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1.
Reprinted fromThe Three Banks Review September 1971 pp. 3–19, by kind permission of the Royal Bank of Scotland plc. Lionel (Lord) Robbins (1898–1984) was Professor of Economics at the London School of Economics from 1929–1961 and Emeritus Professor unit 1980. He was actively involved in the arts, higher education and journalism, holding a number of prestigious posts.  相似文献   

2.
Welfare economics and public subsidies to the Arts   总被引：1，自引：1，他引：0  
Reprinted from Manchester School of Economics and Social Studies, December 1969, pp. 323–35 with the permission of Basil Blackwell Ltd. Professor Sir Alan Peacock (born 1922) has a distinguished career as an academic economist and public servant, chairing, among other things, the Arts Council Enquiry on Orchestral Resources 1969–70, the Committee on Financing the British Broadcasting Corporation (BBC) 1985–86; and the Scottish Arts Council 1986–92. He has written widely on cultural economics, includingThe Composer in the Marketplace (with Ronald Weir, 1975) and his autobiographicalPaying the Piper (1993) reviewed in thisJournal 18(1), 1994. He has been a member of the Editorial Board of theJournal of Cultural Economics since its inception. Reprinting this article is a tribute to his long and much valued involvement in our field.  相似文献   

3.
Thurstan Shaw 《Minerva》1989,27(1):58-86
See also the earlier contributions to The Academic Profession and Contemporary Politics: Washburn, Wilcomb E., inMinerva, XVI (Summer 1988), pp. 392–415; and Tobias, Phillip V.,ibid. (Winter 1988), pp. 575–588.  相似文献   

4.
Reprinted from Hendon, W.S., Shanahan, J.L. and MacDonald, A.J., eds. (1980)Economic Policy For the Arts. Abt Books, Cambridge, Mass. with kind permission of the publisher. David Austen-Smith, born 1953, wrote his Ph.D. thesis on cultural economics at the University of Cambridge, U.K.; he worked at the University of York and wrote several articles in the field before moving to the Department of Political Science at the University of Rochester in the U.S. His research is now primarily in positive political theory.  相似文献   

5.
This paper explores the correlation between metropolitan social and economic conditions and corporate arts support in the United States. It is hypothesized that the transition from a manufacturing sector economy to an advanced service sector economy is an important local factor for the increase in corporate arts support.By panel analysis, in eleven metropolitan areas between 1977 and 1991 changes in corporate arts support have been correlated with changes in social and economic conditions, i.e., service sector and manufacturing sector employment, service sector and manufacturing sector income, population's educational attainment, and the degree of dominance by the leading local arts supporting industry.Corporate arts support is higher in metropolitan areas where the population is better educated (=+0.60), the local service sector generates more income (=+0.37) and the local manufacturing sector generates less income (=–0.22).Corporations from the manufacturing sector are mostly indifferent towards arts support. In contrast, corporations from the service sector are supportive of the local arts but they also respond swiftly to a loss in their earnings by discontinuing their arts support.  相似文献   

6.
Strathern  Marilyn 《Minerva》2003,41(3):263-276
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7.
ABSTRACT

The distinction between input-oriented legitimacy and output-oriented legitimacy (Scharpf, Fritz W, 1997. Economic Integration, Democracy and the Welfare State. Journal of European Public Policy, 4, 18–36) has been one of the most influential distinctions in political science. In this article I introduce a third arrangement supporting the legitimacy of political processes which I call promise-oriented legitimacy or, simply, promissory legitimacy. This term refers to the support political authority can gain from the credibility of promises political leaders make regarding future states of the world when justifying decisions and persuading others to follow them in their proposed course of action. Decisions gain support through claims about future development. Legitimacy crises arise if promises that were found credible become discredited and fail to motivate. I develop the concept of promissory legitimacy based on a discussion of what can be considered the most far-reaching political promissory regime of the last forty years: neoliberalism.  相似文献   

8.
Geert J. Somsen 《Minerva》2008,46(2):231-245
The political engagement of scientists is not necessarily left-wing, and even when it is, it can take widely varying forms. This is illustrated by the specific character of Dutch scientific activism in the 1930s and 40s, which took shape in a society where ‘pillarized’ social divisions were more important than horizontal class structure. This paper examines how, within this context, the Delft physicist Jan Burgers developed a version of scientific politics, built on a philosophy of value-laden science.
Geert J. SomsenEmail:
Geert J. Somsen   is assistant professor in history of science. After receiving a PhD in the history of chemistry, his current work involves ideological uses of science in twentieth-century Britain and the Netherlands, with a focus on scientific internationalism. With Harmke Kamminga he edited Pursuing the Unity of Science: Scientific Practice and Ideology between the Great War and the Cold War (Aldershot: Ashgate Publishing, forthcoming).  相似文献   

