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Comparative Studies in Society and History | 1972

Charismatic Leadership in Islam: The Mahdi of the Sudan

Richard H. Dekmejian; Margaret Jane Wyszomirski

It is generally acknowledged that the contemporary revival of Webers concept of charismatic authority was prompted by its utility in explaining the revolutionary movements of the first half of the twentieth century. The more recent applications of the concept to the study of leadership in the emerging non-Western states, constituted yet another revival, testifying to the analytical power of Webers conceptual scheme.


Annals of The American Academy of Political and Social Science | 1988

Congress, Presidents, and the Arts: Collaboration and Struggle

Margaret Jane Wyszomirski

In the 23 years since the establishment of the National Endowment for the Arts (NEA), an arts-policy subgovernment has emerged. It comprises the agency, its congressional oversight and appropriations committees, and arts interest groups. During the first decade of the NEAs existence, both presidential leadership and congressional support were essential to the agencys development. Meanwhile, an arts constitutency mobilized. During the second decade, the triangular alliance of agency administrators, congressional supporters, and arts interest groups matured and proved capable of either collaboration or conflict with the president. The record of arts policy since 1975—and especially during the Reagan years—reveals this new subgovernments ability to protect the status quo from threatening presidential action. But because relatively low political stakes are involved in arts policy and the various members of the subgovernment alliance are themselves weak, positive policy action appears to require the active collaboration of Congress, presidents, constituency, and agency.


Cultural Trends | 2013

Shaping a triple-bottom line for nonprofit arts organizations: Micro-, macro-, and meta-policy influences

Margaret Jane Wyszomirski

The literature on the National Endowment for the Arts (NEA) tends to concentrate on the politics of arts funding or on micro-policy development through individual programs. This article aims to reveal the evolution of agency-wide macro-policy that was undertaken by NEA Chairs acting strategically as policy entrepreneurs in adapting policy goals in response to changes in the political and socio-economic context. This process of policy evolution gradually shaped and institutionalized a triple-bottom line for its organizational grantees – financial sustainability, artistic vitality, and recognized public value. Through legitimation processes in which the agency and the arts community cooperated, these values became field standards and best practices, a meta-policy that influenced all nonprofit arts organizations in the USA. Using policy documents, research reports, the memoirs of NEA chairmen, and journalistic coverage, this article investigates how cultural policy at the micro-, macro-, and meta-levels interacted to shape the triple-bottom line through the policy entrepreneurship of NEA chairs.


Journal of Arts Management Law and Society | 2002

Support for the Arts: A Four-Part Model

Margaret Jane Wyszomirski

(2002). Support for the Arts: A Four-Part Model. The Journal of Arts Management, Law, and Society: Vol. 32, No. 3, pp. 222-240.


Journal of Arts Management and Law | 1988

Cultural Dissent and Defection: The Case of Soviet Nonconformist Artists

Margaret Jane Wyszomirski; Thomas A. Oleszczuk; Theresa C. Smith

(1988). Cultural Dissent and Defection: The Case of Soviet Nonconformist Artists. Journal of Arts Management and Law: Vol. 18, No. 1, pp. 44-62.


Journal of Arts Management Law and Society | 2002

Profiles of Cultural Support: An Overview

Randy Cohen; Margaret Jane Wyszomirski

ore Americans attend arts events each year; the number of arts organiM zations and employed artists is increasing, and public investment in the arts is estimated at


Archive | 2002

Revealing the Implicit

Margaret Jane Wyszomirski

3 billion. Yet despite being deeply embedded in communities and in the lives of citizens, the financial dimensions of the arts are little understood by policymakers or the general public. Unlike many spheres of American society (education, health, or the environment, for example), the arts and cultural sector (referred throughout this article as “the sector”) suffers from a dearth of reliable, intelligible, and comparable information-the critical ingredients for effective policy development. Such data and information provide a “common currency” of language for public policymakers, individual donors, corporate donors, private philanthropies, and industry professionals alike, enabling meaningful dialogue about the societal value of the arts, access to the arts, and support of the arts. The National and Local Profiles of Cultural Support Project contributes a new and fundamental tool to the arts policy discussion-research-based benchmarks of the patterns and sources of financial support to nonprofit arts organizations.’ It is also the first attempt to look closely at separate parts of the sector-for example, examining service and support organizations as distinct from producing and presenting organizations. To answer the question, How is the arts and cultural sector supported in the United States? the study collected data from nonprofit arts organizations about 22 public, private, and earned-revenue categories. The researchers analyzed the data from national,


World Politics | 1975

Communal Violence: The Armenians and the Copts as Case Studies

Margaret Jane Wyszomirski

In 1781, George Washington wrote that “the arts and sciences [are] essential to the prosperity of the state and to the ornament and happiness of human life” (Independent Commission, 1990, p.7). In 1965, President Lyndon Johnson asserted that the arts were “part of the pursuit of American greatness” (Independent Commission, 1990, p. 9). Both comments illustrate how national political leaders have voiced an implicit belief that the arts have an impact on the society and people of the nation. Indeed, we could assert that both the concept and the logic of concern for societal impact are fundamental precepts of public policy. From the perspective of public officials and policy analysts, attention to the public interest(s) served and to the public benefits derived from publicly supported or authorized activities is natural.


The international journal of entrepreneurship and innovation | 2016

Book Review: Reassessing Florida; Creative Entrepreneurship and Political Culture; Growth of Creative Entrepreneurship in the UK

Margaret Jane Wyszomirski; Calvin Taylor; Martin Bouette

Historically, communal conflict seems to have occurred in four environments—during the evolution of the major European states, in post-independence colonies, during the disintegration of polyglot empires, and in post-industrialized societies. Within these environments, six conditions serve to heighten the possibility of the use of violence. These conditions include: (i) the presence of communal cleavages based on religion, race, or language, combinations of these cleavages being more volatile than their occurrence singly; (2) the absence of a common value or identity; (3) the concurrent development of antagonistic nationalisms; (4) the possession of an economic or cultural elite status by a subordinate communal group; (5) differential rates of modernization; and (6) the displacement of anticolonial feelings upon a communal group perceived as associated with a colonial power. The examples of the Copts in Egypt and the Armenians in the Ottoman Empire are presented as illustrations of the interaction of these conditions in two different environments and the use or absence of violence in communal conflict.


Archive | 2000

The public life of the arts in America

Joni Maya Cherbo; Margaret Jane Wyszomirski

In accordance with the theme of this special issue, three books have been selected for review. Since The Rise of the Creative Class by Richard Florida was first published in 2002, and initially reviewed by the International Journal of Entrepreneurship and Innovation in February 2003, the creative industry has become a key growth sector worldwide. The sector is now recognized in countries as diverse as the UK, Australia, Singapore, South Africa, India and China. The review in this issue therefore reassesses the contribution of Florida’s now famous book to the debate on the growth of the creative sector and its role in economic growth and cultural prosperity. New Money, Nice Town: How Capital Works in the New Urban Economy by Leonard Nevarez is a ‘left-of-centre application’ of Florida’s Creative Class thesis and examines the development of new urban business elites in the creative sector, providing a comprehensive analysis of how cultural corporations shape communities and influence urban politics. The Independents: Britain’s New Cultural Entrepreneurs by Charles Leadbeater and Kate Oakley addresses a core theme in the debate on the creative sector – the growing economic and political importance of young cultural workers and entrepreneurs. A key message of the book is that policy makers need to pay attention to this growing segment of the workforce.

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Theresa C. Smith

Minnesota State University

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