Pierre, La mondialisation de la culture., Paris, La Découverte, 2004.
-SANTOS, M. L. L. dos e PAIS, J. M. (org), Novos trilhos culturais ? Práticas e Políticas, Lisboa, ICS, 2010
-ROSELLÓ CEREZUELA, D., Diseño y Evaluación de Proyectos Culturales, Barcelona, Ariel , 2007.
-MATEUS, A., coord., O setor cultural e criativo em Portugal, Lisboa, Augusto Mateus e Associados, 2010.
-LAMPEL J., SHAMSIE, J., LANT, T., The Business of Culture, Lawrence Erlbaum Associates, Publishers, 2006.
-HOWKINS, J., The Creative Economy. How people make money from ideas, London, Penguin, 2007.
-GOMES, R. T.; LOURENÇO, V.; MARTINHO, T.D., Entidades culturais e artísticas em Portugal, Lisboa, OAC, 2006.
-FLORIDA, R., The Rise of the Creative Class and how it?s transforming work, leisure, community and everyday life, Nova Iorque, Basic Books, 2004.
-CHOAY, F., L?Allégorie du Patrimoine, Paris, Seuil, 1996.
-BROSSAT, C., La culture européenne:définitions et enjeux, Bruxelas, Bruylant, 1999.
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2nd Cycle Internship
The learning outcomes of the Internship are adapted to each internship and the institution where it is developed. These are:
LO1. To acquire technical skills linked to methods and techniques for action within different kinds of institutions related to the general objectives and learning outcomes of the master's degree;
LO2. To develop research and action-research skills within organizations related to the master's degree;
LO3. To prepare an internship report that reveals analytical reflection of the professional or academic context;
LO4. Develop indicators for recording and evaluating professional practice.
1. Topic and problem of the internship
2. Internship plan
3. Theoretical and methodological framework
4. Methodology of collaborative action research
5. Evaluation
6. Report
Individual report, which contains the following elements:
a) Characterization of the institutional context (history, organization, policies and services, activities, organizational structure and functioning);
b) Framing the internship institution;
c) Description of the activities developed (roles, responsibilities, agents, work processes, methodologies used)
d) Critical and theoretically based conclusions
e) References
The UC does not contemplate the modality of evaluation by Exam.
Title: - Sweitzer, H. Frederick e King, Mary A. (2014), The Successful Internship: Personal, Professional, and Civic Development in Experiential Learning, Belmont, CA: Brooks/Cole, Cengage Learning.
- Reeher, Gant e Mariani, Mack (2002), The Insider's Guide To Political Internships: What To Do Once You're In The Door, Nova Iorque: Basic Books
- Neves, José, Garrido, Margarida, Simões Eduardo (2008), Manual de Competências Pessoais, Interpessoais e Instrumentais. Teoria e Prática, Lisboa: Editora SÍLABO
- Della Porta, Donatella e Keating Michael (eds.) (2008) Approaches and Methodologies in the Social Sciences. A Pluralist Perspective, Cambridge: Cambridge University Press
- Courtney, Roger (2013), Strategic Management in the Third Sector, Basingstoke: Palgrave Macmillan
- Capucha, Luís (2008), Planeamento e Avaliação de Projetos. Guião Prático, Lisboa: ME/DGIDC
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Recommended optative
Optional courses will only be held if they achieve a minimum number of enrollments.
1st Year – 1st semester
01977 | Accountability and Finances for Cultural Organizations
00774 | Inventory and Analysis of the Urban Heritage
01976 | Cultural Marketing
01986 | Digital Storytelling and Transmedia Entertainment
1st Year – 2nd semester
02123 | Management Control for Cultural Organizations
00846 | Heritage Cultural Projects
01724 | Globalization, Art and Culture
2nd year – 1st semester
01174 | Cultural Entrepreneurship
01984 | Portuguese Contemporary Culture
Objectives
To provide an education that enable students to perform diverse functions under the framework of culture and the arts, increasing their employment and self-employment opportunities as well as their abilities to continue learning throughout life, independently or in a subsequent study cycle.