Imagined communities: Reflections on the origin and spread of nationalism

The Wretched of the Earth

Series Editor's Preface. Introduction by John Breuilly. Acknowledgements. 1. Definitions. State and nation. The nation. 2. Culture in Agrarian Society. Power and culture in the agro-literature society. The varieties of agrarian rulers. 3. Industrial Society. The society of perpetual growth. Social genetics. The age of universal high culture. 4. The Transition to an Age of Nationalism. A note on the weakness of nationalism. Wild and garden culture. 5. What is a Nation. The course of true nationalism never did run smooth. 6. Social Entropy and Equality in Industrial Society. Obstacles to entropy. Fissures and barriers. A diversity of focus. 7. A Typology of Nationalisms. The varieties of nationalist experience. Diaspora nationalism. 8. The Future of Nationalism. Industrial culture - one or many?. 9. Nationalism and Ideology. Who is for Nuremberg?. One nation, one state. 10. Conclusion. What is not being said. Summary. Select bibliography. Bilbliography of Ernest Gellner's writing: Ian Jarvie. Index

Nations and Nationalism

It comes as something ofa surprise to reflect that the New York Review ofBooks is now over twenty years old. Even people of my generation (that is, old enough to remember the revolutionary 196os but not young enough to have taken a very exciting part in them) think of the paper as eternally youthful. In fact, it has gone through years of relatively quiet life, yet, as always in a competitive journalistic market, it is the controversies that attract the interest of the reader and to which the history (especially an admittedly impressionistic survey that tries to include something of the intellectual context in which a journal has operated) must give some attention. Not all the attacks which the New York Review has attracted, both early in its career and more recently, are worth more than a brief summary. What do we now make, for example, of Richard Kostelanetz's forthright accusation that 'The New York Review was from its origins destined to publicize Random House's (and especially [Jason] Epstein's) books and writers'?1 Well, simply that, even if the statistics bear out the charge (and Kostelanetz provides some suggestive evidence to support it, at least with respect to some early issues), there is nothing surprising in a market economy about a publisher trying to push his books through the pages of a journal edited by his friends. True, the New York Review has not had room to review more than around fifteen books in each issue and there could be a bias in the selection of

http://www.jstor.org/stable/pdfplus/3507774.pdf

The New York Review of Books

The Rise of the Creative Class

(2006). Cultural Policy: Definitions and Theoretical Approaches. The Journal of Arts Management, Law, and Society: Vol. 35, No. 4, pp. 319-330.

Cultural Policy: Definitions and Theoretical Approaches

(1998). Cultural Patronage in Comparative Perspective: Public Support for the Arts in France, Germany, Norway, and Canada. The Journal of Arts Management, Law, and Society: Vol. 27, The Arts and Entertainment in Comparative Perspective: France, Germany, Norway, the United States, Canada, Japan, and the United Kingdom, pp. 247-263.

Cultural Patronage in Comparative Perspective: Public Support for the Arts in France, Germany, Norway, and Canada

Cultural Diplomacy and the Exchange Programs: 1938–1978

(2002). The State Arts Agency: An Overview of Cultural Federalism in the United States. The Journal of Arts Management, Law, and Society: Vol. 32, The Cultural Market and Public Cultural Agencies, pp. 67-80.

The State Arts Agency: An Overview of Cultural Federalism in the United States

The concept of the entrepreneur as an artsadministrator is developed as a person serving as a contractual intermediary,bringing together the government, the private sector, and the public for acultural good. The arts administrator functions as an entrepreneur who mediatesthe funding triad of earned income, philanthropic donations, and governmentsubvention. Using empirical evidence from both American and Australian systems ofpatronage, the role of philanthropy and the perils of privatizations arediscussed, given some uncritical approaches to privatization such as: theuniqueness of philanthropy in the American system of cultural patronage; thelimited potential for increase in Australian philanthropy, calling for themaintenance of all parts of the funding triad; the risk that commercializationmay dictate aesthetic decisions when profit becomes an end in itself; and theinevitability of Cultural Darwinism without public support. The cultural entrepreneur, as an advocate for culture, should function as acultural intermediary, facilitating a dialogue between art and society, artistand public, arts, organizations, and government, artistic production and publicfinance, aesthetics and politics.(CBS)

Kevin V. Mulcahy

Papers

Cultural Policy: Definitions and Theoretical Approaches

Cultural Patronage in Comparative Perspective: Public Support for the Arts in France, Germany, Norway, and Canada

Cultural Diplomacy and the Exchange Programs: 1938–1978

The State Arts Agency: An Overview of Cultural Federalism in the United States

Entrepreneurship or Cultural Darwinism? Privatization and American Cultural Patronage