共查询到6条相似文献，搜索用时 0 毫秒
1.
2.
Despite the lack of a clear definition of the concept, “cultural diversity” has remained a core issue for more than a decade
(WTO, UNESCO, etc.). The aim of this paper is to begin to fill this gap. We argue that cultural diversity is a multi-dimensional
concept and that accurate metrics must rely on three criteria: variety, balance and disparity. We also stress that supplied
and consumed diversity have to be distinguished. We apply this set of multiple measures of diversity to publishing data for
France over the period 1990–2003. Our main result is that the situation of the publishing industry in terms of cultural diversity
is highly dependent on the dimension considered. Hence, diversity increases when variety is the sole consideration, whereas
taking balance or disparity into account leads to the opposite conclusion. This issue raises a series of questions about the
use of diversity measures in a policy debate concerned with furthering cultural diversity.
相似文献
| Stéphanie PeltierEmail: |
3.
Universities worldwide are facing enormous strains as a result of increased external expectations where global visibility should be mixed with local and regional utility. In debates on the future of higher education, becoming an entrepreneurial university has been highlighted as a novel – although perhaps a more hybrid – way to deal with this challenge. However, while the label entrepreneurial points to an image of the university as a dynamic free agent shaped in the interplay between dynamic environments and internal flexibility, the current article takes a more critical view on the factors conditioning universities with the ambitions of becoming more entrepreneurial – particularly those of more recent age and less academic standing. For these institutions it is suggested that the university ideal of being entrepreneurial may lead to a situation of strategic inertia characterized by an institutionalized ‘lock-in’ with few alternative development paths. 相似文献
4.
Musicians, singers and bands can use their popularity to promote various causes and products, either through endorsements or more individual initiatives. Environmental activism is becoming more widespread as humans are trying to tackle and mitigate climate change. In this paper, we ask how best a band can compensate for the carbon emissions generated by fans travelling to its shows. We first report on the various “green” initiatives and practices of the music industry. We then focus on greenhouse gas emissions that result from tours and concerts since they are one of the largest environmental impacts generated by the music industry. We take the perspective of the artist or band wishing to internalize their carbon emissions and present a model of carbon offsets in the context of rock concerts, which amounts to the private provision of a public good. In our model, bands have the option to include offsets in the ticket price or to offer voluntary offsets. To illustrate our point, we present a field study conducted by a Quebec rock band at shows in Montreal and in Europe to show how the artists can reduce the environmental impact of their concert by buying carbon credits equivalent to their fans’ footprint. We show that at 1 % of the ticket price on average, the cost of carbon offsets is marginal and discuss the numerous challenges that arise for those artists wanting to engage in carbon offsetting. 相似文献
5.
J. Atsu Amegashie 《Journal of Cultural Economics》2009,33(4):265-277
In the popular FOX TV reality show, American Idol, the judges, who are presumably experts in evaluating singing effort, have no voting power when the field is narrowed to the top 24 contestants. It is only the votes of viewers that count. In the 2007 season of the show, one of the judges, Simon Cowell, threatened to quit the show if a contestant, Sanjaya Malakar, who was clearly a low-ability contestant, won the competition. He was concerned that the show was becoming a popularity contest instead of a singing contest. Is this a problem? Not necessarily. I show that, under certain conditions, making success in the contest dependent on a contestant’s popularity and not solely on her singing ability or performance, could paradoxically increase aggregate singing effort. It may be optimal to give the entire voting power to the viewers whose evaluation of singing effort is noisier. 相似文献
6.
William James (1919) characterises hypotheses as either live or dead. A hypothesis is live when it is taken into account as a ‘real possibility’. We follow James’ suggestion to not attribute intrinsic properties to hypotheses, but rather investigate how they came into being and look at the effects they generate. Expectations of digital technologies are a topic of vivid debate in the insurance industry. Before these expectations can become ‘live’, they have, in the first place, to be generated by market devices. We investigate how the reinsurance blogpost platform Open Minds functions as an ‘expectation generation device’ on the future of insurance markets. Combining Beckert’s work on the role of fictional expectations with the pragmatist turn in sociology of markets, we propose to study ‘expectation generation devices’, provoking expectations on economic markets. In our empirical analysis, we demonstrate the explicit fictional character of the Open Minds contributions, and analyse how a contained space of openness is generated to provoke expectations. We demonstrate how Open Minds can become live through circulation to other expectation generation sites in the insurance industry and beyond. We conclude by reflecting on the importance of expectation generation devices as a particular type of market devices. 相似文献