9.
Patrick Petitjean 《Minerva》2008,46(2):247-270
The World Federation of Scientific Workers (WFScW) and UNESCO share roots in the Social Relations of Science (SRS) movements and in the Franco-British scientific relations which developed in the 1930s. In this historical context (the Great Depression, the rise of Fascism and the Nazi use of science, the social and intellectual fascination for the USSR), a new model of scientific internationalism emerged, where science and politics mixed. Many progressive scientists were involved in the war efforts against Nazism, and tried to prolong their international commitments into peacetime. They contributed to the establishment of the WFScW and of UNESCO in 1945–1946. Neither the WFScW nor UNESCO succeeded in achieving their initial aims. Another world emerged from the immediate post-war years, but it was not the world fancied by the progressive scientists from the mould of scientific internationalism. The aim of this article is to follow the path from the Franco-British networks towards the establishment of the WFScW and UNESCO; from an ideological scientific internationalism towards practical projects. It is to understand how these two bodies came to embody two different scientific internationalisms during the Cold War.
Patrick PetitjeanEmail:
Patrick Petitjean   is “Chargé de Recherches” at the CNRS, Paris. He is an historian of science and belongs to the laboratory REHSEIS (Recherches Epistémologiques et Historiques sur les Sciences Exactes et les Institutions Scientifiques). He has co-edited Science and Empires—Historical Studies about Scientific Development and European Expansion (Dordrecht: Kluwer Academic Publishers, 1992); and Les Sciences colonials—figures et institutions (Paris: Orstom éditions, 1996). He has recently published some contributions on Unesco’s first years: Petitjean, P., Zharov, V., Glaser, G., Richardson, J., de Padirac, B. and Archibald, G. (eds), Sixty Years of Sciences at UNESCO, 1945–2005 (UNESCO, Paris, 2006). He is currently working on the history of international scientific relations from the 1930s to the 1950s, and on the influence of the science and society movements upon the Science Division of UNESCO.  相似文献   

10.
This paper explores the possibilities offered by recent Science and Technology Studies (STS) research on markets for engaging with market innovation. Although there exist few reflections on how innovation happens in markets, market innovation has not been singularly theorized in STS-inspired market studies. In this paper, we explore the potential analytic utility of different sets of ideas in the field of market studies, such as ‘framing’ [Callon, M. (1998) ‘Introduction: the embeddedness of economic markets in economics’, in The Laws of Markets, ed. M. Callon, Blackwell, Oxford, pp. 1–57; Callon, M. (2007) ‘An essay on the growing contribution of economic markets to the proliferation of the social’, Theory, Culture & Society, vol. 24, no. 7–8, pp. 136–163], ‘productive friction’ [Stark, D. (2009) The Sense of Dissonance: Accounts of Worth in Economic Life, Princeton University Press, Princeton, NJ] and ‘bricolage’ [MacKenzie, D. & Pardo-Guerra, J. P. (2014) ‘Insurgent capitalism: Island, bricolage and the re-making of finance’, Economy and Society, vol. 43, no. 2, pp. 153–182]. Drawing on our research into the online personal data industry and start-ups developing personal data control products, we put together five sensibilities that we think are of use for broader considerations of market innovation.  相似文献   

11.
The paintings by Canaletto (1697–1768), made with the help of a camera obscura, are just like real photographs, documenting as they do the Venice of the XVIII century with an accurate reproduction of all the details. The brown–green front left by the Laminaria, an alga living between the high and low tide, constitutes a precise biological indication of the average level of the high tide. By comparing the level of this front at Canaletto’s time with the present level, we can calculate/discover the relative sea level rise which has occurred in the last two and a half centuries.  相似文献   

12.
This paper was presented at the symposium dedicated to the 25th anniversary of the publication of Patrons Despite Themselves: Taxpayers and Arts Policy (Feld et al. 1983), held by the Association for Cultural Economics International, Boston, June 2008. It considers alternative means of providing indirect tax-based state support of the arts, such as the use of tax credits as opposed to tax deductions for charitable contributions, matching grants, and support applied to specific projects. It also considers the problem of broad-based changes to tax policy that have unintended consequences for arts organizations.   相似文献   

13.
This article provides estimates of price and income elasticities of demand for German public theatre, using a large and reliable data set for 178 theatres over 40 years (1965–2004). It is posited that the consumption of the performing arts is a time-intensive activity for which both a theatre ticket and leisure time are necessary. Thus, the impacts of ‘full-income’ (‘leisure time income’ added to disposable income) and the price of leisure time on theatre attendance are examined. The findings indicate that the demand for the performing arts is own-price inelastic. The disposable income elasticity is significant, positive and equals approximately one. In contrast, the full-income elasticity is well above one and greater than usual income elasticity indicating that the performing arts are a luxury good when leisure time income is included in the consumer’s budget. The positive full-income effect is, however, offset by the negative price of leisure effect indicating that leisure time is a complement for the performing arts. Additionally, three objective quality characteristics of theatrical productions which can positively influence theatre demand are examined.
Marta ZiebaEmail:
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14.
This paper looks at the issue of access to the arts in terms of the very unequal attendance at and audiences for the high arts by educational grouping. The meaning of equal access is analysed, recent data for two countries, namely the United States and Ireland, are examined and new evidence is proffered. The constraints/barriers to, and the rationale for, more equal attendance/audiences are examined. The paper concludes by outlining a number of possible responses to this continuing problem.This paper was presented at the 9th international conference of the Association for Cultural Economics, held in Boston, May 8–11, 1996.  相似文献   

