By J. P. Singh (eds.)
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34 The Arts, Culture, and Civil Society Culture industries and policies should not be separated from Huntington’s clash of civilizations arguments, because they are important zones where the overall ways of life of a people are writ large as part of local, national, global culture (Luke, 2002). Huntington’s quite polemical book Who Are We? (2004), openly agonizes about how America possibly is losing its “core culture” and “identity” as a nation. This turn follows from Americans allegedly facing dangerous new threats from “deconstructive criticism,” “Mexican immigration,” and “globalization” (2004, 17–27).
UNESCO’s World Heritage Convention); general agreements that include some provisions dealing with art and/or culture, such as the Maastricht Treaty; and agreements without any explicit provisions dealing with art or culture, but which have significant direct or indirect effects on the arts, such as the Treaty of Rome. The literature that is a source of at least personal pleasure involves ways in which artists themselves deal with treaties, from depiction of agreements and the effects of agreements all the way to the making of treaties themselves.
Habermas (1989) conceived the public sphere as an Carole Rosenstein 25 open commons for rational discourse and deliberation on key issues of civic concern and topics of enlightened interest. But analysts of cyberspace and mass media have shown that contemporary public spheres are restricted in a variety of ways: by communications and media policy, privatization and consolidation, lack of access to technology and education, dominant linguistic practices, nested networks of participants. Because these restricting policies and forces also affect culture, they have grown central to cultural policy studies.