Ghana＇s Presidential Seats and Sword of State： Aesthetic Manifestation of Kwame Nkrumah＇ s Cultural Policy on Ghana＇s Political Culture

This study explores the aesthetic dimensions of Kwame Nkrumah＇s cultural policies in the creation of Ghana＇s Presidential Seats and the State Sword. The study is an Art Historical research situated within the qualitative research paradigm. It had a population of a defmed class of cultural policy makers, art historians, traditional rulers, nationalists, visual artists and Ghanaians resident both in and outside Ghana. The study examined how the creation of Ghana＇s Presidential Seats and the State Sword were influenced by Kwame Nkrumah＇s cultural policies and the cultural significance of the aesthetic interplay of ethnic insignias used in capturing the Ghanaian concept of Political authority. The study revealed that, Nkrumah recognised the cultural art forms and elements of ethnic Ghana as assets for national development. In line with his policy of building the Nation State of Ghana, he used ethnic cultural art forms and elements. At independence, Nkrumah commissioned some visual artist to create some artistic pieces （politico-cultural artefacts） for the Ghanaian political authority with inspiration or based on what pertains in the traditional authority （Chieftaincy） of Ghana. Politico-cultural artefacts as used in this study refer to the artefacts produced based on the cultural concepts of the ethnic states for the use of the political authority of the Republic of Ghana. Among these artistic pieces are the three Presidential Seats, The State Sword, The President＇s Personal Standard Pole and the State Mace.

Development and Protection: Reshaping Cultural Policies——A Study of the UN's Advancement of Cultural and Creative Industry in Developing Countries

Cultural diversity originates from modern cultural industries. The UN's decade–long promotion of cultural diversity coincides with the advancement of China's cultural and creative industries; however, China's situation is different from the creative economy advocated by the UN in terms of developmental logic. The policy of cultural diversity provides a basis for the UN to push forward the development of cultural and creative industries in developing countries. It is derived from the developmental theories of developed countries, which regard creativity(innovation) as a "technique" and overlook its uniqueness. The digital revolution has never given fair play to developing countries which explains why the UN's promotion of cultural diversity has not yet helped developing countries to substantially increase their exports of cultural goods and services in the past ten years. Nevertheless, the development of the in ternet and digital technology may create an opportunity for developing countries to catch up with and surpass their developed neighbors. China's unique approach to cultural and creative development may serve as a model for the international community to pursue sustainable development in the future.

A discourse on creating and rendering educational and cultural enrichment services to rural migrant workers by public libraries

As far as China's enormous success in her economic reforms and development is concerned,Chinese rural migrant workers indeed have had their biggest share of contributions.Yet ironically in return,they have only received a disproportionate meager share of benefit rewards.These people represent a huge economically deprived group at the bottom of the social totem pole in China's metropolises.On the whole as a social group,their educational attainment is relatively low as compared to their average urban coworkers.As such being the case,their rights to access some of the cost-free cultural and educational enrichment programs in the society are limited and not always assured.Nevertheless and in general speaking,they manifest a strong and consistent desire to acquire all sorts of new and practical knowledge by means of accessing the resources and facilities of their local public libraries.It is suggested in this paper that public libraries are in a good position to give strong support to the central government's strategic planning for the development of a public culture service systema).In implementing such a government initiative with an unswerving purpose of advancing social justice and equality,public libraries should strife to provide as many as possible their library services at no cost to the public,especially to those socially deprived rural migrant workers.

Making Sense of Public Relations as Culture Policy

Culture is a process in which meaning is produced, distributed, consumed, materialised, re-produced infinitely and discussed with society. As meanings generally disperse extensively in different social groups through different associations, they display certain changes in time depending on their usage. Meanwhile, it is hard to define the public relations concept, because it may refer to different meanings even in the same culture. According to the assumptions pertaining to the public relations practices shaping the dominant discourse of the USA, language which produces certain cultural meanings also shapes the way we think and act. Thus, due to its ideological and discursive nature, public relations functions as a culture policy. Being an integral communication management configuring and directing the social sphere and the practices related to it, public relations refers to the concept of habitus introduced by Bourdieu inasmuch as habitus resides in the situations formed by actions that individuals learn throughout their lives. Culture policy; on the other hand, purports the effective participation of people in cultural life, their development in social, economic and cultural areas as well as the creation of convenient conditions to sustain it, which can be achieved with public relations practices. Public relations determines the culture policies in a society with regard to the structured discourses and actions and also acts as the mouthpiece of these policies. The purpose of public communication that is necessary for development and sustainability is to inform the public objectively in cultural, social, political and economic senses by obtaining feedback form them. For the purpose of administering sound public communication strategies in a society, public relations should direct the forms of public discourse. The purpose of this study is to put forth a critical evaluation based on the idea that for the realisation of effective and sensible communication policies in a society, the perception and practice public relations in that society should be regarded as a culture policy. According, this study focuses on whether or not public relations as culture policy serve the development of democracy and public sphere.

The Image of Polish Women in the Early 1950s

Over the past decades, there were questions often asked： What is education？ What is it purpose in the world whether it helps an individual or not to understand himself and connect his views with existing beliefs and critical thinking about education to deal with daily practical challenges enable in a new way. The founder of instrumentalism philosophical school, John Dewey remarks that knowledge is practical instrument that purpose must be to solve all problems that a person encounters during his/her lifetime. According to instrumentalism theoretical concepts, theories are instruments by means of that relationship with surrounding world is established （communication becomes possibleS. Representatives of traditional epistemology make distinct difference between ＂world＂ and ＂mind＂. In accordance with Dewey＇s genetic epistemology mind, constitutes the result of living being-environment relationship as the universe is defined by our mind and the development of a human＇s knowledge is adaptive response to the environment.

Ideology and Poetics in the Estonian Translations of Nikolai Leskov

This paper brings up the issue of a systemic study of the translation of Russian classics into Estonian during the Soviet period. These translations are often considered to be only the result of the ＂Sovietization＂ of Estonian culture, but such approach is a simplification. Estonian translations of the Russian classics in the Soviet period, undoubtedly, depended on ideological conditions, but, it is argued here, were to a great extent determined by the mechanisms of cultural self-regulation and displayed continuity with translation strategies that had been established before the occupation, in the 1920s-1930s. In the independent Estonian Republic, a remarkable tradition of the translations of Russian classics existed thanks to the activity of A. H. Tammsaare, F. Tuglas, A. Oras, H. Talvik, B. Alver et al. Estonian translators devoted the particular attention to the text＇s audience--the Estonian readers. The paper explains why in the mid 19S0s Leskov, an ambivalent and diffficult-to-translate writer, was chosen by O. Samma and F. Kylli for the first presentation to the Estonian readers.