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In its own image: New Labour and the cultural workforce

机译:以自己的形象:新劳工和文化劳动力

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The argument of this paper is that one way to examine the legacy of New Labour's cultural policies, including its development of the creative industries, is through an account of the cultural workforce it has created.The idea of “creative industries” embodied a set of assumptions about the changing nature of work which had been central to New Labour's reinvention during its years in the wilderness under Margaret Thatcher. Dubbed “post-Fordist socialism” by Thompson, the premise of many creative industry support initiatives was that the kind of work they provided was inherently progressive, combining demand for high skills with notions of self-expression and determination, in a workplace that was no longer hierarchical, but collaborative, flexible, even fun.Yet empirical evidence from the New Labour period suggests that the assumptions of inherently progressive work are largely unfounded. The cultural labour market remains polarised by gender, ethnicity and social class. Despite high levels of graduates, wages were low, and combined with the practice of unpaid “internships”, and highly informal recruitment practices, class-based exclusion, often reflected in ethnicity, was a defining feature of the sector.The paper thus provides both a historical account of New Labour ideas about work and how they shaped public policy, and a contemporary account of policy initiatives around workforce entry. Its aim is to interrogate the assumptions and limitations of New Labour's “creative workforce”, and through this, its wider policies on work, culture and social exclusion.View full textDownload full textKeywordsNew Labour, cultural work, precarity, labour markets, creative industriesRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; Add to shortlist Link Permalink http://dx.doi.org/10.1080/09548963.2011.589709
机译:本文的论点是,考察新工党的文化政策的遗产,包括其创意产业发展的一种方法,是通过对其创造的文化劳动力的描述。“创意产业”的思想得到了体现。关于工作性质变化的一系列假设,这是新劳动在玛格丽特·撒切尔(Margaret Thatcher)领导下的荒野中重塑的核心。汤普森(Thompson)称其为“后福特主义社会主义”,许多创意产业支持计划的前提是,他们提供的工作本质上是渐进的,将对高技能的需求与自我表达和决心的观念结合在一起这已经不再是等级制的,而是协作的,灵活的,甚至很有趣的。然而,新工党时期的经验证据表明,固有的渐进式工作的假设在很大程度上是没有根据的。文化劳动力市场仍然被性别,种族和社会阶层两极化。尽管毕业生人数众多,但工资却很低,再加上无酬的``实习''做法以及高度非正式的招聘做法,基于种族的排斥通常是种族特征,这通常反映在种族中。因此,既提供了新劳工工作观念及其对公共政策的影响的历史解释,也提供了有关劳动力进入的政策举措的当代解释。其目的是询问新劳工的“创造性劳动力”的假设和局限性,并以此为依据,制定更广泛的工作,文化和社会排斥政策。查看全文下载全文关键词创意产业相关var addthis_config = {ui_cobrand:“泰勒和弗朗西斯在线”,servicescompact:“ citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,更多”,发布号:“ ra-4dff56cd6bb1830b”};添加到候选列表链接永久链接http://dx.doi.org/10.1080/09548963.2011.589709

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  • 来源
    《Cultural Trends》 |2011年第4期|p.281-289|共9页
  • 作者

    Kate Oakleya*;

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