15.
While there is a fair amount of work on determinants of demand for the live performing arts, results have often been contradictory with little explanatory power. This may be because of the difficulty in describing the attributes of a performance, particularly in terms of its quality, and the heterogeneity of consumer preferences. This article uses conjoint analysis, also called choice experiments, to investigate the impact of the attributes of live theatre performances on demand, using data collected from 483 randomly chosen attenders at live theatre performances at the 2008 South African National Arts Festival. Attributes include the type of cast (professional, semi-professional or amateur), reputation of the producer/director, the context or setting, production type and ticket price of the show. Results largely support the a priori expectations based on the results of other demand studies. For example, it is found that the age of consumers affects the type of show chosen, that utility and willingness to pay increase for shows with professional and semi-professional casts and that 93% of the potential audience prefer shows with a South African context. It is concluded that the method could prove useful to both event organisers and policy makers, especially where the goal is to broaden access to the arts.
J. D. SnowballEmail:
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16.
This paper was presented at the symposium dedicated to the 25th anniversary of the publication of Patrons Despite Themselves: Taxpayers and Arts Policy (Feld et al. 1983), held by the Association for Cultural Economics International, Boston, June 2008. Patrons Despite Themselves raised and tried to answer a number of important questions of policy concerning indirect government support for the arts. These questions have continued salience for what we see in our museums and hear in our concert halls. The primary source of federal indirect aid in the U.S. continues to derive from the deduction in the federal income tax for contributions to not-for-profit cultural institutions. On the other hand, there has been a series of recent challenges to the tax-exempt status of charitable institutions.
Alan L. FeldEmail:
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17.
This article was presented at the symposium dedicated to the twenty-fifth anniversary of the publication of Patrons Despite Themselves: Taxpayers and Arts Policy (Feld et al., 1983), held by the Association for Cultural Economics International, Boston, June 2008. It considers “big questions” in arts policy that promise intellectual and social payoff if approached in the spirit that animated the effort behind Patrons Despite Themselves, with special attention to issues that economists might illuminate, namely: (1) Waste of resources; (2) A workable business model for digital media; (3) Increasing the value created through amateur participation; (4) Withdrawal of elites, especially economic elites, from their historic participation in arts governance and support; and (5) Fragmentation of collective patrimony. The associated questions are the same in each case: Why is this happening? Is there a market failure or equity justification for government action? What policies would help?  相似文献   

18.
Many people argue that public art contains an element of bequest value: value derived by people today from the expected enjoyment of the art by future generations. In this paper, I investigate the existence of this claimed benefit. I employ an intergenerational model of the benefits from government subsidies and private charitable gifts to the arts, and fit it empirically using 1996 US General Social Survey data. The data analysis suggests that people take their life expectancies into account to some extent when giving to the arts or supporting government arts spending. Indeed, we cannot reject the hypothesis that people do not consider future generations in their current support for the arts.  相似文献   

19.
The oil painting “La Medusa” executed by Caravaggio at the end of the XVI century on a wooden shield, was investigated by integrated physical–chemical and analytical methodologies in order to obtain scientific data capable of elucidating the state of conservation and the painting technique. Optical (OM) and electronic (SEM-EDS) microscopy, micro-FT-IR spectroscopy, gas chromatography–mass spectrometry (GC–MS) and pyrolysis GC–MS were applied on two microfragments and some organic samples obtained by solvent extraction using the swab cleaning technique. The obtained results indicated that Caravaggio probably reused an old shield as a previous gypsum preparation layer has been detected under the original painting layers. He used white lead, natural earths, verdigris and lead–tin yellow type I mixed with drying oils to paint. The considerable amount of amorphous particles of copper chlorides found in the green pigment verdigris suggests that it could have been produced according to the ancient recipe of verde salsum described by Theophilus. Mordant gilding has been identified on the upper part of the shield that can be related to an abandoned experiment to give the painting a mirror-like reflecting effect. Three different varnishes layers have been detected above the painted surface. The original and restoration varnishes have been identified and they contain a mixture of drying oil, mastic and turpentine and some beeswax. Cleaning tests, performed with different organic solvents, suggest the use of isopropyl alcohol as cleaning agent because it is less efficient in comparison to others solvents; thus it ensures a careful and controlled removal of the varnishes.  相似文献   

20.
John Roberts 《Minerva》1994,32(3):327-333
See alsoThe Universities Between Their Internal and External Enemies, Discussion,Minerva, XXXII (Summer 1994), pp. 186–221.  相似文献   

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